Jeff Arcuri Wants to Make Mailbox Money

Summary

Fly on the Wall with Dana Carvey and David Spade – Episode Summary

Episode Title: Jeff Arcuri Wants to Make Mailbox Money
Date: August 6, 2026
Guest: Jeff Arcuri
Theme: Behind the Scenes of Booking, Filming, and Owning a Comedy Special

Episode Overview

In this episode, comedians Dana Carvey and David Spade chat with rising stand-up star Jeff Arcuri. The discussion centers on Jeff’s journey to taping his debut Netflix special, "Nice to Meet You," the unique challenges of performing and filming in the round at the Celebrity Theatre, and the shifting business model of comedy specials. The trio dives into the craft of stand-up, the logistics and economics behind specials, the emotional reality of weaving personal stories (including Jeff’s wife’s cancer diagnosis) into comedy, and the generational differences in today’s comedy industry. Stories, advice, and plenty of riffs abound.

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Key Discussion Points & Insights

1. The Special: Taping and Logistics

• Choosing the Venue:

  • Jeff chose the Celebrity Theatre in Arizona, a space he fell in love with after two energetic shows there a year earlier. He notes its "in the round" format posed unique stage challenges but allowed for great interaction.
    • "I called my agent after the first show and I said, if I ever tape a special for anything, I want it to be here." (06:05, Jeff Arcuri)

• The Mechanics of Taping Multiple Shows:

  • Jeff taped five shows for flexibility and to ease pressure. The majority of the special comes from one performance (Friday, first show), with select bits from others.
  • He details practical difficulties: crowd orientation, integrating crowd work across edits, and referencing gaff tape on the stool to keep his bearings.
    • "I need some way of knowing where I am, because I would be, like, talking about…where are they now?…So we figured out by putting a piece of gaff tape on the stool…" (05:27, Jeff)
  • Dana and David reflect on their own experiences with special tapings, comparing old-school limited tapings with the luxury (and psychological ease) of having several to pick from.

• Audience Energy and Filming Hiccups:

  • Thursday’s show was notorious for bathroom interruptions and drunken energy—memorable, but unusable footage.
    • "People were drunk. People didn't know you couldn't go to the bathroom…looking for the bathroom near the stage…a lot of things we messed up on Thursday." (00:00, Jeff)
  • Dana jokes about the difference in crowd energy during tapings vs. normal sets, with cameras and lights sometimes making audiences stiff.

2. The Business of Specials: Money, Ownership, and Residuals

• The Netflix Deal:

  • Jeff explains today's typical Netflix deal: $200K for two years’ streaming rights, after which the comedian regains control and can exploit it elsewhere.
    • "It's the two for two deal…two years…$200,000. Obviously, it takes more than that to tape a special." (23:42, Jeff)
  • He weighed big budget quotes (up to $1M) but opted for a lower-cost, self-produced approach.

• Ownership After Streaming:

  • After the streaming window, comics can re-license their special, put it on YouTube, or monetize as they see fit—a reversal from historical deals where networks retained perpetual control.
    • "It's fantastic system that you're going to own that in two years…" (25:32, Dana)
    • "I'd appreciate that mailbox money. I like that free money out of nowhere." (25:52, David)

• Industry Evolution:

  • Jeff, Dana, and David compare old and new: studio-driven, one-night tapings with poor residuals vs. self-owned, multiplatform, multi-taping strategies giving comics more control and revenue streams.
  • David shares his scattershot experience: multiple specials spread across Amazon, Comedy Central, HBO. Dana notes how Wayne’s World still sends him ‘mailbox money’.

3. Production, Crowd Work, and Editing

• Crowd Work as Structure:

  • Jeff uses interactive crowd work to integrate the audience into the show. His opener often spotlights a husband reluctantly brought by his wife, making him the "hero" of the show.
    • "I try and find a husband that was brought by a wife. That's usually…I make them the hero." (11:13, Jeff)
  • The editor cleverly spliced different crowd interactions into a seamless narrative so callbacks would still work.

• Post-Production Anxiety:

  • Jeff describes sinking into a funk upon first watching rough cuts, needing encouragement from his wife before feeling proud of the final edit.
    • "The first V1…I, like, went into a depression. I didn't want to watch it. I thought it was going to be garbage. And my wife had to…pull me out of it…" (09:53, Jeff)

• Tech and the Director’s Approach:

  • Jeff lauds his producers, Jordan Levy and Matt Schuller, for technical and artistic guidance, including an idea to open with a real heckler from Thursday’s show.

4. Authenticity and Personal Content: Comedy as Coping

• Cancer, Marriage, and Realness:

  • Jeff candidly discusses his wife's stage-four cancer, the emotional work of bringing it up in a special, and the importance of authenticity when mining such heavy material for laughs.
    • "I just couldn't get her to laugh. I just tried, you know, And I was crying talking to him about it…He said, just say that. That's real. Just say that. And so we ended up using that." (31:34, Jeff)
  • Dana and David praise how he manages emotional and comedic beats around the topic—sincere, unforced, and vulnerable without being maudlin.

• Jeff’s Wife’s Role and Prognosis:

  • Katie, an ex-comic herself, is described as resilient, in good spirits, and the optimist pushing Jeff through dark times and believing in his career.
    • "She's doing great now…It's a stage four, so it's forever…but we keep getting good news. Our good news is better than our bad news." (38:22, Jeff)
    • "She was expecting it to do as well as it did…She's like, this is the next thing." (46:56, Jeff)

5. Comedy Generation Gap & The Value of Standup for Its Own Sake

• Career Choices Shifting:

  • Unlike prior eras focused on landing a sitcom or film, Jeff and peers are comfortable just doing stand-up—a viable destination, not just a stepping stone.
    • "I just got to where I wanted to be…doing stand up as much as I want to…I’d rather be on the road than on set…Also, I’ve never been on a set." (47:37, Jeff)
  • David underscores how post-COVID, the only consistent way to "call your own hours" and reliably earn as a comic is to own your stand-up.

• Community, Jealousy, and the New Wave:

  • The hosts tease about “jealous older comics,” but celebrate Jeff’s success and the flexibility (press, touring, bus tours) that comes with it.

6. Comedy Bits & Running Riffs

• Ghosts and Rules:
  • Dana and David riff about Jeff’s bit on ghosts having arbitrary rules, inspired by a tangential podcast appearance.
    • "I like the idea. Yeah…he's saying, like, they can't write you a note. They can only like make a creaking noise every couple years…I'd like, you know, it's a bird, but maybe drop a note…" (40:38, David riffing Jeff's bit)
  • The trio riffs about the movie “Ghost,” pottery scenes as phallic metaphor, and 90s movie references, staying playful and unfiltered.

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Notable Quotes & Moments with Timestamps

• On the special’s gauntlet:

  • “Somebody quoted me for over a million dollars to tape it... No, I’m not going to, you know, put a lien on my house to tape.” (00:14, Jeff)

• On performing in the round:

  • “I found out, like, a lot of gay people were on the left side. So I was like, in the gay people. And I was like, shit, where are they now?” (05:28, Jeff)

• On creative control and modern deals:

  • “Our initial deal is that in two years, I can then flip it onto YouTube…It’ll be mine again…two is pretty quick.” (24:39, Jeff)

• Mailbox money:

  • “I’d appreciate that mailbox money. I like that free money out of nowhere.” (25:52, David)

• On handling heavy topics:

  • "I just couldn't get her to laugh... And I was crying talking to him about it. And he said, just say that. That's real." (31:34, Jeff)

• On generational comedy shifts:

  • "I just want to do standup. And that's actually the one thing you can just make money at …instead of staying home waiting for an audition." (47:37, David)

• Riffing about Netflix search:

  • "For the first four days I had to tell people…search by my last name. Don't type in Jeff…you're gonna get…Epstein, Dahmer." (28:33, Jeff)

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Important Timestamps

• 00:00 – 05:00: Taping mishaps, venue choice, stage mechanics
• 07:10 – 10:40: Emotional prep, five shows, integrating crowd work
• 11:13 – 14:40: Crowd work edits, production team, heckler stories
• 23:06 – 26:00: Business model, Netflix deal, ownership after streaming
• 31:10 – 33:39: Weaving cancer story into comedy, documentary element
• 38:08 – 39:08: Wife’s prognosis, life with stage-four cancer
• 40:01 – 41:44: Ghosts bit, riffing, comedy ideas
• 46:02 – 49:30: Touring, audience building, industry trends

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Engaging Closing

The episode closes with appreciation for Jeff’s candidness, energy, and humor, with Dana and David predicting bigger things ahead for him. Jeff expresses gratitude, humility, and a love for the stand-up art form—content just to tour, connect, and (hopefully) collect that sweet “mailbox money.”

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Special Out Now:
Nice to Meet You – available on Netflix

Jeff Arcuri tour dates and updates:
Check Jeff’s website and socials.

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Fly on the Wall:
Catch new episodes and subscribe on your favorite podcast app or YouTube.

Transcript

[A]

The Thursday show is like, people were drunk. People didn't know you couldn't go to the bathroom. So people were like looking for the bathroom near the stage like that. There's a lot of things we messed up on Thursday.

[B]

They walk toward the stage looking for a bathroom. I've had that. And they go, you go, why do you think it's up here?

[A]

Somebody quoted me for over a million dollars to tape it. And I'm like, oh yeah, that's insane. No, I'm not going to, you know, put a lien on my house to tape. Look at my special on Netflix. It was for the first four days I had to tell people on Instagram, I'm like, search by my last name. Don't type Jeff on it in Netflix. And because you're gonna get. It was just Epstein Dahmer.

[C]

It was just all the documentaries.

[B]

A lot of fun Jeffries out there.

[C]

All right, Jeff A. Curry is our guest. A up and coming budding stand up special on Netflix, you know, called called Nice to meet you.

[B]

Nice to meet you. And this gentleman is a guy who's up and coming, but he's also out there enough to sell out, like, you know.

[C]

Yeah.

[B]

A lot of nights at the Wilbur theater in Boston, which is very hard to fill up. Even one night he does a couple. He did it Celebrity theater in Arizona. His special, where I'm from Arizona, I've played. I love. I should do a special there. I love it. And it's in the round and he got to tape five shows. He'll tell us about it. And to fill it up five times. That reminds me of Nate. When Nate went there, he felt he did four. And I'm like, you can fill that place four times in a row. Wow.

[C]

What young people say would say about Jeff is he's got mo motion, you know.

[B]

Oh, I thought it was moxie. I have moxie.

[C]

I know all the young people stuff. You know, about looks, Maxine and money maxing now. So anyway, we had a great time with him. We had a couple little technical glitches, but we edited them out. So what you're.

[B]

You're not gonna hear.

[C]

Yeah, you're not gonn dick. So here he is.

[B]

Let's do it.

[C]

Let's do it. Light it up. Jeff's in a hotel.

[B]

Oh, he is not cool. Not cool even though I'm in one.

[C]

Remember when this was really weird and like, you know.

[B]

Yeah. It feels like covet again. Jeff, are you old enough to remember Covid?

[A]

Yeah, well, I'm almost 40.

[B]

Yeah.

[C]

Don't do that. Just hang on to those 30s, man. Just go, I'm 30 something. You know, you don't need to know anything else.

[A]

I'm turned 39 this year and I've been saying 40 since I was like 37 just to get. I usually say it when I need to sound more serious about something. Like, come on, I'm almost 40 years old.

[B]

Yeah. I'm a 40 year old man.

[A]

Yeah.

[C]

I do the exact same thing. The minute I'm in any decade, early, early 30s, I go, I'm almost 40. And then it kept going from there. I don't ever want to be surprised, like, how the sudden was I 40, you know? So you're just always kind of future.

[B]

I still say, come on, I'm a 40 year old guy.

[C]

You're special. Great, great man.

[B]

Right now. Correct.

[C]

It's outrageously good.

[B]

Yeah.

[A]

Thank you.

[C]

That means I loved it. I mean, I never did a special like that. I, you know.

[B]

Oh, it's first of all, celebrity theater. That's Arizona, where I'm from. That's where I used to see Sticks, Boston, Van Halen. So that's a great theater. I didn't do a special there, but I've definitely played it and it's great. I know Nate did his there and that's a great. In the round. Oh, yeah, Louis too. That's a whole. In the round is you. You sort of have to get used to it. I got a question before we get into the hilarity of it. Dana, when you do it in the round, you've done these. They came back before the show. Do you want it to spin?

[C]

I don't think I had it spinning when I played the celebrity theater. Does it spin?

[B]

I had both. They. They asked me and I said, what did it do last time? And they said, it's. It's fun. I was like, oh, man. I. I think I will just move myself.

[C]

No, Jeff, you didn't have a spinning right.

[A]

You.

[C]

It was spinning. No, no, no, no. You just move around.

[A]

They could. I think they do it for a lot of bands they have. Because then. Yeah, like, you get to see the whole band. They say, this is very cool.

[B]

You see behind the drums. But the.

[C]

I mean, I did the thing where it kind of lifts up. One side of the stage lifts up and it goes like that very subtly. And then the whole center goes up and then down. Did you do that one?

[A]

That's.

[C]

They press button three where they go like this.

[B]

Yeah.

[A]

I call the pirate.

[C]

Yeah, yeah, yeah. It's like that thing. And you know, if you're killing it, if you're really hitting it, I mean, that's just the laughs.

[B]

Go double the Venus fly trap. You go like this and it goes. Then the audience can't see you anymore.

[C]

Yeah. And then the greatest thing, you say, good night, everybody, and it just goes under.

[B]

Yeah, that's good.

[C]

And then. And then flowers are on top. But that costs like 3k or something. But anyway, those are the jokes, folks, for people listening. Is that real?

[B]

Those are real. I mean, there is a movement or non movement. I chose non movement, not taping. But I think Nate said he took movement and I was like, wow. Because it does throw you a little bit. It's just not.

[C]

It's.

[B]

I mean, even.

[A]

Not even moving was tough. I remember we did, like, we recorded a bunch of shows, but the first one we recorded, and I got off with a lot of notes where I was like, I need some way of knowing where I am, because I would be, like, talking about, you know, I found out, like, a lot of gay people were on the left side. So I was like, in the gay people. And I was like, shit, where are they now? You know? And I didn't know where I was on the stool on the stage. So we figured out by putting a piece of gaff tape on the stool, we figured out where my 12 o' clock was. So whenever I referenced somebody, I can be like, all right, they're at six, they're at three. Yeah.

[C]

Oh, interesting. But why did you do it there? I mean, was it a place you'd done once and you. You loved it and then you wanted to save yourself? Right. So you didn't play there for at least a year or two, I assume. But you knew it was where it was really good for you, right?

[A]

Well, yeah, they. We did it actually just under a year prior, before I taped it.

[C]

Okay.

[A]

I called my agent. We did three quarter round. We didn't do the full. We did like three quarters. So I had a. Had a backing to me where I could kind of stay, and I just had two awesome shows. I did not want to get off stage. They were just so fun and so interactive in a way that I'm like. I called my agent after the first show and I said, if I ever tape a special for anything, I want it to be here. And I'm glad I did because I was able to do crowd work and have fun with the audience. But it was definitely a bit of a bold first shot at a special just because there's a Lot of things I didn't keep in mind. I'm not. You know, your first special should be on a stage that you're used to, that you're comfortable with. And I remember kind of freaking out at like, oh, shit, how do I turn around now? And I was like, figuring it out

[B]

as, yeah, you got enough on your mind. Yeah, for sure. It's scary enough with just cameras and lights and audiences acting a little different. I've done ones where I've said the same thing. You'll leave and you go, this place would be perfect. There's one up in Santa Rosa or somewhere. I was Dana, and I remember we were Luther Burbank. Everybody killed. And we're like, this would be great. It's not too huge. And then you go, I gotta give it space. Because would I ever get this good of a crowd again? Or maybe it was the crowd, but it's very hard because you did four, right? Four shows at Celebrity is hard to fill. So in a year, which is good,

[A]

we ended up doing. We ended up adding a fifth show, like a Thursday. And they're like, let's just add this as a rehearsal, even if we don't sell it out. And I'm like, we gotta record it. I go, if we don't record it, it's gonna be the one I end up wanting to use, Right?

[C]

Yeah, of course. It'll be the best show you've ever done.

[A]

Yeah.

[C]

So you got to. Five times. You had five shots at this. Now, was the show that we saw, like, basically one show, or did you mix and match a little bit?

[A]

It was. It was. 90% of it was from one show. It was. So I did the Thursday show, and then it was like. I remember getting off, knowing it wasn't what I wanted, because I could tell by myself. But also, you ever get off stage and see everyone around you waiting for your reaction?

[C]

Yeah.

[A]

Like, when you get off and then people are just like, ah. And you're like, no. And I was just. I just knew it wasn't good. They already had that look on their face that they knew it wasn't great, but I wasn't worried. And then third Friday night, first show is when I got 90. We got like. I cried at the end of it. I was like, this is it. And we got 90 of the cuts from that one show, and the rest of it were just every now and

[C]

then, like, that's so fantastic that you got five shows. I've only done two. And I only had one. One shot at it. One for Technical reasons. And then you go, okay, this. I only have one shot. It's like, you know, it puts a lot of pressure on it, and you feel like you got to get through things. One thing, I like the way they shot it and the way you use the stage, the way you circled around. And sometimes you'd look over your shoulder like you're referring to the people behind you. You're sort of like, I know you guys are thinking this, and the way you were moving, it was very good. I wouldn't have anything but a plus on this special. I don't know. You know, it seemed like kind of a perfect special for you. Watching you. I don't. I mean, like, a great set, right? It's just like the crowd work, the way you did the crowd work, you. You introduce a subject, you might go to them, you might not. At some point, you go to them, and then you'll re. Come back to this real bit. It's not just all crowd work. Why it's all integrated into the stuff. And so I thought that was really great, too, you know.

[A]

That's amazing. Thank you. Yeah, I wanted it to. To come off that way. Like, hey, it's. It's. I bring people into the show. I specifically try and find guys that are maybe not wanting to be into it, and then I want to make them the kind of the hero of the show. And like, hey, it looks like you just came here with your wife, but you're now the star, you know, And I was able to do that. Like, everything worked out really, really well. And I was funny because I was kind of freaking out. That first month I got the special, the first V1, I, like, went into a depression. I didn't want to watch it. I thought it was going to be garbage. And my wife had to kind of, like, pull me out of it a little bit and, like, forced me to watch it. And I finally did, and, yeah, I just started sending it to comics that I trusted and, like, asking their opinion of it and stuff.

[B]

It's agonizing to go into the edit for some people. For me, I just. I keep putting it off and, like, you got to get in there, and they're like, I go, just get it rough. Let me see. And then I go in. Now, yours is different because when you're, you know, for the audience, you do some crowd work, and you go into the audience. Now for people listening. So the hard part about that is you're doing callbacks and things. And so when you're doing it with four or Five different crowds. When you're cutting, it's hard to say, okay, I kept this one guy. I have to keep that runner or something, Right? Isn't it a little complicated that way, too?

[A]

Yeah. Yeah. So there was actually a crazy edit. So 90% of the show came from one show. But in the beginning, the editor worked his magic. So the original V1 had, like, every crowd work interaction. It was like a good 10, 15 minutes longer than the current version because he found a way to fit it all in. But I'm like, a lot of this is just time killer, or, like, nothing funny came out of that crowd work, so we don't need it, you know? And I. They basically, the way I start every show is I try and find a husband that was brought by a wife. That's usually. I find that target and I make them the hero. And I found two different guys because I did one guy on the Friday show and then another guy on a Saturday show. And I used them both as the same role. But the way that they edited it, they made it look like I talked to the two guys in a row. Like, not different shows.

[B]

I see.

[A]

And I technically entered the same conversation the same way with both of them, but they twisted the words up and made it seem different. I was able to get both guys in for callbacks the whole show because of the way they edit it. And, dude, I was. I literally asked to watch because I edit a little bit on Adobe, and I was like, can I watch you edit what you're talking about? And I was just watching him flick around and do all this stuff. And I was like, why did you cut that there? And he goes, sometimes you just feel it, man. And I'm like, all right, you're good at your job.

[B]

Well, if you can cram extra jokes because, you know, you have some shows that are good. I was Chris Rock last night, and he said, I've done it for how many years? 30 years. I've had eight great shows. He said, it just sounds crazy. But there's really the kind. You just walk away like you got a grand slam. You walk off and you go, done. I can't beat it. I'm up as good as everyone. And then the other ones are pretty good. They vary from.

[C]

Fuck.

[B]

There's one spot, so when you get a special, it should be the cheat code. And it seems like you're getting it because you're like, I had a great thing with this guy. But then Saturday, I had a great. What if we got them all in the same show? I thought you were gonna say you cheated it. Where you talked and you heard the answer, but you didn't see the guy. So you gotta laugh thinking it was the same guy or something like that. You know, if you're just talking.

[C]

No, but you did it better.

[B]

Yeah, that's better. That's great.

[C]

Yeah.

[B]

You pack it.

[A]

Yeah. Everyone involved in the team, like, everybody around it was really cool. Like, I've heard from other people. I'm not sure if you guys have experienced this, but when they come to taping specials, they'll be like, hey, stop, we need to fix your jacket. Hey, stop, we need to fix your hair. Or, can we run that again? All right. Hey, guys, we're going to run that again. I was scared of that happening because that kind of pulls me out of the conversation, like, making it a conversation that I'm in control of with the audience. And so I was glad where he said, listen, we're lucky enough to do a lot of shows. I won't tell you a single thing. Just go do your show like you normally do your show. And then I'll tell you if we're like down to the wire on things. And he said straight up. He's like, every show you did, you nailed the things without me saying it. Like, you fixed what you said or what you were gonna.

[B]

Who is that, Alex?

[A]

Jordan Levy and Matt Schuller were the producers for this.

[B]

Okay, great.

[A]

I gotta say, like, his artistic direction with stuff. Like the fact that I had a heckler in the beginning as my cold open. That was his idea. Like, that was all him. And that was pulled away from the Thursday show. Cause we. The Thursday show was like, people were drunk. People didn't know you couldn't go to the bathroom. So people were, like, looking for the bathroom near the stage like that. There was a lot of things we messed up on Thursday.

[B]

They walk toward the stage looking for a bathroom. I've had that. And they go. You go, why do you think it's up here? Get the fuck out of here. So, Dana, we're here to talk about Amazon Music.

[C]

Yep.

[B]

They have podcasts, they have audio books. They have everything in one app. You can pick from, obviously. Amazon's huge. You can get any kind of books you want, any sort of audiobook, any sort of music. Of course. So I picked Project Hail Mary. Project Hail Mary in the movie is Ryan Gosling. You don't know him. He's a kind of a friend of mine.

[C]

Oh, yeah. He's kind of funny. He's on snl.

[A]

Yeah.

[B]

He's great and he's a huge star. Anyway, Project Hail Mary, this guy who reads it, his name's Ray Porter, he's done over, he's a good voice. He's done over 500 of these. So it's good to have someone good. They get good people, they read it and you know, let's say I'm moving and I just have it on in the house because I have to unload boxes while Heather lays around in a hammock. So Project Hail Mary, first of all, it's about very interesting. He's a teacher, you know, Ryan Gosling. Average guy, but very smart. I like that. They need to put him in a spaceship and go try to fix the sun, you know, whatever.

[C]

Yeah, there's bacteria. All these sons are dying.

[B]

He's got a fungus. He has to go bring some penicillin.

[C]

So great story.

[B]

Doesn't realize it's a suicide mission. They're like, we need you because you're so smart. And they're like, also it's we only have X amount of gas. Goes up there, sees another spaceship. I won't give it all away, but there's an alien on that one. They buddy up. Kind of turns into a buddy movie, but you know, but it's very well done and it's very interesting to hear and you don't know it's coming and that's a good long thing to just distract you and make you while you're doing, you can do something else, you know. And I like these because that's something I'm not gonna. I don't pick up as books as as smart as I look. And everyone's like, oh my God, you're so smart.

[C]

I know, yeah. Yeah, for sure.

[B]

I'm not always nose in a book which you think. So Amazon Music obviously has it covered. They have movies, they have everything. But if you want a podcast music and audiobook app, you get on there. Your Amazon Music unlimited subscription now include access to these audiobooks. So download the app today, start listening and have some fun with it.

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[A]

I remember at one point I just conceded and I said straight out, because everyone was going to the bathroom. I said, where are you guys going? I go, you know what, we're not using this one, guys. You have any questions? And I did my whole act. I still did the full hour, but I got that. There was like a sense of relief when I said, all right, we're not using this one. And everyone kind of laughed and then we just. The show was better from there on out. And I was like, I need to go into the, into it with that mentality every show. Like, hey, we're just having fun. We're not going to use this, you know.

[B]

Yeah, they're on the special too. So they're probably, you know, Dane and I talk about this. They tighten up a little bit because they see lights like, oh my God, I don't know if I should wear this because they think they're going to be cameras on them and they don't react just like a regular great crowd would. I've gone on stage and within the first minute of a special going, I can't believe I got a tough crowd on my own special. Like, I go on the road, you know what I mean? The gigs are going great and you lead up to it and you got these great crowds and the night it happens, there's lights are in their eyes and they're distracted and they can't get up and pee and there's no booze or anything. And they're like, ah, what the fuck are we doing here? And then you go, yeah, tough. They're going to be tough.

[A]

Some would argue that if you were to like, the, the worst time to see a comedian is At a special taping.

[B]

Yeah.

[A]

You know, if you're going to see them for the first time, it should be on the. Working it out.

[B]

You know, I'll start.

[C]

So there's. There's. There's lights and cameras around, and they know they're part of this thing. I mean, there can be attention to it. But you. Your attitude was. So I could tell you're legitimately really having a good time. And I think the five shows really helps. I do. You could have won and hit it like that, but you never know. But I like when I watch Sandler, that one special, he taped it all over the country. And I go, the first time I'm watching a performer who doesn't know he's shooting a special. Yeah, it might be in the special, it might not. We're gonna do 40 of them in different countries. Yeah, you had a sense of that vibe for that Friday show of just. I'm just. I'm throwing a personal party, you know, There was no. No sense of, like, pushing because you'll see really good standups, and their eyes are just a little bit tight. Just slightly. As a performer, you can tell they're not in the pocket with their set. They still got all the material they're going to kill, but it's very common. And yours. Yours didn't have that.

[B]

So, you know, what you heard, probably, Jeff, is, thank you. On the first. Well, you, you, you did. I. I usually have two tapings, I think, Dana, also, you have an early.

[C]

Well, I have a technical problem with one. And then I have one real shot.

[B]

Right. You know, so when I did my. For every special I've done, I do the first one, and you go back and someone says, that was. You hit it out of the park. We. We got it. So just go have fun. It's like such psychological stuff to make you go, oh, I'm gonna relax.

[C]

And then later.

[B]

And then later, we use the whole second show. Yeah, the first one's a little off. And I'm like, wait, you told me the first fucking home run.

[A]

Yeah.

[B]

Scam.

[C]

I mean, to some of your. Your peers, your friends, guys in your world. I was just doing a thing with Adam Ray last night. He talked about you in very positive terms doing his Dr. Phil thing. And I wonder.

[B]

Oh, nice.

[C]

Yeah, it was funny. I was just out there and he's doing. You know, his thing is very. A great crowd in a small club, Oxnard improv. But. But anyway, like, when your generation is shooting specials, do people. How is it different? Like, does everyone shoot Five. Or was yours. Is that unique? You got five tapings or.

[A]

No, that's. That's crazy.

[B]

Our.

[A]

Our goal was. Was like, hey, I'd love three. You know, and we luckily, like, you know, we could say it was for Netflix. So we put it on sale and it sold really, really well. And then we thought, hey, you know, we need to make the money back. Because the specials, you lose money on them. The way the deals are kind of set up now where you're, you know, you're. They're paying you for a special once you deliver it.

[B]

Yeah, yeah, yeah. Some say for the people at home, sometimes people pay it out of their pocket and put it on. If they can't sell it, they put on YouTube. Still can do. Well, some people do it and then sell it to a streamer after the fact. They pay for it, which is pretty expensive, and then sell it. And some people get the money from the streamer, keep some, and use the rest to produce it. So, yeah, you went. The way where you make it and sell it is that we said, no, we.

[A]

So basically they. They offered, hey, do you want to make a special for us?

[B]

Okay.

[A]

For Netflix? And then they give you. It's public knowledge. I think I've talked about it on a couple of podcasts. It was the two for two deal or whatever, where it's two years, you get. They get the special for two years for $200,000. And obviously it takes more than that to tape a special. And I went like, low end. I got quoted. Somebody quoted me for over a million dollars to tape it. And I'm like, yeah, yeah, that's insane. No, I'm not gonna, you know, put a lien on my house to tape.

[B]

Yeah. Also, you have to let me interject what we're saying. Dana and I are saying about one show, two shows, one night is because of crew and unions. And if you even do one show on Thursday, they're like, well, that's a whole.

[C]

Another day of.

[B]

They got a clock in catering. It's just like certain rules. You're going to pay a chunk for each day. So they try to get everything into one day. And you get two days, you got three days. So you must have invested in yourself, which is great, actually.

[A]

Yeah. I said, let's just do it. Like, that's why I was like, hey, just pay them for the extra day. Like, we'll figure it out. And I kind of. I kind of like this system, though. I mean, some people would say, yeah, it'll be easier the way, like, Comedy Central used to do it where they'd be like, all right, let's film five specials in one show in New Orleans or wherever. And we'll get it all. We'll take care of everything. We'll pay you each $20,000, whatever it may be, and then that special is ours. And now there are comedians that can't get their own material back because, you know, it's owned by, you know, Viacom or whatever. So that is kind of cool that we get the ownership back as part of the initial deal is that in two years, I can then flip it onto YouTube and for free, not even monetizing it, or I can do whatever with it. It'll be mine again. You know, two is pretty quick.

[B]

I would think it would be longer. I didn't even know. I don't know where mine are. I got to ask Alex. I don't know.

[C]

You answered my question. So it's. It's a. It's fantastic system that you're going to own that in two years.

[B]

It's great.

[A]

Yeah. I think they can offer you another lease, like, if it does well enough, like, or whatever. They can. Hey, they can do like a six year lease or something like that, which. That'd be great. I'd like that to get paid again for something I already did.

[B]

I'd appreciate that mailbox money. I like that free money out of nowhere.

[A]

Yeah, you guys, a lot of that. Random residual monies.

[B]

Dana doesn't like money now.

[C]

The only thing I got lucky with was Wayne's World. One, that's still, you know, I get mailbox money from Wayne's World. The first Wayne's World.

[B]

Why not so cheap.

[C]

Two, everyone, everything got into. We satirized kind of selling out in the first one where we wore all the gear and. Yeah, it's really sad that people. Then the second one, we kind of did what we satirized in the first film. The money came in, I walked on the set and Wayne and Garth had this layer, like this $500,000 layer. We were rich. And there are statues of Stalin out front. It's like too much money for comedy sometimes, you know, but running, run and gun. But in. In the early days, we. You'd try to get upfront, your people try to get you a bunch of money, and then they would just own it and they would tell you what to do kind of and how many shows you could shoot. So this is sort of very satisfying to hear this other way that people are doing it. More control, you know?

[B]

Yeah, yeah. I think we're taking that movie Busboys. It's going on Hulu in August, and then we get it back at some point. So it's kind of the same thing with a movie because we paid for the movie. So they get it. I think it's for maybe two years again, something like that. 18 months. And then they either could re up it or we can take it over to TBS and push it between Grownups One and Joe Dirt, whatever's on TBS that day. Bench warmers. I love it, though. No, that's great. So this is very interesting. Like, I think people are learning about specials from you because it's. It's just sort of a blur. People like, oh, that guy's got a special. Why is it on Hulu? Why is it on Netflix? Why is it on Amazon? Like, I've done one Amazon's Comedy Central and then two other places. Oh, hbo.

[C]

HBO Days.

[B]

Yeah. And then one more, but they're kind of floating all over the place. And I will say Comedy Central was seen by the least, including Dana. Dana kept trying to watch it. He's like, I can't get it. I can't find it. I can't. I try to get on their website and log in and sign up.

[C]

I couldn't find it. Hard to get.

[B]

And I'm like, this should not be the way it is. It should be.

[C]

So don't make it like Indiana Jones or something.

[B]

The Crystal Skull.

[C]

We're trying to find it. Yeah. Oh, yeah.

[A]

You should. You should look up my. Look up my special on Netflix. It was for the first four days. I had to tell people on Instagram. I'm like, search by my last name. Don't type in Jeff on it in Netflix. And because you're gonna get. It was just Epstein Dahmer.

[C]

It was just all the documentaries.

[B]

A lot of fun Jeffries out there. And your last name is hard to find. I didn't remember how to spell it when I was looking up today, and I'm like, wait, how do you spell that? You know?

[A]

Yeah, neither did. Neither did the Laugh Factory

[C]

I saw. I clicked in on Dahmer accidentally. I just watched for a few minutes, and it was surprisingly funny.

[B]

He does crowd work, too, also.

[C]

Yeah. I mean, it's not as. It's not as good as your special, but it was surprisingly. Had some pop to it. I don't know why I don't know this, but does Netflix allow clips or would that be later? Why don't I know that? Like, are there. Is Netflix going to clip it and and put it out.

[A]

They. They gave me a bunch that they collaborated on and.

[C]

Okay, so that's.

[A]

Our team hired people, they just basically cut it into that format for us.

[B]

And it's Netflix.

[A]

The first time I ever. Yeah, it's the first time I ever let somebody else, like, edit my. My stuff. Every clip I posted before that was Gary.

[C]

Right, Right.

[A]

Edited on the road. So I was like, I hope it does well. And they both did better than any of my clips. I'm like, all right, I'm. Time to give up the editing. They know what they're doing.

[B]

Well, that's good. They also look so polished and they look so good. You know, those Netflix specials look great. And they. I don't think they will accept one that doesn't look great. If someone films it and wants to sell it, you're like, you have to spend money because Ted and the gang over there, Robbie, they don't want to have some shitty looking. One camera in the back of the Ontario Improv, which. Where Jeffrey Epstein did his special, by the way. Dude,

[C]

we're just a Dahmer do his special.

[B]

Jeffrey Epstein did his at the Ontario Improv, but Dahmer did his at the Comedy Store in La Jolla.

[C]

I thought it was Punchline.

[B]

San Francisco Punchline. No, it was no reason. It was Funny Bones.

[C]

But yeah, we're in a clip world. I mean, like, we'll get some clips sometimes that will go millions. Right. It doesn't really count toward our business model or downloads, but. Because I'll watch a lot of clips too, you know, just this clip. So, yeah, you'll probably get millions and millions. So as far as the special, what, you know, what the press is kind of teasing out is your wife's breast cancer and that whole relationship with her. So. And I thought you navigated perfect perfectly, But. But that was like.

[B]

Dana, what if you're the one telling him right now,

[C]

I'm sorry, I have to tell you, it was cool the way you handled it. It's very, you know, sweet, emotional, and it also you. You got laughs out of the whole process. And, you know, so that kind of what the muse talk to that.

[A]

Yeah, that was pretty tough because that was. I actually had. There's a filmmaker in New York called Matt. He does a lot of like, in documentary and indie projects for a lot of comedians in New York. And I had him follow me around for like the month or like the three weeks leading up to the special, and he recorded me. I did a residency at the Wilbur Theater in Boston. And so he recorded me going there every night and running the hour and then running back to the Notebook and, like, walking my dog and then taking care of my wife and, like, running and doing all this stuff for the week. And I remember it was at the Wilbur Theater when I was having a hard time figuring out how to bring up the cancer, how to bring this up in the middle of a set, in the middle of a clown show. Why am I doing something so serious? And he. Eventually, he had the camera rolling, and he's like, just talk to me about it. How would you tell me? And I just told him earnestly, and he recorded it, and he's like, just say that. And that's what I ended up saying was the first time I. Days prior to me taping the special, I was telling him on camera, like, I just couldn't get her to laugh. I just tried, you know, And I was crying talking to him about it. And he said, just say that. That's real. Just say that. And so we ended up using that. And that was like. That was like a real thing. And it was fresh. Like, that's why it was. I'm not cringing at me tearing up a little bit because I'm like. That was still a new sentence to me. If I had been touring with that for two years. And then I got that part, and again I was like. And then the hardest part, guys, like, it would be harder to sell. I wouldn't have been as emotional about it if I was, you know, had repeated it 300 times, you know, so it worked out really, really well.

[C]

It's just then you get a chance to try it out with audiences before you tape. So you know where the beats are kind of, you know.

[A]

Yeah. Oh, yeah.

[C]

And you know that you're gonna. They're gonna take that ride, and then it's gonna. You're gonna go up again at the end. The bit at the end was really funny. You know, Sperm bank David does a little bit.

[B]

Hey, listen, speaking of repeating things 300 times, I think I'm gonna go do a set tonight.

[C]

What are you gonna open with? Kidding.

[B]

I'm just thinking of. That's a funny way to talk about your act. I did this about 300 times. No.

[A]

Is that wild, though?

[B]

It is. It is funny when you start.

[C]

I just look at it as just, no one did that. We didn't have cameras. I don't know. It's just sort of nice that you're going to the Wilbur Theater. And I guess he had a single camera on of. But you're just seeing it, what it feels like ahead of time, you know, and I don't know, I. We didn't the word video. I don't think we had video cameras when I went to the first one. But it's, it's great to see why it was so good. The amount of work you put into it, you know, and the care to. And then the five shows. So it's really cool.

[A]

Thank you. Thank you.

[C]

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[B]

And Katie's doing okay now or. What's Liz? Because she. I met her through the comedy world. She was doing standup. Right. For a while. Does she still do stand up?

[C]

Yeah.

[A]

No. No, she's not.

[B]

She's.

[A]

I told her. I told her. That's my job. No, I. Yeah, so she's. She's doing great now. She's. She's been. It's a stage four, so it's forever. It's something that we kind of get used to, but we get. We keep getting good news. And I like to think our good news is better than our bad news. Like, we're getting more good news than we're getting bad news. So we're fig out her liver levels, like all this stuff. And, you know, today she called me, she goes, call me as soon as you can. And I freaking. I woke up, I. I called her, I was like, are you okay? And she goes, I got Odyssey tickets. And I'm like, you can't do that when you have cancer.

[B]

That's funny. Yeah.

[A]

You got to drop the. Give me a hint as to what you're talking about. You can't just.

[B]

Yeah. This used to be an emergency text. Not anymore. You can't do that.

[A]

But she's in great spirits, dude. I wonder all the time, I wonder how she does it. Because I'm like. I'd be so bummed. What were you gonna say? Dana? I cut you off. I'm sorry.

[C]

No, it's just. That's a funny area to talk about. Just not notwithstanding cancer. It's just funny. You have friends who I. I gotta tell you something. You know, it's something like. He had a ham sandwich. Call me.

[B]

It's like, call me right now.

[C]

What are you talking about?

[A]

The worst. The worst is when someone says, can I talk to you about something later? Or like, they don't want to do it now. And they said, can I talk to you?

[B]

You've ruined everything from now till later because I can't think of anything.

[C]

By the way, next Tuesday at 5 o', clock, I have something I gotta tell you.

[B]

Can you be nervous till next Tuesday about what I'm about to tell you?

[C]

Yeah, it's at 5 o'. Clock. I'll tell you what it is. Well, tell me now.

[B]

I like this bit about ghosts.

[C]

I like to add to any little thing.

[B]

Did you remember this fit Dana, where he talks about ghosts that don't have. Where they have rules?

[A]

Oh, yeah. I think that was just a clip that was posted because I did another podcast where I don't even know what I was talking about. A lot of these podcasts are coming out and I'm like, what was I doing? What was I saying? Yeah, no idea. But I think he asked me about, like. Right. It was like a podcast about morbidity, like, whatever. He was like, do you believe in like, ghosts or whatever? And that's when I just kind of went on a tangent. I was. I was high on some espresso at the time. But yeah, the ghost.

[B]

I like the idea. Yeah. It's funny because he's saying, like, they can't write you a note. They can only like make a creaking noise every couple years. And you go, is that you, grandma? And then, you know, they can come in the form of a bird that flies overhead. And you're like, I need something a little more specific. I mean, this is nice, but I would like, you know, it's a bird, but maybe drop a note and then I'll be like, hey, I'm all good in the afterlife. But it's all very vague all the. And everyone's like, this was a message. And you're like, I don't know, it could go either way on that message. I don't know.

[A]

Yeah, right.

[B]

I'm just doing it for him. Basically, I'm ad libbing it. But no, I was too.

[A]

I was. I was just riffing with that dude. It makes me want to think. I want to do a bit, like a bit about it. Especially now that you guys brought it up, I feel like I might wanna. Yeah, might write something.

[B]

No, I think there is. Because even from what I heard the idea, I was like running in my head going, oh, there is a lot to kind of not a lot, but there's something. There's something to that and it's not something that's been done to my knowledge.

[C]

Well, yeah. Ghosts have Rules is a. It's just a good entry.

[B]

Yeah.

[C]

Ghost. Yes. That kind of gets you into the funny. Like, ghosts have rules. Well, they can't talk normal. They have to go. The voice have to have vibrato. But they, they could willingly go talk to you. Yeah, I mean, there's a million jokes in that, but that's a nice take on that whole area.

[A]

I think the best take on it is the, the movie Ghost. Patrick Swayze meets. Meets a guy that's like, you gotta practice, kid. You know?

[B]

Oh, right.

[C]

Yeah.

[B]

Love ghosts.

[C]

I remember that. Yeah.

[B]

But he was actually doing pottery. He was doing some of the things ghosts don't always do.

[A]

He had to get the. He had to get. What's his name? The guy that looked like. You remember the guy?

[B]

Tony Goldwyn, is it? Oh, no, that guy was a comic.

[A]

Wasn't Stephen Wright, was it?

[B]

Oh, well, there was a guy that stabbed him or what happened to that movie? And that goes. A comic. I'm sure Dana knew.

[C]

Are we talking about Ghost?

[B]

Yeah, the movie Ghost.

[C]

There was a comic and a comic that was in it.

[B]

He played, like, a homeless, you know, like a scary, like, guy. And he ran up instead. And then I think that's when Patrick Swayze walks up and he's like, oh, I chased the guy and. But you don't know. He was already dead because he got stuff.

[A]

Oh, that was the main guy, the guy that.

[B]

It kills him.

[C]

Yeah. Good memory.

[B]

Yeah.

[A]

And I was like, oh, good.

[B]

He was a comic. And then he passed away a couple years later. I thought he was a San Fran guy. I thought Dana would know him.

[C]

I wonder if. Yeah, I, I, I think I know the guy you're talking about. I don't have his name.

[B]

He looks, like, criminal.

[C]

Did you guys think when he was doing the pottery and then they reached around and did that, that that was sort of phallic, kind of in a way or sexual? No. Okay.

[B]

When the pottery jizzed all over them, did you think that was sexual?

[C]

And it looked like it had pottery balls underneath? When the camera slips for a minute.

[B]

Yeah. And they're huge, hairy balls. You're like, I don't know.

[C]

I didn't see the hair, but I saw a complete phallus. And they were kind of going like that. And I thought to myself, in the theater, like, is this. Are they making a kind of a little toy ship or something?

[B]

And when he said a demi going on, did he Say he said, should we do more foreskin?

[C]

Is it.

[B]

Is it done, you think? I thought that was an odd conversation to have.

[A]

There's gotta be a movie blog. Like somebody is like, actually this was representative of phallic object. Like, there's probably people that in there.

[B]

Like someone. I thought they cracked the code. They're like, oh, my God.

[C]

Chat GBT right now. Do it. Do it, Heather. And see what. See what they say.

[B]

Heather already just showed me to distract. Sorry. Distract me. She showed me the guy, Vincent with a kind of melting face on the subway. I think that's who you're talking about. He looks like a dead guy.

[C]

Yeah.

[B]

That's a character actor. Yeah. Yeah. He was in a lot of Always playing Dead or Almost Dead. Yeah. But the comic finder, Keather. I don't know. Cast of Ghosts. Before we hang up, we have to know this. It's probably on YouTube. It'll be in the comments within one second. And we're sitting here hemming and hawing like ball. But I want to see. I want to see if you. Was it Rick Avilas? That sounds like it.

[C]

I don't know if I know a Rick Avila.

[B]

No, it's ruined everything.

[C]

Sorry.

[B]

Yeah, that's him. Okay.

[C]

Well, if I saw that guy, I'd say, nice to meet you.

[B]

No, you would. You would say, nice job on Patrick Swayze, you prick. Oh, nice to meet you is the name of the special.

[C]

Nice to meet you. Wow.

[B]

I didn't even see that coming.

[C]

Hey, come on.

[A]

My favorite part was David. Just David the bag. Just going. No, no, no, I know.

[B]

I'm going. What are we doing here? Oh, that's right. Yeah. We got to get the name out, so. So your. Your specials out now. You're still on the road presently?

[A]

Yeah, yeah. I'm doing just the right. So kind of a mix of press and. And road shows. But I am doing clubs for the next few till the end of the year, some theaters, and then we're starting a road trip. I'm doing a bus tour next year.

[B]

Oh, wow.

[A]

First ever bus tour. Because I want to do it.

[C]

Have you gotten a sense that this thing is going to, you know, up your tickets or up your rooms? I mean, is. It's starting to get traction already?

[B]

Pretty big so far, so maybe.

[A]

Yeah, I appreciate that. Yeah, Ticket sales have been pretty good. Like, I've been pretty dang lucky with that overall. My wife has been the one that's like, in my ear, like, hey, I know.

[D]

I'm kidding.

[C]

That's David. He Went full.

[B]

Full space to be my type of humor somewhere.

[C]

Some older comics are kind of jealous of younger comics.

[B]

Well, I'm fully jealous of. Literally everyone is on the podcast, so if that's no big deal. But.

[C]

So what does your wife say to you? You said she.

[A]

She's been like, this is going to be big. She was telling me that it was going to do really well, and it did better than I expected it. She was expecting it to do as well as it did. So she's like, hey, this is the next thing. But my. The truth is, I love touring. You know, we love standup because we love standup. Like, a lot of people are asking. I'm getting questions like, what's next? Do you want to be in a movie? Do you want to do this? And I'm like, I literally just got to where I wanted to be. I just got, like, doing stand up as much as I want to, if I ever want to. So I'm gonna just enjoy this for as long as I can. Because, you know, not for nothing, I'd rather be on the road than on. On. On set. I'm just more of a guy like that. I also, I've never been on set, so it's.

[B]

But it's very true that there's a new wave. It's a different generation where when I came out and maybe, Dana, you're doing standup, but every agent manager is wanting you to do that. Just to be able to get in front of people. So you can get a sitcom or you can get on a movie, or you can get something. And it's faded out in the last five, seven years where people like, I just want to do standup. And that's actually the one thing you can just make money at, because you can call your own hours, whether you sell a lot or a little, if you're always out there, you're making something. And instead of staying home waiting for an audition or the. How hard it is to be in. And the showbiz is even harder. In the last five years, since COVID and the strikes, we talk about, like, production's down, everything's down, down, down. So you've got a great situation, and I do think that's gonna blow you up. I mean, sort of coming out of nowhere, but you're not. But just a whole new audience gets to see you, and you've already got an audience. So it can only just keep adding. Adding.

[A]

Yeah, that's what I'm hoping. That was the big thing that they like, the people like, helping Me do podcasts as the PR people are just like, we don't want to remind your audience to watch it again. We want people who don't know you to give you a chance. Yeah. And so I'm like, I'm learning the showbiz side of things a little bit the more and more we do it. But I think that's also me not knowing about it. Is what maybe made this special good? Like, was it just being myself and doing the special as if I was just doing an hour kind of worked out, you know, I'm just. I'm really happy right now. I'm scared it's going to go away.

[B]

We just wanted people to know the name of your special. We want them to come see you. And you're a funny guy. You can tell on here. You can tell in the clips and you can tell them the special. So go see him or go watch the special. And we appreciate you coming on.

[A]

Thank you, guys.

[C]

We have people come on here and kind of take off Shane Gillis. I think you're gonna really get a lot of pop from this and play bigger rooms and then we'll say we knew him when it's not. Anyone who can do 15, 000 seats in Phoenix is already much bigger.

[B]

That's huge, dude.

[C]

It's not like you're coming out of Yuck Yucks in Toronto or something, but this thing was really. This special was special. Wasn't that special?

[B]

You got one in there. You got one from the king.

[C]

Got one in.

[B]

All right, listen, if you're enjoying the fly on the wall, of course, hopefully you are. Click, follow. We don't want to be desperate, but obviously smash that goddamn button on your favorite podcast app. Leave a review. A good one. Leave a five star rating, nothing else.

[C]

Whoops.

[B]

And maybe even share an episode with a friend. If you're watching this episode on YouTube, please subscribe. Dana, what do you think?

[C]

I'm gonna tell you this right now. Him and I'll believe me later. Fly on the Wall, believe it or not, is presented by Odyssey and executive produced by, hold for it, Dana Carvey and David Spade or David Spade and Dana Carvey. We don't write this stuff. Heather Santoro, Greg Holtzman and Leah Rhys Dennis. The show is edited by Evan Khan Cox with production support from Phil Sweettech Talent Production and booking by Sophia Lepore.