Nick Offerman the Humorist

Summary

Fly on the Wall with Dana Carvey and David Spade
Episode: Nick Offerman the Humorist
Date: October 16, 2025
Guest: Nick Offerman

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Episode Overview

In this lively and wide-ranging conversation, Dana Carvey and David Spade welcome actor, author, humorist, and master woodworker Nick Offerman. The episode delves into Offerman's unique comedic voice, his passion for carpentry, recent dramatic film work ("Sovereign"), reflections on acting, the creative process, and his long-time partnership with wife Megan Mullally. The trio riff on the contrasts between different types of comedy, iconically slow filmmaking, the strange comforts of re-watching sitcoms, and the hard-earned wisdom of show business veterans.

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Key Discussion Points & Insights

1. Nick Offerman's Multifaceted Career

• Offerman’s “Humorist” Label

  • Nick distinguishes himself from traditional stand-up comedians, identifying more as a humorist.
  • Quote: “Whenever I’m accused of being a standup… I kind of bristle because... The thing that all of my comedy friends have that I don’t is a joke machine.” (29:48, Nick Offerman)
  • He compares his style to Spalding Gray or Garrison Keillor—more essayist than punchline-driven.

• Carpentry & ‘Little Woodchucks’ Book

  • Nick talks about his latest book, Little Woodchucks, aimed at teaching basic woodworking and self-sufficiency.
  • Advocates for making things by hand as an antidote to the frantic pace of modern, tech-driven life.
  • Quote: “That’s my Johnny Appleseed mission... I encourage people to make things with their hands.” (08:39, Offerman)
  • Aims to “slow down your life off of smartphones and your screens to a human pace.” (40:59, Offerman)

2. Recent Film Work: ‘Sovereign’ & Its Dramatic Depth

• About ‘Sovereign’
  • A dark indie drama exploring masculinity and father-son dynamics, a departure from Nick’s comedic persona.
  • Discusses working with Dennis Quaid, Thomas Mann, and Jacob Tremblay, and the emotional weight of the film.
  • Quote: “The sense of modern masculinity often leads to hate and violence, which I say is a thumbs down. I’d say that’s the message of the movie.” (10:42, Offerman)
  • The film’s subject matter and his role are at “opposite ends of the emotional spectrum” from his book.

3. Creative Process, Acting, and Working in Hollywood

• On Selecting Roles

  • “The way I pick jobs... It absolutely just has to do with the writing.... I’m never looking for the next up, ‘I want to do a Western,’ or a comedy. It’s just what organically comes my way.” (14:21, Offerman)

• Performing with Big Stars

  • On collaborating with the likes of Michael Keaton, Elle Fanning, and Michelle Pfeiffer, Offerman comes clean about the “thrilling fear” and imposter syndrome even at his level.
  • Quote: “You’re looking at Michael Keaton or Elle Fanning or Michelle Pfeiffer and you’re... supposed to keep my shit together... while a huge part of my conscious is like… Michelle Pfeiffer is making eye contact with you.” (17:12, Offerman)

• Crafting Dramatic Performances (‘The Last of Us’)

  • Shares how emotionally charged, vulnerable scenes still intimidate him and how he navigates fear and preparation.
  • Quote: “Even in The Last of Us, a lot of that emotional vulnerability was terrifying to try and reach honestly on camera for the first time.” (24:21, Offerman)

• Trusting Directors & On-Set Collaboration

  • Expresses gratitude when directors challenge or redirect his performance (“you just made me twice the actor—thank you so much!”) (27:15, Offerman)
  • Discusses the challenges of rapid digital filmmaking and the importance of letting go (editing, final cut).

4. Reflections on Comedy: Standup vs. Humorism

• Standup vs. Humorist

  • Nick emphasizes his storytelling-driven approach, contrasting with Carvey and Spade’s joke-a-minute style.
  • Quote: “I do tour and perform. But I say that I’m a humorist… I speak in essay... I feel like I belong more with Spalding Gray or Garrison Keillor.” (29:48, Offerman)

• On Stage Presence

  • Spade points out Offerman’s laconic charm: “You’re up there taking your time... you’re not needy for the next laugh. You’re also using quirky word packages.” (31:31, Spade)

5. The Changing Nature of Hollywood and Creative Life

• On Fast Cuts vs. ‘Slow Cinema’

  • The guests discuss how rapid editing (post-Oliver Stone) hurt the artistry of cinematic performance, and how long, slow “one-ers” are making a comeback.
  • Quote: “Megan and I really appreciate that as theater actors... don’t just depend on flash. Flash is fun and has its place, but you’ve got these actors and this writing and the scenery to make [the moment].” (36:53, Offerman)

• The Joys and Agonies of Filmmaking

  • Offerman praises the difficulty of making even a bad movie (“It’s impossible to make a feature film.” 43:23)
  • They reminisce about long takes in “Me and Earl and the Dying Girl” and “The Player” (Robert Altman).

6. Marriage, Comfort Media, and Domestic Wisdom

• Life with Megan Mullally

  • The couple’s marriage is playful and grounded; they’re more likely to do jigsaw puzzles than go Hollywood clubbing.
  • Quote: “We stay home, we literally do jigsaw puzzles and listen to like stodgy murder mysteries read as audiobooks. That’s our line of coke.” (57:17, Offerman)

• Comfort Watching and the Streaming Generation

  • Discusses the phenomenon of “comfort shows” (Parks and Rec, Friends, The Office) and his mixed feelings about people bingeing his work many times.
  • Quote: “It’s a crazy phenomenon in the modern day that the kids... pick a show and always have it playing. So I meet a lot of kids... that say, Oh God, I’ve seen Parks and Rec seven or eight times through. To which I say, let me recommend some books to you.” (54:30, Offerman)

• Favorite Rewatchable Movies

  • Childhood favorites: “Singing in the Rain,” “Sound of Music,” Mel Brooks, Marx Brothers, Laurel and Hardy.
  • “We watch a ton of Laurel and Hardy... that scene at the end of The Music Box... we considered that to be— that’s our marriage.” (51:36, Offerman)

7. Language, Vocabulary, and Humor

• Love of Language

  • Offerman’s rich vocabulary and church lector childhood:
  • “At age... 14, I’m up there reading to the church full of people... I can make my cousin laugh... the congregation is moved, my cousin is like, 'That was hilarious.'” (44:29, Offerman)

• Learning from Leslie Nielsen and Naked Gun

  • Timing and tone in comedy (“There’s something magic about his timing and his tone in those movies.” 45:18, Spade) and deadpan delivery.

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Notable Quotes & Moments with Timestamps

• Finding His Lane:

  • “If George Carlin was half as funny, I’d be in his league.” (31:15, Offerman)

• On Building vs. Acting:

  • “Our home is a jigsaw puzzle, not a Hollywood party.” (57:17, Offerman)

• On Real Marital Bliss:

  • “…they get [the piano] up and do this little dance... that’s our marriage.” (51:36, Offerman)

• On the Pace of Modern Life:

  • “Capitalism tells us make things as fast as you can… but in my tiny wood shop, I’m like, 'Hang on... Your life is more enjoyable if you slow down and build your own dining table.'” (41:49, Offerman)

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Timestamps for Important Segments

• [03:10] - Introduction to Nick Offerman and “Little Woodchucks”
• [08:39] - Offerman on teaching carpentry and his mission as a maker
• [09:32] - “Sovereign” and its masculinity themes
• [13:09] - Cynicism about Hollywood turn-ons (acting vs. building)
• [14:21] - How Nick chooses projects: it’s all about the writing
• [17:12] - The thrill (and fear) of acting opposite major stars
• [24:21] - Performing vulnerability in “The Last of Us”
• [27:15] - Valuing directors’ notes & filmmaking pace changes
• [29:48] - Humorist vs. stand-up and writing for the stage
• [36:53] - Fast editing in movies, long shots, and the art of mastery
• [40:59] - The philosophy behind “Little Woodchucks” and slow living
• [51:36] - Favorite classic movies and marriage analogies
• [54:30] - The phenomenon of comfort shows and binge-watching
• [57:17] - Offerman and Mullally’s domestic life

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Recurring Themes & Takeaways

• Authenticity over flash: Nick values depth, sincerity, and craftsmanship—both in comedy and in life.
• Creative humility: Despite success, he expresses awe at acting alongside stars and emphasizes continuous learning.
• Balancing tradition and modernity: Offerman celebrates old-school craftsmanship and humor, but acknowledges the realities of “new Hollywood” and streaming culture.
• Joy in the ordinary: Both Nick and Megan prefer at-home coziness and old movies to Hollywood glam.

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For New Listeners

Whether you’re a Parks and Rec devotee, a fellow woodworker, a comedy aficionado, or just seeking a dose of wisdom wrapped in genuine laughs, this Nick Offerman episode delivers. The tone is warm, wry, and characteristically offbeat—a blend of late-night banter, deep-dive creative shop talk, and the kind of advice you’d get from a funny, unusually handy uncle.

Recommended for: Fans of comedy, thoughtful conversations on acting, creative process enthusiasts, and anyone curious about the hidden craft behind entertainment and personal fulfillment.

Transcript

[A]

You know, when it gets colder, I always fall in the same trap. Heavy meals, too much takeout, and suddenly I'm like, why do my jeans hate me?

[B]

I know. Yeah, me too. I mean, I'll open the fridge in December, and it's like half a pizza and an orange from 1997. Not a lot of healthy options, David. But here's the thing. Staying on track doesn't have to be impossible. Our new friends@forkful meals.com totally flips that script. Honestly, I didn't think I'd stick with it, but these meals show up for fresh every week. Chef prepared real food, not frozen mystery mush. Just heat it, eat it, and boom. You're not calling DoorDash for the fifth time that week.

[A]

Yeah, it's not just about eating better. It's about time. I'd rather spend 30 minutes working on a bit for my hilarious act than 30 minutes staring into my oven going, is this thing even on?

[B]

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[A]

All right, that's forkful meals.com code POD50. That's POD5O. Seriously, don't wait. Your future self will thank you.

[B]

Yes, thank you for not feeding me the leftover lasagna for the 12th time.

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[C]

My wife, we've been together for 25 years and we actually have yet to consummate our Ring relationship. Oh, and they just always have it playing. So I meet a lot of kids these days that say oh, God. I've seen Parks and Rec seven or eight times through. To which I say, let me recommend some books to you. You do a ton of blow and then dump out a jigsaw puzzle.

[A]

And you go 72 hours, sit down.

[C]

At a big butt plug. Yeah.

[B]

Okay. Okay. Nick Offerman. David.

[A]

Nick Offerman was a good time. This guy I see out and about here and there. He's a great guy. Married to Megan Mullale. So I see them together.

[B]

Yeah, sometimes.

[A]

She was on Will and Grace.

[B]

Will and Grace.

[A]

Hilarious. He has a book. He's got a book called. Is it Little Woodchucks?

[B]

Little Woodchucks. He's quite the carpenter. And that's a. We talk about that a lot. You don't really meet show folk too much that can. Like, he thinks all Americans should be able to just build a chair or build a table.

[A]

Sure.

[B]

And don't be intimidated. So little Build a Bridge is a way to introduce carpentry to your kids and to dysfunctional adults as well.

[A]

Yeah. Big movie called Sovereign right now.

[B]

Out.

[A]

So I saw the trailer. I didn't see the whole movie. The trail looks pretty riveting. It's not like a goofy comedy, but he's very good in it. And also, you know, from where? The Millers. You know him from Parks and Rec. He's done a ton of things. Everyone knows who this guy is.

[B]

Yeah. And he does stand up. He doesn't really call it standup, but he also. That's another gear we talk about. He plays guitar and he's sort of folksy up there. He's been on the scene for quite a while now, but, you know, he's extremely humble about it. He really works a lot.

[A]

He's very humble. He's got a great voice. Must be doing a lot of voiceovers.

[B]

Yeah, his voice and his look is like. That's Nick Offerman.

[A]

Yeah. Good dude. And here he is. Have a good time with it.

[B]

I did not.

[A]

I did not expect this.

[B]

I thought it was Jon Hamm. But I'm so thrilled that our guest today.

[A]

Sean Ham.

[B]

Damn, you grow a great mustache.

[A]

Yeah.

[C]

Thank you. Good morning.

[B]

Good morning.

[A]

Geez, this voice. This guy does voiceovers for breakfast.

[C]

Yeti microphone. I'm. I'm making. Here we go.

[B]

Let's see if. If everybody's happy on our technical side.

[A]

We'll give you a quick 20 minutes to figure this out.

[C]

I've put I. Now I have you in my cans, which is.

[B]

Your cans is like with Don Pardo.

[C]

Used to call headphones something we Say in filmmaking.

[B]

It can't. Let me ask you a question right off the bat. Technical stuff like this and setting up electronics and that stuff and solving all that compared to carpentry, which is harder for you.

[C]

For me, Tech, I. I thought I'm. I'm a pragmatist. And so in our house, like, and Megan, my wife and I do a lot of cartoons and whatnot. And so we. We had to set up a studio in our house.

[B]

Oh. For voices and.

[A]

Yeah.

[C]

And so I. I master everything just to the extent that I need to, which is annoying because, as you know, the systems change every seven weeks. Like, as soon as you master your operating system, they update it.

[A]

Yeah. They should have. Instead of Geek Squad, it should be called Tech. Call us for your tech. Because it's true. You write the book.

[B]

Write the book every two weeks, though.

[C]

It's a problem. That's right.

[B]

Did you do a cartoon during the pandemic at from home? I did, sure.

[C]

I mean, I think. Sure. I think everybody did. And started a podcast. We. Megan does Bob's Burgers and. Oh, yeah, we both did a show called the Great north that was written by a couple of Bob's Burgers writers, the Molineaux sisters. And I do. I do like audiobooks and some voiceover work. So we've got a cute little setup.

[A]

It seems like you do a couple hours a day. No, I have a question about that. I'm going to back up.

[B]

I know. I want to tell my story about guitar stands and blankets.

[A]

When you're finished, I want to tell about Great White North. I think I did a demo track for that. Were they in an airplane or something at the beginning in this pilot? Were you on it for a long time or was it on a show that was on a long time?

[C]

We just finished five seasons and that's.

[B]

Damn.

[C]

That's the end. That's the end of it. Fox has thrown us in the dumpster.

[A]

Okay, so I didn't get.

[C]

Doesn't look like it's going to work out, Dana.

[A]

I didn't know for five seasons if I got that thing.

[B]

I waited and waited.

[A]

Yeah, they sent it to me. I love your check. Okay, thank you.

[C]

They are checking your avails.

[A]

I think I was in Hotel Transylvania and you were in Hotel Transylvania.

[B]

How is your. How is your team? I, you know, I noticed. I was reading yesterday what team is looking into. You know, we do a podcast and guess team. Team is advising. Team is working hard on next team.

[A]

When did team come in?

[B]

You have a team? I have A team. Everyone has a team. You don't have employee. You don't have an agent, a manager or lawyer. You have a team.

[C]

You have a team. Yeah, I've got. I've got a shooting forward who sets up my podcast appearance. She's terrific. She's greater rebounder as well.

[B]

Defensive offensive rebounder. Are we talking about basketball?

[C]

Yeah, both ends, man. She does it all.

[B]

Well, she does it all. All right.

[A]

Ben's does it all.

[B]

As I'm looking for. We don't know where to start. I mean, we. I presume there's too much author, carpenter, actor. Stand up and you. The two things I noticed you have little wood Chucks. Is. Is. Is kind of your latest book.

[C]

That's right.

[B]

I saw it on X. And also this movie Sovereign, which has a 90% of rotten tomatoes.

[C]

It's. Yeah, it's fantastic. And it's. And it's a. It's a fan. It's a hilarious pairing because the, the book is really fun and positive and light hearted and it's. It's my trip is. I. I encourage people to make things with their hands. Like that's. That's my Johnny Appleseed mission. And then the indie movie Sovereign, which is so exquisite. It's. Despite my participation, this guy named Christian Swee wrote and directed it. It's a story of a. A. A sovereign citizen, which is kind of like a QAnon conspiracy theorist inspired by a true story. It's. It's a terribly tragic thing. It's powerfully moving. It's. People are just crazy about it, but they're the exact opposite ends of the emotional spectrum.

[A]

That trailer for Sovereign was heavy duty. I just saw it.

[C]

It's. It's pretty wild.

[A]

Riveting.

[C]

A kid named Jacob Tremblay from Canada and then another kid named Dennis Quaid. Who.

[B]

Dennis Quaid.

[C]

I think he's going to do big things.

[A]

Is Jacob Tremblay. He was in a movie I saw. He's a good kid and he's. Is he your son in it?

[C]

Yeah.

[A]

Oh, yeah. I didn't recognize him. Okay.

[C]

Man, he will. He will just break your heart. He's just incredible in it and sort.

[A]

Of a tough dad in it.

[C]

Yeah, I am tough but loving. Part of the theme of that film is how fathers raise their sons and how that might contribute to violence in our country in our modern day. So the. Me and my son. And then Dennis Quaid has a son who's on the police force and then the great Thomas Mann plays him and then he has a baby and so they all, everybody weighs in on how you should raise your sons.

[B]

Right.

[C]

And the way the movie turns out, you're like, well, maybe don't go that route.

[A]

Yeah, sure.

[C]

Because this, the sense of modern masculinity often leads to hate and violence, which I say is a thumbs down. I'd say that's the message of the movie. Right.

[B]

Do you think what's a bigger turn on being a movie star? Killing it? Stand up for your wife or you fixing something or finishing your canoe or building with your hands? Because that's, I didn't get that gene. I don't do it. I'll probably get this book because I, I think it'd be interesting to try to build a table. But what is the biggest turn on for your wife when she sees you doing something?

[C]

Okay, that's, thank you. That's a great question. Okay, I'm going to start by saying I hope you will get this book and read it. It's a short read and I think it's really funny. I think you guys would love. There's a subversive sense of humor where it's like written for parents to read to their kids, but it's, it's got a hard boiled sensibility. So I'm like, all right, kids, are, are your parents, do your parents, can they find their ass with both hands? Like, do they, are they feeding you okay. And it, there's a conspiratorial, piratical sense of like, let's get together and learn how to keep making our, our homes together and not let AI take over our lives. So I, I, I do think you guys would find it fun. And as far as turning on my wife, we've been together for 25 years and we actually have yet to consummate our relationship. Oh, on Tuesdays I'm allowed in the house for dinner and so you live.

[B]

In a doghouse or what is that?

[C]

I stay in the yard.

[A]

I mean, listen, she runs a tight ship.

[C]

We're in Bel Air. It's nice. Yeah, I, you know what? I, honestly, I'm gonna, I have to think about that. What is a bigger turn on for her? I think, I think probably, you know, we both went to like theater school. Well, that's not true. I went to theater school. She went to, to Northwestern and did theater, but she was, she was an English major and was quickly plucked out of school. And for your listeners that don't know, it's Megan Mulally from Will and Grace and Parts.

[B]

Mulally is the pronoun.

[A]

Super Talent, Just hilarious. Lot of fun.

[B]

Legendary.

[C]

Funny sweetheart, too, most recently of the Righteous Gemstones, and she has an amazing band called Nancy and Beth that'll knock your socks off. So I feel like for both of us, like, even though we're lucky enough to get to work in a few different circuses, what we really want to do is, like, medicinally affect an audience with acting work. And so probably, like, my work in Sovereign has been accused of being affecting, and so I think something like that, it probably thrills her more than when I build a canoe.

[B]

Right.

[A]

Ah, okay.

[B]

So when you're being. I was just curious, as an actor, is it. It. Obviously, it depends on the director, who's on the set, what's going on, but what do you. What do you. When are you most excited to play something? Is something really scares the hell out of you? Anger. Because you're kind of. You're sort of a contradiction. You can play the alpha male, you know, but you also can play really vulnerable. Well, I've just observed this, you know.

[C]

Thank you.

[B]

Thanks a lot.

[C]

In my Bronson voice, or is there.

[B]

Anything you haven't done, you know, in terms of acting that would turn you on?

[C]

The way I pick jobs, and I. I'm so. I feel so stupidly lucky to even get to say the sentence when I pick jobs as an act. Nice that I. That I have a choice. I. It absolutely just has to do with the writing. And so it. I'm. I'm never looking for, like, okay, next up, I want to do a Western, or I want to do a play or a comedy. It's just what organically comes my way. Yeah, I'm looking forward to your Western, David.

[A]

I go. The next script that comes along is what I'm looking for.

[C]

I hear you're a hilarious shot. He's no. He's no horseman.

[B]

He's remaking the Apple Dumpling Game. Yeah, that's Tim Conway.

[C]

That's a brilliant idea, actually.

[B]

Yeah, that actually is a great idea.

[A]

Was Barney Fife in that?

[C]

Yes. I was just gonna say you should out the. The catalog of Don Knotts.

[A]

Just go through each one.

[B]

You should play Don Knotts in a biopic.

[C]

The incredible Mr. Limpet.

[B]

Oh, my God. Now we're talking.

[C]

I. So when I read a script, it's. It's completely organic. It's like, does this writing move me? Inspire me? And it could be the stupidest comedy, like Rob Cordry's Children's Hospital, where I'm just like, this is the stupidest. I have to be part of this or like Conan will give me a bit to do that's so dumb that I'm like, people are gonna, I, I can't wait to make people laugh with Conan.

[B]

Right.

[C]

Or this sovereign script is a great example. My agent was like, this is kind of cr. Like out of left field. It's very unorthodox. But just read it. And I read it and, and I called him and was like, you're right. I, I think I have to play this guy. And so I recently did a series that'll be out next year with Elle Fanning and Michelle Pfeiffer and doing scenes with, with like total movie stars like those two, that instills a thrilling fear in me. Like I once did a movie with Michael Keaton. And I'll compare the three to each other. They're all, they're all performers where the camera, I'm sure you guys have had this and people have it with you in your own way. The camera's on you and you're looking at Michael Keaton or Elle Fanning, Michelle Pfeiffer, and you're. I'm supposed to keep my shit together and give like a commensurate performance while a huge part of my conscious is like, Michelle Pfeiffer is making eye contact with you.

[A]

Yeah. Like, when in your life would she look at you? You know, when would that ever happen?

[C]

Michael Keaton is firing lightning bolts at you out of his beautiful blue eyes. Oh, it's shit. It's my line. So I'm, I, I, I, I love that thrilling feeling of, of when I read something. I'm like, one way or another, this is, feels really scary and challenging and that, that keeps me from ever getting jaded or bitter.

[A]

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[B]

All right, hit me.

[A]

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[B]

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[A]

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[C]

Oh wow.

[B]

Because that's like a perfect movie. Like it's kind of Like a perfect cheeseburger. Like, you can recommend that movie to anyone. And you're spectacular in it, by the way.

[C]

Thank you. Thank you.

[B]

Really just very. Talk about empathy for those guys.

[C]

And the great John Carol lynch as my brother.

[A]

Yeah.

[B]

You two were so heartwarming in that. And just. It was fantastic. And what Keaton does really, really well is. And it's a common actor thing, but to think on camera with no dialogue, you know? And do you. Do you like to do that as well? You know, just. Because he'll really just kind of. He'll be thinking about. It's a movie where you can read.

[A]

What'S going on with. No, yeah, yeah.

[B]

He does it so brilliantly, you know, I mean, sure.

[C]

I would. I would say that. Yes, I aspire to. I mean, the thing is, Michael's been a movie star for decades, and I've been having such a goddamn good time. I'm 55. I got my big break. Like, I worked a lot in Chicago theater, and then when I moved to LA in my late 20s, I started, you know, guest star on ER, like, slowly rolling the snowball Sundance movies. But I was 38 years old when I got Parks and Recreation. That catapulted me into getting to choose roles and getting to do much meatier stuff. But I still am not quite like. Like the last few years, I've gotten to do stuff that's maybe at the level of magnitude that could be a Michael Keaton role. And so I'm still learning to own the. This, the scenery and the camera, where I'm like, I'm gonna take my time and think about what you're asking me, because the camera just. I've got so much charisma.

[A]

Yeah.

[C]

That I can just. I can just. You just love to watch me think. So I'm still.

[A]

I'm like, well, it's hard because you have other actors and you're like, are they bored with my performance? Are they thinking, hurry up, guy, you're not this important?

[B]

Well, Keen will do. He'll turn toward the window. Even if he's a scene with other people and think. He does a lot of thinking. But, you know, confidence is an interesting thing to me, this idea of confidence. And I've always thought to myself, or it. That you could be 99% confident. Say you create. Create this strata, whatever. And the last 1% is more important than the previous 90%, which means all the negative voices are silent. I guess Brando got it at 21 geniuses, and all that's gone. And then you're just pure and that. Have you. Did you. I mean, the one that stands out is the Last of Us. Your part in that, where you seem really in the pocket, whatever you want to call it. So talk about that as an actor.

[C]

Well, thank you for. For saying that. And I. I can't. I can't ever receive a compliment about that episode of that show without immediately throwing it to. To Craig Mason, who wrote it, and. And Murray Bartlett, my scene part. My.

[B]

Yeah, he's great. My husband was great in that.

[C]

But. But the. We knew, like, Craig sent it to me and, And I read it and. And I said, megan, read this. And we were like. Like every. Everyone knew. As soon as they read it, we were like, this is the greatest episode of tv. And we. I arrived in Calgary to shoot it, and everyone was walking around holding the script up, like, we have to not fuck this up. And so even. So even knowing that, I. It's funny, I. I never feel. I mean, I'm curious, you know, I don't ever feel like I'm shooting three pointers like Brando would in a scene. So even in the Last of Us, a lot of that emotional vulnerability was terrifying to. To try and reach honestly on camera for the first time. Like, yeah, I've had the privilege of doing a lot of great stuff over the years, but my new thing and this. This show actually, with. With Elle and Michelle, which will be out next year, is the first time that I'm getting complicated emotional relationships. And so I. I love that because I still feel like a freshman. Like, it's. It's those butterflies of, like, how can I get a girl to like me of her?

[A]

Like.

[C]

And I'm on camera, and so you know it. My confidence definitely grows and grows and grows where I definitely. The most important thing I learned to bolster that confidence at some point is these people think, like, they picked you out of all the people to play this guy.

[A]

Yeah.

[C]

And so whatever misgivings you have, whatever foibles or weaknesses I have, that's part of what they picked. And so let that go and just do your goddamn best. Be as prepared as you can and do honest. As honest of work as you can. And even so, I never feel like I'm. It's subjective art, so I'll never feel like I've. I never do a take and I'm like, yes, Nothing. There's always. There's always something.

[A]

There's always something where you go back to Video Village or you go watch it, or you say, was that good? And they Go, yeah. Moving on in your head, you're like, was it like, are you that I got it? Like, because you also. I don't do as many dramas, but. Or any. But when you're doing different things, sometimes you do it and you go, I think I'm doing this right, but I can be adjusted. And so if I'm somehow off here, I hope someone pulls me aside and says, I think you're kind of missing a little bit what we want to hear. And then you go, got it. And that's where a good director can make you look good.

[C]

Oh, 100%. I mean, I agree. I mean, especially the pace that we shoot at these days now that we no longer shoot on film. And these new cameras, the re camera and the red camera require basically no lights. The turnaround is a thing of the past where they're like, you used to have a break. You used to be able to pace your day where you're like, okay, then I know when they turn the world around, I'm going to have an hour off so I can brush up my monologue or whatever. But now we work at this incredible pace. And so I defy, you know, the most talented actor is. Can't be perfectly right every time. And so on every project. I'm so grateful when a director is like, all right, I think we got. We've done three your way. And I think one of the. I think we got that. But what if this other idea. And invariably every time you're like, God damn it, you just made me twice the actor. Thank you so much. And then you have a choice. They got their. That way or their way. And it's. It's, you know, very important.

[A]

Just to Clarify, Dana, for pe, for people @ home, for people. Turn it around. Let's say you're doing a western. And, you know, I do a lot. And then they're shooting my scene. They shoot a wide shot. But when they shoot, like, let's say, Nick talking and there's a lot of stuff behind them, then they say, let's take a break and get the other actors close up. They have to turn the cameras around, and then they have to take all the covered wagons and move them behind that side and move the crew on that side, all the lighting on this side. And that stuff takes an hour. So throughout your day, you do have these breaks where you get to think for a second and go over your lines and cram and go, I don't think I know these perfectly. Let's run them again. And when you don't get that like you're saying, it starts to go, oh, when I get that morning makeup chair, I better be ready for almost anything today. Because they can flip it and say, actually we're going to start with the last scene today. And you're like, what?

[C]

Guaranteed. And I'm the king of. I'm the king of. On the drive home, I always think of shoulda better way. Like that's how I should have said that joke. Or that's the perfect comeback. Something tripped me up, Dana. That I just want. It's a tiny thing, but if I can bring the conversation around to comedy. I don't know if you guys are comfortable discussing that.

[B]

We love everything. We love when people ask us anything.

[C]

When or anything about whenever I'm accused of, of being a stand up. I, you, I kind of bristle because I am such a fan of obviously your guys jugger the juggernaut careers in comedy you've both had. And I do tour and perform. But I say that I'm a humorist because the thing that all of my comedy friends have that I don't is a joke machine like you. Among other things, you guys are incredibly, you have a facility to get to say things at the drop of a hat that the audience is like, how the fuck did they come up with that? The person I've spent probably the most time with watching him do it is Zach Galifianakis. But, but you guys are both geniuses in your own right. I've enjoyed you for decades. And so when I get up in front of an audience, I do songs, but I don't speak in joke. I speak in essay. And so, and I have a great time. I love touring, but I just always when people say stand up, I'm like, please don't mistake me for the great. Like I, I, I feel like I belong more with Spalding Gray or Garrison Keeler or.

[A]

Yeah, I know what you're saying.

[B]

That's why, yeah, you're couched as a stand up. But your, your use of language is so different and quirky.

[C]

If George Car, if George Carlin was half as funny, yeah, I'd be in his league.

[A]

Well, you have your own lane and it's almost harder to do to find an interesting lane other than just, just Dana and I are like.

[B]

But you're up there taking your time. You're owning the stage. You're, you're, yeah, I could say you're humorous. You're not, you're not needy for the next laugh. You're also using quirky word packages, quirky ways of saying.

[A]

And they find you.

[B]

Part of your charm is that you're unexpected.

[A]

And Zach is another example of just genius mind that in his own weird world that just completely can drop me with stuff. He says he's so good.

[C]

He really. Yeah, he really is.

[B]

Yeah, Zach is.

[C]

He's a very special talent. I hope he gets discovered.

[A]

Yeah. That's so great.

[B]

Do you. I was just thinking, when you're going back to acting and directing, have you had a director that's giving you too many notes between takes and you start to feel yourself getting annoyed? And how do you deal with. How do you deal with necessary, even benign confrontation in. In the. In a movie set?

[C]

Well, I've been really spoiled, I gotta say. Like, maybe because of the. The weird, organic career path I've had. The good writing usually brings. Is surrounded with good directors and good producers. So by and large. But I. I definitely do. That happens frequently where. And I love collaborating with a director. And sometimes the writer. Sometimes a writer will get in there too, and I appreciate it. Like. Like I said, like we pointed out, rather than. I. I don't think I'm Lawrence Olivier, where I'm like, please let me create my masterpiece. Step the fuck away. I'm like, no, great, great, great. You're helping me achieve, you know, the. The. The maximum medicine with what we're making here. But even. Even an enthusiastic, smart director even can just get to. They're like, okay, they come over after a scene and they can get to a second note and then a third note. Yeah. Like. And then I don't know if you saw, but there's a comma or whatever, and I'm like, okay. And some. But the thing is, I'm usually friendly, where I'll either say, okay, I'm gonna do the first two, and then if you still need the comma or whatever, or. Or. Or I'll just, you know. One of the great things I learned writing books, and I have a wonderful editor named Jill Schwarzman who's done all my books. And with my first book, I'm a total perfectionist, and I'm a workaholic. So I write this book and like, so many things that we. That we work on, you learn. You can. You can edit it for the rest of your life. Like, at some point you have to say, okay, put it in the goddamn bookstore. Like, yeah, because we keep going back and forth with editing. And it was such a huge lesson to let go of an artwork or a project and say, all right, I've done my goddamn best on this. Could I keep tweaking it for years? Sure, sure. And.

[A]

And I'm doing that right now. It's.

[C]

And it's so true for TV and film that the editor and the director have to say, okay, show it. Just show it to the people. Because you're. No one ever thinks, okay, this is perfect.

[A]

Someone has to stop you almost. It's like, just stop. This is your deadline.

[C]

You need the end of a semester. You got to turn in your paper.

[A]

Yeah.

[C]

And so when a director is being like that with me, I just think, okay, I'm gonna do my best to give you what you're asking for. And it might only be half of what you're asking for, but ultimately, we will present that collaboration with confidence.

[A]

Well, they don't realize it's too hard to absorb some of these notes. It's like to remember the scene already, all your lines, and you go, oh, and go a little dark on that.

[C]

And you're making a sandwich, and the mustard is like squirting water.

[A]

And then script comes up and goes. You were shaking the mustard on the third line.

[B]

And you go, it's Indianapolis. It's a pit stop, like a race car, because you get the hair. People are doing the hair. You're getting notes, and everyone's looking at you. It's. It's the money shot. And you're trying just to be loose and totally in the moment. It's a little. It's a hat trick.

[C]

It's so funny. There's. Yeah, there's someone, like, pinning down your prosthetic, and the director's like, now, listen, emotionally, I need you to get to a place.

[A]

Yeah, yeah, yeah.

[B]

Some great actor or actor shirts. I can't remember was saying it retired from acting and basically happily, but just said, no one's gonna ever pick at my shirt or come at my hair again. And it was like, what? They. They were so overjoyed. What I was gonna. I. It. I watched Vertigo recently, Non Sequitur. But, you know, Hitchcock was a minimalist, and there was a lot of moving masters. That just means the camera moves. It doesn't just. It doesn't. You know, unless he needs it. And now in the modern era, for a long time with digital and being able to go in there, you feel like the director's watching, gets bored, and the editor. And then we'll cut some more and cut some more. And you saw it maybe when it was in simple shots, and go, this is a great scene. And then it gets strangled.

[C]

I. Megan And I talk about this a lot because we are our popular culture. And our. Or attention deficit disorder has gotten to the point. It kind of started with Oliver Stone. I. I was a. I loved sword fighting on stage. I was a choreographer. And it's still. If anybody's listening, I'm. I'm still desperately wanting to play a swashbuckler and Oliver Stone. We. We. You know, three of us, we make a generalization. Yeah, let's. I believe the number of musketeers required is three. Ah, Oliver. To make a generalization. That's unfair to Oliver Stone, but he brought in the sense of fast cutting where. Where at first it was fresh and exciting, like the violent cutting of. Of combat scenes of every sort. But for those of us that. That love the artistry of Jackie Chan or Gene Kelly, where you see the. The ballet and the use. And I feel like popular culture has gotten to so cut up to the point that we are now having this renaissance where shows like the studio and other great filmmakers are masturbating with the one earth, the long one, moving, you know, moving master. And they do it incredibly. I don't. You know, I don't consider masturbating to be a disparaging verb. I think it's a triumph of mother Nature. But, I mean, Megan and I really appreciate that as theater actors where don't just depend on flash. Flash is fun and has its place, but you've got these actors and this writing and the scenery to make. What you immediately made me think of is in the movie Sovereign, this wonderful actor, Thomas Mann, plays Dennis Quaid's son. And I did a movie with Thomas, I guess about 10 years ago, called Me and Earl and the Dying Girl. And it won Sundance. It won both things at Sundance, the trophy and the audience award, and rightly so. It's. It's a beautiful movie. And Thomas is the lead. And we got this incredible cinematographer from. From Korea who had done this movie called Old Boy. And I'm not going to try and butcher, remember, and butcher the. The guy's name, but he's the guy who shot Old Boy and Alfonso Gomez Rahon was the director. And on the very first day, he says to his Korean dp, who can't speak a word of English, there's a translator, and it's a shot with me on a couch, and we're in a living room in Pittsburgh, and he's like, okay, we're gonna see these two boys walking up the front sidewalk through the window. They're gonna say something to this cat Sitting on the windowsill. Then we're gonna come around on Nick and he's watching a Klaus Kinski movie. Then we're gonna come around and the boys are arriving at the door and, and we're going to start the scene. This is the first shot of the movie. And I just was like. And I love everybody there. Like I, I have no misgivings to this point. Connie Britton and I play his mom and dad and, and he, he says this and I'm like, oh, we're fucked. Like, this is, this is, this is a, this is a 23 day Sundance shoot.

[A]

Yeah.

[C]

And we got it in like two takes. And, and it was one of the rare times that I've worked with a director who aggressively used the camera in a Hitchcockian sense. Was so beautiful. And I, I, I've. My, my role is small, supporting, but I highly rec. This movie is so gorgeous. It's really funny and ultimately makes you cry at the end.

[B]

What's the name again?

[C]

It's called Me and Earl and the Dying Girl.

[A]

Okay. Yeah.

[C]

When you get that shot, it's so incredible. Like when one these. In this day and age when somebody slows down. And that's, that's actually what my woodworking book is about, is slowing down your life off of your smartphones and your screens to a human pace. No, you don't have to. I mean.

[B]

No, I'm gonna share that thought on X right now, if you don't mind.

[C]

That's right. No, go for it.

[A]

Make a tick tock of me.

[C]

Let me say it again.

[B]

Going back to Michael Keaton. Was it Birdman, the one with the five minute shots? That was other extreme, you know.

[A]

Dude, I just saw the player. Remember the player, nick from about 20 years ago?

[C]

That's. It's Coen Brothers, right?

[A]

Who directed it was about showbiz.

[C]

Yeah.

[A]

Tim Robbins.

[B]

Is it early.

[A]

Coen Brothers opens with a maybe 10 minute shot.

[C]

Oh, yeah. God, that's out of studio. I mean, yeah, those guys. I love to make things. Here's the thing the world of capitalism tells us. Make things as fast as you can. That's how you make the most money. And that's like the global mantra. We're marching to that goddamn Elon anthem. And so what I desperately, in my tiny wood shop, I'm like, hang on. Your life is way more enjoyable if you slow down and build your own dining table or if you do shots like the opening of the player. Like that. That movie experience is going to be so much more delicious for everybody involved. And you. Somebody's gonna make 17,000 less dollars. But every. But it's. It's a much better meal.

[A]

I'm talking about it 20 years ago, 20 years later, where you say, and every actor in it. It's so fun to go. Like you with your, the couch. When you feel the camera, that's the scariest. There's no cue.

[B]

When you feel it, it's going. It's here.

[A]

That's the fun, is everybody gets it right. You know those shots, I was all, I was watching the whole thing going, I wonder how many, how long it took to shoot a day. And then I was watching more. I'm like, two days. Where they have to choreograph everything and just keep trying it going, all right, we're going to try one. Everyone's like, you fall here, there's a car crash. There's this. Very hard to do, but fun to see.

[C]

It's astonishing. I mean, it's an astonishing thing to just finish a feature film. Like, if you see your film or your friend's film in a theater, even if it sucks eggs, you go hug them and be like, jesus Christ. It's impossible to make a feature film.

[B]

It shouldn't be allowed.

[C]

Yeah.

[A]

The thing is, the bad ones are as hard to make as the good ones. I've had both. And it's like, holy. People go, what the. I go, I can't believe. If I knew it was gonna, I would have put less effort. But you're trying to make every day, every line good. And when it doesn't work out, you're like, God. All that work. It's so hard, you can't believe it even gets finished. You're right.

[C]

As I suspected. I, I. Sorry. It's niggling me and it's. I just, I just looked it up and it's. Robert Altman made the Player. Yeah.

[A]

It was niggling all of us.

[B]

I was, I'm just curious.

[C]

For this conversation, I conflated it with Barton Fink.

[B]

That's a great word. Do you actually increase your. Do you read the dictionary or whatever? Because you seem to have a pretty big dictionary.

[C]

I don't. I do love vocabulary because it's a place. I started in the Catholic Church as an altar boy, and then they had me reading the gospel readings as the lector. And so at age, like, 14, I'm up there reading to the church full of people reading, like, the, the gospel readings. And that was where I think all began for me, where I was like, oh, if I. Depending on how I tone this reading. I can make my cousin laugh. Like, if I'm a little too serious with my delivery. The congregation is moved, and my cousin is like this. That was hilarious. Very inspired by Leslie Nielsen's line readings and Naked Gun and so forth.

[B]

True. I was talking about that yesterday. You know, all respect to Liam Neeson and the. The latest one before Nesli, he just. There's something magic about his timing and his tone in that. Those movies. Naked Gun.

[C]

Yeah.

[A]

There's someone decided to take a serious guy and get. Don't and don't call me Shirley. And you're like, wait, that's funny. Like, someone goes, if you did this the whole movie, it's such a gamble.

[B]

Oh, yeah. An airplane, too. Their earlier one, Peter Graves. You know. You know, do you like Gladiator movies? I mean, it's just. I was going to ask you because I. Because we have you here. It's like, just quickly, what are the movies that you and your wife would watch more than once or performances that really stand out? Know, my wife and I have different movies that. That you revisit because they're so brilliant.

[C]

I'm. I'm gonna. If. May I excuse myself for a tinkle and think about that and I'll be right back.

[B]

Absolutely. We have editing capability.

[A]

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All right, listen, I've got a drawer. I've got some bombers in there. Honestly, they've ruined the other socks for me. You know, I put on an old pair the other day and immediately apologized to my feet. It was a. It was a whole big situation.

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Get yours [e-mail] holiday terms and conditions apply. C Dell.com for details so the thing about Nick, why he's a great person to interview is that Nick is real. Oh, he's back.

[A]

You're back.

[C]

Yeah.

[A]

Oh, Dana was giving you a compliment when you were gone.

[C]

Please continue. Don't let me interrupt you.

[B]

You know the last of us you won the Emmy. I didn't know if I mentioned that.

[A]

You said he's very.

[B]

You gave a very quirky acceptance speech. Very very you very interesting. So you're eccentric.

[A]

Do you go to someone for speeches? Do you go to someone and say anything you would say? If there anything funny you have, believe me I might go to someone and go give me something for this.

[C]

Oh for sure. I I love anything that I do when I tour as a humorist. I write my material but you know I'm friends with the genius writers and who, who, who love like their bread and butter and is they love for me to send them my stuff and they're like here's two jokes about Brett Kavanaugh or whatever and I'm like, fantastic. And. And. And it's funny. They refuse payment. I'm like, let me. Like, let me pay you. And it's. And they're like, no. Like, if you get a laugh with my joke, that's my pay.

[A]

It's so flattering.

[C]

So. But. So then I send them a nice bottle of something they like to drink. So I. While I was urinating for 17 minutes.

[B]

Yeah.

[A]

That's a long break.

[C]

It's a very. There are a couple interesting things about your question. One is, I feel like Megan and I. The answer to your question is historical. It's like Singing in the Rain. It's great performances from our youth that are monumental and foundational.

[A]

And innocent and nice.

[B]

Donald o', Connor. Make him laugh. I mean.

[C]

Yeah. And, I mean, the films of Mel Brooks, like Marx Brothers, Laurel and Hardy, We're. We look. We watch a ton of Laurel and Hardy, and there's this scene at the end of their movie, the Music Box, where they're trying to get a piano up a set of stairs in Echo Park.

[B]

Famous scene.

[C]

And they. They finally get it up and get it into the. The house, and they do this little dance with each other, and they, like, hook arms and do a little dance. And we considered that scene to be this. That's our marriage. Like, that represents our household.

[B]

Interesting.

[A]

Nice.

[C]

That's the two of us. But it. Yeah, but in modern. In the modern age, like, because you get questions like this sometimes. And what we've realized is we would watch Will and Grace and Parks and Rec when they aired, and we've never seen them again. There are some things we've done that we've never seen. But with all of the preponderance of things available to us to watch or listen to or read these days, we. We really. It's very rare that we would ever. It would ever occur to us to watch something a second time. And. Which brings me to something I find very interesting. And I've been the great beneficiary of just lucky timing that Parks and Rec happened. When it first began to hit around 2010, social media was also just beginning to hit. Like, memes and. And gifs or gifs were. Were just. And so they were just arriving on the scene, and the world was like, does anybody make funny faces? Like, who can we plug in here? So we benefited from that timing. And then when we were all done. People don't realize now that we were never a hit show. We were on the bubble every year. We. And it was because we were.

[A]

No one realizes that we were in.

[C]

The transition from the Nielsen ratings to DVR to streaming. And so the kids were all going crazy for Parks and Rec, but it wasn't showing up on the, on the, the rating system, which was a real bummer because we, we didn't get award nominations and we didn't get a raise. You know, like, we, we were kind of one of the biggest hit shows critically. But business wise, it never, it never clicked for us. And so then, especially once the pandemic hit, there's this new thing, especially among young people, where they pick a show like Friends or the Office or Parks and Rec and it's their comfort show, and they just always have it playing. So I meet a lot of kids these days that say, oh God, I've seen Parks and Rec seven or eight times through. To which I say, let me recommend some books to you. Like there, there are things you could be doing. Like, I, I'm. I would love for you to see it once.

[A]

Let me teach you how to whittle.

[C]

But it's a crazy phenomenon in the modern day that, that, that the kids. Because you also. If you loved a show when we were young, you couldn't watch it again.

[A]

Yeah. Or you wait six months.

[B]

Pieces of. Well, then they made great films. Great films are hard to make. When my wife were looking in for old films, we've seen the Godfather, you know, we, we revisit those two, but there's just not a plethora. I mean, Quentin Tarantino. Whoops, name drop. I was interviewing him, substituting for Jimmy Kimmel. He said, there's no great movies between the year 2000 and it was 2023 when I interviewed. No really great movies besides mine, basically. I'm paraphrasing, but I thought one that really stood out was the Descendants with George Clooney.

[C]

Sure.

[B]

As something that we will visit once in a while. We also go back to Sound of Music, which I became possessed by and was not a fan of musicals as a kid. I'll watch it. And then I became possessed by it as the greatest arc of a. Of a couple. Of a relationship I've ever seen. I must have done something right. The song and the gazebo.

[C]

Yeah.

[B]

Just gets me every time.

[C]

Somewhere in my youth and childhood, I must have done something good.

[B]

Yeah.

[C]

When I was a kid living out in the little. In the middle of a cornfield growing up in the 70s, we. And when we finally got a vcr in like 1982 or something. Never had cable my whole life. We had five video cassettes and two of Them were singing in the Rain and the Sound of Music. It's interesting how ubiquitous, like how. How Abbey Road certain movies are where it's like, well, everyone knows the White.

[A]

Album has to have this one.

[C]

Yeah.

[B]

Yeah.

[C]

The wizard of Oz was another.

[B]

Well, that was. That was. That was good.

[A]

That was good. Nick, before we let you go, I want to say that I had a. When I did this old show. Just shoot me. Oh, my God. A few people remember back there that Megan was right next to me with Will and Grace, and she was always so hilarious, so wonderful, and always so great on her show. Tell her hi and. And we had a great time that during that run of both of those shows. So much fun over there watching them in their new cars. Anyway, Source. But great to talk to you, Nick. Really, really appreciate it. And we, we. Oh, we can't have you hang up right away. You have to wait a hair.

[C]

Oh, don't worry.

[A]

Of our technology. Whatever.

[B]

I met you and your lovely wife. I like that expression. Backstage at the Largo and got to chat with you guys for five minutes and lovely people. Well, we're not Hollywood phonies. I'm just gonna say it.

[A]

No, no.

[C]

We're super boring. And I. And I can I recommend that to everyone who thinks a Hollywood. I. I don't think anyone's having a good time going to clubs and like chasing whatever the diddy party idea is. We stay home, we literally do jigsaw puzzles and listen to like stodgy murder mysteries read as audiobooks. That's. That's. That's our line of coke.

[A]

It can be fun. Listen, that's a new. That's a different form of fun that people are maybe picking up on again, Scrabble. That was during the dinner parties.

[B]

My wife just.

[A]

Unless he gets out.

[B]

Yeah, you do.

[C]

You just. You do a ton of blow and then dump out a jigsaw puzzle and.

[A]

You go 72 hours sit down at.

[C]

A big butt plug.

[B]

Yeah. All right.

[A]

Thanks, Nick. Good to see you, bud. And we'll talk soon. Hey, guys, if you're loving this podcast, which you are, be sure to click follow on your favorite podcast app, Give us review 5 star rating and maybe the share an episode that you've loved with a friend.

[B]

If you're watching this episode on YouTube, please subscribe. We're on video now.

[A]

Fly on the Wall is presented by Odyssey, an executive produced by Danny Carvey and David Spade, Heather Santoro and Greg Holtzman, Maddie Sprung Kaiser and Leah Reese Dennis of Odyssey.

[B]

Our senior producer is Greg Holtzman. And the show is produced and edited.

[A]

By Phil Sweettech, booking by Cultivated Entertainment.

[B]

Special thanks to Patrick Fogarty, Evan Cox, Maura Curran, Melissa Wester, Hillary Schuff, Eric Donnelly, Colin Gaynor, Sean Cherry, Kurt Courtney and Lauren Vieira.

[A]

Reach out with us. Any questions to be asked and answered on the show? You can email [e-mail] that's a U D a C-Y dot com.