RE-RELEASE - Bill Hader

Summary

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Fly on the Wall with Dana Carvey and David Spade

Episode: RE-RELEASE - Bill Hader
Date: November 13, 2025
Guest: Bill Hader
Theme: SNL, Sketch Comedy, Panic, and the Art of Reinvention

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Overview

This episode brings in Bill Hader—acclaimed comedian, actor, and creator-star of HBO’s Barry—for an absorbing deep-dive into his career, especially his time at Saturday Night Live (SNL). Dana, David, and Bill riff on the high-stress world of live TV comedy, improv foibles, the mysterious alchemy behind a great sketch, and how anxiety can both challenge and propel a performer. Along the way, they touch on Bill’s directing ambitions, influences from cinema, and the pleasures and tribulations of working with iconic castmates.

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Key Discussion Points & Insights

SNL, Character Origins, and That Unique Panic

• SNL First Encounters & Sketches

  • The trio reflects on well-loved and obscure sketches, failed pilots, and the ongoing mystery of what catches on.
  • Bill shares:

    “I had big time panic attacks before I’d go out on… that terrifying cauldron at SNL 8H.” (08:00)
    He describes hyperventilating before shows, sometimes even crying and shaking with nerves.

  • Dana reveals:

    “I would just stand there and look at my script in the stall and just go, oh, my God.” (37:24)
    The relentless pressure, unhealthy coping (pizza/diet coke!), and the toll of “never knowing if you’re coming back next season.”

• Anxiety, Panic & Health

  • Bill links his years of panic to lasting health effects (e.g., autoimmune issues affecting his vision):

    “Could stress have caused this? …I’ve lost vision in this eye.” (36:55)

  • Dana and David joke, but also empathize deeply, about how SNL’s pressure-cooker environment warps both mind and body.

• Stage Mishaps and Oddities

  • From fogged puppets to malfunctioning props, Bill details the beautiful chaos of live TV.
  • Memorable quote:

    “I pick up the puppet and it’s vibrating. It was so full, ready to go explode.… Like a fire hose hit this guy right in the face. And he’s expecting nothing.” (48:17)

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Creative Process: What Works (and Doesn’t) in Sketch Comedy

• Why Some Sketches Fail (or Succeed)

  • Discussion of the Stefon sketch:

    “It didn’t work as a sketch…it kind of just works on Update…” (11:29)

  • Dana and David on not “taking big characters off their set”—audience accepts characters only in their safe “home base.”

• Memorable Quotes and Writing Moments

  • On Gap Girls:

    Dana: “‘Lay off me, I'm starving.’ That was my proudest writing moment.” (15:47)

  • Bill recalls the thrill (and pressure) of having your name on a sketch and the tension with figuring out what makes a “movie idea” versus a sketch.

• Breaking and Living in the Moment

  • Bill on Fred Armisen trying to break him:

    “I break constantly... Fred would just do little things. It was never big things.” (41:09)

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Cinematic Influences & Directing

• First Filmic Impressions

  • Bill’s early memory:

    “I was 12… his older brother was like, ‘I'm gonna show you Taxi Driver’… that movie doesn’t want to watch this scene, so it dollies away. It unlocked this thing in my head.” (21:30-22:30)

  • Cinema as a blueprint for sketch energy, style, and tone. Dana and David relate favorite films (2001: A Space Odyssey, Jaws, Godfather) and how they color their work.

• From Comedy to Directing

  • Bill traces his move from SNL to directing Barry:

    “Actually, Chris Rock said, ‘If you could do SNL, you can direct.’” (79:23)
    He credits SNL for removing the “romanticism” of creation—teaching that “you gotta have a show by Saturday” and that real creativity happens under deadline.

• On Directing Actors

  • Bill tailors his direction based on whether an actor is from theater, improv, or TV.
  • Quote:

    “Actors just don’t want to look like idiots. They want competence… but smart actors can sniff out if everything’s great—that’s not good either.” (87:29)

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Hall of Fame Casts & SNL Legacy

• Bill remembers his all-star cast and the energy of “being the new kid.”

  “I was knocked out by how loose Keenan Thompson was, how much fun he had.” (72:25)

• On negative reviews:

  “My first season, the Washington Post…said me and Sudeikis and Forte were interchangeable…” (74:02)
  Dealing with criticism (“cab drivers in New York straight up told you ‘you suck’!”) and how the internet changed post-show “scorecards.”

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Barry and The Nuances of Darkness and Comedy

• On Creating & Directing Barry

  • Dana:

    “It’s shocking… You’re this sketch player…and then you do this show…brilliant…and you’re brilliant in it.” (77:00)

  • Shifting from sketch to dark, layered storytelling—straddling pathos and comedy, loving the freedom to “do it all.”

  • “This season is incredibly brutal at times… If I did the show in my 20s, it’d be a little more glib.” (92:20)

• Working with Legends Bill on directing Henry Winkler:

  “He was taking a broom and throwing it on the ground... Can make sure props has a broom there for him? We’ll never see it, but he needs it to just smash something…” (85:19)

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Notable Quotes & Memorable Moments

• Panic attacks before SNL:

  “I would have a full blown panic attack before every show. I would go into that bathroom…just hyperventilate. I'll be honest. And cry a little bit.” — Bill Hader (35:21)

• On SNL’s constant pressure:

  “I never knew if I was coming back… you can’t relax in that situation." — David Spade (58:46)

• Criticism and tough NYC love:

  “I remember a guy in a cab driver went, ‘Hey, SNL, you suck.’” — Bill Hader (74:14)

• On Comedy’s Simplicity—Physical Gags:

  “You realize...what works is spitting into someone’s face.” — Bill Hader (51:07)

• On Directing & Giving Notes:

  “I’ve worked with directors, their whole thing is kind of brow beating you… Never understand it.” — Bill Hader (87:34)

• On SNL as Bootcamp for Creation:

  “We had to do a show Saturday…we're under a table on the 17th floor, eating pizza, scribbling real quick…” — Bill Hader (80:16)

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Timestamps of Major Segments

• SNL panic & health effects: 08:00–40:00
• Creative process & sketches that worked/failed: 10:00–30:00, 40:00–49:00
• Favorite films, cinematic influences: 21:00–29:00
• Messy prop/puppet stories: 45:00–50:00
• Handling criticism, New York’s ‘feedback’: 73:50–75:40
• Transition to filmmaking; directing Barry: 76:40–92:40
• Working with actors on set; directorial philosophies: 80:45–89:45
• Legacy, castmates, responding to SNL’s “all-timer” status: 71:12–74:12

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Tone & Original Language

This episode is a skillful blend of wit, humility, and heartfelt reminiscence, charged with insider showbiz banter and honest storytelling. The hosts and guest keep it playful, self-deprecating, and always candid—even in discussing anxiety, flops, or fame’s weird side effects.

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Final Thoughts

Bill Hader proves as open and thoughtful as he is funny. This episode serves as a love letter to craft, to the joys and pratfalls of SNL, to the pain and growth of career pressure, and to the evolution from sketch clown to dark, risk-taking auteur. If you haven’t listened, this summary gives you a front-row seat—minus, thankfully, the panic attacks.

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Transcript

[A]

Listen, Dana, if you're like me, you're like me a little bit.

[B]

I think so. Yeah.

[A]

Adulthood did hit me hard. And you can't run four hours of sleeping cheeseburgers forever.

[B]

Nope.

[A]

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[B]

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[A]

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[B]

Feel better from the inside out.

[A]

All right, so here's a confession, Dana. I love to cook. Okay? You know this about me.

[B]

Everybody knows that about you.

[A]

Everyone calls me yes, chef.

[B]

Yes.

[A]

Yeah.

[B]

And you be. You're chopping. Chopping broccoli. Chopping.

[A]

Oh, you chop broccoli.

[B]

That's right. Chop broccoli.

[A]

Sometimes the idea of chopping broccoli after a long day feels like a cruel joke. And don't get me started on those $15 healthy wraps in the coffee shop. They don't taste great, and I regret it. My fridge is organized. It has a lot of potential. But when it's so much effort, I go to cachava. You know what it's a go to? I put it in the blender. I. Okay. While Heather watches in. And it's actually really good for me. And I put a couple scoops in. Little. What do I add? Soy milk, Almond milk.

[B]

Almond milk, Almond milk. Okay.

[A]

I think that I like that. A little bit of. A little bit of almond butter.

[B]

I like what I'm hearing. Keep going.

[A]

About a half a banana. Don't go too crazy. I don't want it too sweet, you know?

[B]

Right. But a little, little, little banana. Boom. And what do you got?

[A]

B.

[B]

Basically in your mind, what are you looking at?

[A]

It's like, it tastes like a dessert, but it's just good. It's a shake, keeps me full, lasts a pretty long time. I have low blood Sugar, so it lasts a while. And there's a chai flavor now.

[B]

I love chai.

[A]

You would refer to it as fall in a glass. And honestly, it's a good addition to the cacava family.

[B]

Oh, right. There's a close knit family, you know, gives you more steady energy throughout the day.

[A]

Protein.

[B]

And my digestion's never been better.

[A]

You got fiber, probiotics, 85 superfoods. More than that, nutrients, one shake. No artificial stuff. No. No gluten, no soy. Come on. Whole body nutrition. That actually tastes amazing. With every two scoops of cacava, you get all those superfoods, nutrients, plant based ingredients.

[B]

I like that.

[A]

Can they do it risk free?

[B]

Yes.

[A]

Okay, so you could. You could try cacava risk free with their. Go ahead. I want you to say, hey, I.

[B]

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[A]

Code FLY. Dana, did you know? We finally did it. We finally did it. What did we do? We made merch.

[B]

We made merch. They said merch. They said it couldn't be done. It wouldn't be done. And they had a point. But guess what? Guess what? I'm so excited I can barely talk. Scooby Doo. That's right.

[A]

Stepped on me.

[B]

I didn't give you something to say. Are you excited, Scooby Doo? Okay, there you go. He's excited. He's excited at the idea that we made merch. That's right. Now you. And I'm calling you, dear listener.

[A]

Yeah.

[B]

Can get your very own fly on the wall. Hoodie, sweatshirts, T shirts. And speaking of mugs, David.

[A]

Sweatpants. Everything, of course, Fly on the wall. Trucker hat. Because it's me. And that's. I wear stupid hats all the time. But these are cool. Very cool. Comfy, right?

[B]

Comfy, stylish, and guaranteed to make you slightly funnier.

[A]

I don't know if it's guaranteed, but it's very probable. Slightly funnier. And you can point out and go, ooh, fly on the wall. And then it has our little spade carvey on there. That's the coolest part, actually.

[B]

Orders are open November 6th through the 13th. Only. Only one week. Making it kind of illicit, folks.

[A]

Time limit. Grab it before it's gone. Go to shopfly on the wall dot com. Shop Fly on the wall.

[B]

Hey, David, I just thought of this. I think Fly on the Wall merch would make a great gift for your friends and family. Wait a minute, hold on. Thinking for the holidays, right?

[A]

Yep. You know, I'm telling you that there's literally no better gift. And no one would be mad. They'd be ecstatic. It looks very cool. This is black with blue stripes, the one I have. And. Oh, you have the sweats too, on your legs. Anyway, get. Get yourself something too for yourself. Don't miss out. Order your flying wall merch from November 6th. Pay attention to the 13th. That's all.

[B]

That's it. And then lights out. It's closed.

[A]

Shop Fly on the Wall dot com. All right, so check them out, folks. See if you like it. Dana, we got Bill Hater, one of our all time favorites, I have to say. And for most of the audience that likes snl, you hear his name pop up a lot in those, you know, sort of first ballot hall of fame.

[B]

He's in the conversation.

[A]

He said the conversation is a high qual. Right.

[B]

We love to, you know, use numbers. He's number seven. He. She's number three. But let's just say he's in the conversation.

[A]

He's up there of the.

[B]

Of the panther up there and very humble.

[A]

A nice guy. I see him outside of the podcast sometimes.

[B]

Yeah, good.

[A]

Good dude. Grounded. We went to the same community college. Hilarious.

[B]

Oh, I know.

[C]

That is.

[B]

That is funny.

[A]

And I didn't know and it's so funny. How many years could go by where I went to the most random. Scottsdale Community College.

[B]

And it really. Scottsdale Community College. Scottsdale Community College. Scottsdale Community College comes up a lot on this podcast from different sources. Scottsdale Community.

[A]

The artichokes. That's what our mascot is. It's not a joke.

[B]

The team always artichoked.

[A]

Yeah, we did. I don't think they're top that much.

[B]

Anything. I hit a cord there.

[A]

Yeah, it stung a little bit, but. But Bill has so many characters in SNL along with everything else he's been doing. But I like the one where he plays the Vietnam vet that has a puppet.

[B]

Yeah, he's got so many. He's extremely funny. We do get into like. And it was sort of interesting to hear him go into it more than I've heard about it, that he had big time panic attacks before he go out on. And we all had a version of.

[A]

Panic attacks that terrifying cauldron at SNL8H.

[B]

Yeah. Before you go out there, you know, two minutes, you know, cast for Frankenstein's baby. You have three minutes. And we all get like, ah.

[A]

You know?

[B]

But he apparently was really, really had to manage that, you know, and then go out there and crush. But, yeah, it's interesting.

[A]

Well, let's stop boring everyone and then bore Bill with. When we bored him.

[B]

Our goal was to make the intro longer than the actual podcast.

[A]

We're doing pretty good.

[B]

We did pretty good.

[A]

Yeah.

[B]

Here's our good friend Billy Hater.

[A]

We should let Bill talk at some point in this, but not, like, right away.

[C]

Oh, it's okay. I like watching you guys.

[A]

You've talked enough, right?

[C]

Yeah.

[B]

This is a conversation.

[A]

Hater. Bill hater. Hang on.

[B]

We're not narcissists, but you can ask us questions, too.

[A]

Yeah.

[B]

If you get curious.

[A]

Discussion.

[C]

Oh, I'm moderating. Oh, that's how your podcast goes. I moderate.

[A]

Yeah.

[C]

Discussion between you two. That's what, I guess about your relationship and your time.

[B]

Bill Hader. Look how much I prepared.

[A]

I know. I was like, bill Hader. I. I know the name.

[C]

Yeah.

[B]

And I. And I know his game. I know. I know this dude.

[A]

He's got some game. Dana.

[B]

This guy's broke all the rules. Yeah. And I love him for it. The rules are every. Every guy holding his dick, walking into a bar says, I'd like to direct. And everyone goes, yeah, yeah, yeah. Here's what you do, kid. You put on the makeup, you dance like a clown. They pay you, you dance, you're a clown. You want. He goes, no, no, I'm not. I'm fine. I'm Martin Scorsese. No, you're a fucking bozo. To fucking clown. Now get this fucking movie from Paramount. We'll give you 20 lodge up front. So Bill says, all right, go ahead, Bill.

[C]

Oh, my God. Mr. Michaels, I would.

[A]

Oh, was that. Was it Lauren asking you to do a character movie?

[C]

Yeah, I think Lauren wanted. He wanted to do a character movie. Yeah.

[A]

Maybe this summer. Maybe when you're on break.

[C]

Maybe. Well, it was just. There was a hard one. It was a hard one to do. He wanted to do a Stefan one. And then I think John Mulaney and I were like, it didn't work as a sketch.

[A]

That's a good reason.

[C]

You know what I mean? We're like, it died. It died twice at the table. And then we did it, you know, a couple of times. Address. And it was terrible. You know, it just. It was low energy. Weird thing yeah, that never worked. And so then it was like, okay. And you know, well, let's just shoot.

[A]

It and look at the whole movie and see.

[C]

You can burn it if it doesn't.

[B]

And if you get a little burned or singed, it happens.

[C]

And will take it outside and Marcy will set it on fire. We've done this before. We set it.

[A]

Marcy, get the wizard lighter fluid on my desk next to the Lauren.

[B]

I'm going to fly. Lauren. I fly now. I'm Marcy. You don't fly. Look at the Book of Lauren. Page seven, the stuff on the Book of Lauren.

[C]

Wait, did you guys have things? Yeah, yeah, we had like, yeah, we can do a movie. And then we were like, well, it doesn't work as a sketch. It kind of just works on update.

[A]

You know, it went from a sketch to update or update to a sketch.

[C]

It went. It did not work as a sketch. And then it was Doug Abels who was running update going, I need something. What about that club kid thing you did?

[A]

Give me that thing that bombed. You still have it? You know, it's on my desk. Get it in here.

[B]

No, that. That's very.

[C]

Do you know.

[A]

Yeah, well, updates, updates. A little less pressure. In a weird way, it's just you doing it directly. And if they buy it, they buy it. You have to rely on a whole.

[C]

It work better when it was like, Because.

[B]

Yeah.

[C]

I don't know. Do you guys remember? It's just like, I remember weird shit. Just didn't. But just that feeling of like, oh, I got a low energy weird thing.

[B]

Right. And how do you do that in a 90 minute corporate funny vehicle?

[C]

Yeah, yeah, you can't.

[B]

We couldn't even take Hans and Franz off their set. We go, we got to get them off their set. So we put them on in a campground scene with Al Franken death.

[A]

Oh, you know, sketch. What about the movie?

[B]

Then we got him on the set and then we're pointing. No, we had the movie written Hans and Franz, the girly man dilemma. But that went. That. That's. That's.

[A]

That would have been good. I think that would have been good, though.

[B]

Wait, let's get back to Bill.

[C]

You tried taking them off the set and it didn't work.

[B]

No, I put church lady sketch.

[C]

You guys do that all. It happens all the time where you go like, yeah, let's not do the same thing over and over again.

[B]

Right.

[C]

And you realize like, no, that's what they like is seen.

[A]

Yeah.

[B]

Like, they go, Dana.

[A]

They go, Hans and Franz. Here you are in the gym for 19 sketches, and they put you in. In, like, a store, and they're like, who the fuck are these two people? Like, no one even understands the sketch.

[B]

Yeah, not cool.

[A]

Put them in the fucking gym. I know the jokes and I will laugh. I know how to do this.

[B]

But you're. You're at home base. You're screaming at the audience right behind the camera. Yeah, you could leave this. And then. Then we're over in the corner in 8H in a quiet campground scene job. Would you like another Venus, Nicholas?

[A]

You like some?

[B]

Is brilliant. But I think it might have been a wise decision. That would have been a challenge.

[C]

The sketch did not work. I mean, it just never worked. You know, Bill, you can hear your footfalls on the. You know, it was one of those things where I could hear if I, like, placed a glass on a table on the sketch.

[A]

You can hear it's loud.

[C]

It was just dying. It was like.

[B]

Yes.

[A]

Well, Bill, your next question to us is, was there a Gap Girls movie? Which is a good, fair question. There was not. But there was work. There was.

[B]

Did you guys do it?

[C]

Did you guys write a Gap bro?

[A]

You got scared. You go, did you do one? Oh, I didn't see it. No, we. We didn't write it, but we would not get scared.

[C]

I. But I. I know it didn't happen.

[A]

No, it didn't happen. But it was sort of when I. When I thought movies were very easy to come by because I was delusional. Because one summer we did Tommy Boy. Lauren had a deal with Paramount. It was. It was sort of easy, like. And the next summer, why don't you guys do Black Sheep? We're like, great. And then next summer, maybe you guys could do Gap Girls movie. And the things that had against it were me writing it, which is probably.

[B]

The first thing, and then, hey, come on now.

[A]

I was running out of sketch ideas that were four minutes long. So I remember we did one about Jeopardy. Cause Gapperty just sounded like a funny name for a sketch.

[B]

And then.

[A]

But there was no sketch. And so I go, if me, Farley and Adam are. They are the contestants. It'll be funny. And Courteney Cox was the host. And we have to ask her about that because that was the first time I wrote something, and I was so joyous that it was on and I was just.

[C]

Your name on it. That's just solely. Yeah.

[A]

First for Gaps Girls, and then. And then I do it. And Courtney goes, I don't really. I don't really have a Thing to play as the host. And I was like, oh, I didn't think about any other care. You know, it's so rude. Like, I'm so worried about our shit and trying to get far later. Make sure everything he says is in all caps.

[B]

What was your catchphrase for Gap Girls? What was your catchphrase?

[A]

I don't know if there was one.

[C]

I mean, the thing everybody remember, it was, lay off.

[A]

No, lay off me. I'm starving.

[C]

I'm starving. That was the.

[B]

Yeah, okay.

[A]

That was my proudest writing moment was that one, because lay off me.

[C]

I'm sorry. That one worked. Destroyed.

[A]

Yeah. And also in that one bill, there was a. In rehearsal, it says, you know, like, we're at the mall at the food court, and then we see the girls from Donut Hut. Everyone knows the schedule. I mean, I don't even know why I'm explaining it. And Schneider taking notes with Sarah Gilbert as Donut Hut sluts. And we argue with them. Obviously, there's a rivalry. And then at the end of the week, they go, we'll see you guys Friday. And then it goes away to a card. It says, three days later of the mall. And then it comes back. And then in rehearsal, I go, isn't it weird we're all wearing the same thing we did three days later? And we laugh. So. So I go, hey, Adam, on the live show, I go, when we do that, when we come back, I'm gonna say that. And you say, I don't think we are. And I go, trust me, we are, because it's only five seconds of real time.

[C]

Yeah.

[A]

And so we added that, which is fun. And then, lay off me. I'm starving. Farley. Fucking nailed. And then I said, we can't do a movie. I'm out. That's it. I don't want to worry.

[B]

All right, let's talk about.

[A]

No, this is.

[C]

This is. David. What was the one where you said you were the contestant on a thing and you said. Oh, that's sweet.

[A]

Oh, sweet. That was Geek Weaver. Spaz.

[C]

Oh, my God. I get in. My.

[A]

God. Dang. Well.

[B]

Oh, what we do for money.

[C]

Is that in Arizona? Wait, real quick. Is that an Arizona dude or is that.

[B]

No, that was just.

[A]

Yeah, I had a guy that used to talk, I guess, in class, and so when you get assigned a sketch, they go, can you be sort of a. Whatever, whatever. So that one just sounded funny because I don't really do big characters, and that one sounded funny, and my friend had a Shirako, and it was it was all whited out, and it was very cool and everything. Scirocco over at scc.

[C]

Oh, yeah, that's where I just did a. I just got. No, I just did it. A talk at scc.

[A]

Oh, you did?

[C]

We went to the same community college, Dana, but I. Scottsdale left. I went out of state to go to a community.

[A]

The funniest story. He's from Oklahoma, Right.

[B]

And then you from Oklahoma to Arizona.

[C]

And I went to Arizona to the Art Institute of Phoenix because my grades were so bad and they didn't care. And then when I was there, a guy there was like, you know, at Scottsdale Community College, they're shooting stuff on film. And I went, oh, this is in whatever, 97 or something, when shooting on video was lame. And so we went there and. And, yeah, and they were like, you know, David's favorite.

[A]

Yeah, I went there because they had tennis. It was a little different.

[B]

But what was the mascot of Scottsdale community? The artichokes.

[C]

Okay, the artichokes. And then I worked on Mill Avenue at a movie theater. I worked at Cine Point.

[A]

Oh, I love it.

[B]

Yeah.

[A]

Down in Tennessee.

[B]

Usher or running the film or what were you doing?

[C]

I did the. I was an usher. And I looked at the time, I looked like Charles Manson. I had, like, long beard and long hair with the cummerbund and the little tie on.

[A]

Cummerbund.

[B]

So the idea when you were the type of usher who would then, when there wasn't many people around, just sit in on movies, was you'd be that kind of guy.

[C]

Yeah, I would sit and watch movies. The guy that this guy I worked with. And you had this whole thing about, like, you can't bring food into the theater outside food into the theater. And I became, like, really obsessed with nailing people because it was. Whoa, whoa, whoa, whoa. No, no. You know, I was just like. And this one dude was. I forget his name, but he was such a. Like, just kind of a stoner guy. And we were out. I was by the concession stand, and this. This guy came in with a wedding cake just to sit in his mouth. He was like, hey, can I put this in the back? I was just gonna go see a movie. So one, I'm like, who brings a wedding cake to a movie? And two, I was like, went to this stoner guy. I'm like, did you not see the guy with the wedding you or his tickets? And you put the stubs in his mouth? He was like, oh, yeah, man. You know, I. You know, the guy seemed, you know, he Had a cake.

[A]

Yeah, I just. I just saw Spider Man. And the guy goes, the Usher goes, you know, they. They like over.

[B]

Help.

[A]

He goes, I'll walk you to the theater. I go, I think I got it. And he goes, three hours, dude. And I go, oh, immediate buzz kill. I go, oh, it is. He goes, yeah. And he goes. And at the end, all the Spider Man's guy. Don't be like spoiler guy. Just let me get in there.

[B]

Take it down a peg.

[A]

Yeah, okay.

[C]

Thank you.

[B]

You know, come on. What are you, the false ending guy or something?

[C]

He's going down the river like Kurtz.

[B]

Colonel Kurtz is a great. Dennis. One of his go to, like, Colonel there in the cave down the river. Like, Kurt's getting that sponge on his head in the cave, shooting for the Oscar Wilde. The way the Sheen cat hides in the shallows.

[A]

Okay, I have all these sketches of bills I want to go over, but I want.

[B]

Well, while we're here. Youth.

[A]

Yeah.

[B]

Because we'll kind of. Maybe we can go, hey, we're just making this up. But I. We know you're a filmophile, so you go to theater scene films that just. Do you remember the first film? Because I could say 2001 for me in a theater or on television. The first film or TV show where when you went, holy shit, what the fuck is this?

[C]

You know, it was like always like I was at a sleepover at this kid's house and his older brother was like, we were 12. And like, you know, the 15 year older older brother came in and was like, I'm gonna show you this movie, Taxi Driver.

[A]

Whoa.

[B]

Wow.

[C]

We all were like, what? You know, that's heavy. You can't be watching this, you know, and it's like, this is really intense. But there was a scene in that movie where with all the violence and stuff in it, there's a scene where Robert De Niro takes Cybill shepherd to a porno movie that's still like one of the most.

[A]

That's great.

[C]

I've ever seen in a thing ever. It's just impossible to watch and not. It's so bad. It's so sad. But then afterwards, he calls her and it's him on a payphone in a hallway seeing if she got these flowers he sent her. And he's like, I didn't know you didn't like those kind of movies or whatever. And it was so embarrassing to watch. And then as it was happening, the camera just dollied off of him as he's talking. And I Thought, oh, wow, the movie doesn't want to watch this. Like, it was like, oh, you're allowed to do that. Like, unlocked this thing in my head where I was like. So it was weird, this weird night where these dude, this older brother thought he was kind of like, you know, fucking us up or whatever. And instead I got, like, really jazzed by that. It was hard after that to be like, let's watch the natural. Yeah. Like, whatever movies my friends wanted to watch, it was like, no, I want to.

[A]

But that's so interesting that you think they just show. Like when I see movies, they show that guy, and then you cut and show that guy talking, and even dolly shots are weird. And then you fade off them and in your head to think, oh, it's because he's boring and it's odd and they're. And it's getting extra and you go, oh, yeah.

[B]

Are you allowed to do that?

[A]

And then.

[C]

Yeah, yeah. It's like an emotional thing. It was like. It felt intuitive and emotional, and it was like, oh, I don't want to watch this. So let's just. Let's give them some space.

[B]

Could I.

[C]

Could I. Oh, that's so.

[B]

Connect the dots on that a teeny bit with you. Bill was watching the episode where you. You're going to go kill the guy, ends up being a martial artist, and then you have a fight with the daughter. I'm Barry. Well, when you come in and we know he's the mark and come in and you stay on him a long time, and we just hear your voice talking about, it's not going to happen. It's going to be okay. But there's no shot of you at that point. I know. It just reminds me it had some visceral, emotional.

[C]

Yeah, you kind of like, yeah, it was like an instinctive thing of like, oh, you don't know what he's looking at. And then, yeah, they reveal that I'm in this, like, weird Spider man almost or something. Yeah, yeah, this weird. Like one of the guys, you know, terrorists at Munich games or something. Like, he had this weird look and then. But, yeah, you know, but yeah, that's what I mean. You kind of go like, well, it takes a while to get that kind of confidence to do that. Crew looks at you like, you're not.

[B]

You're not doing coverage.

[A]

What?

[C]

Yeah, we ended up shooting a two shot of us because the DP and other people were like, I don't get this. And I just went, okay, we'll shoot this. And then.

[A]

Yeah.

[C]

And then you get in the edit and say, well, I kind of want it this way.

[B]

Well, I think, yeah, that's Barry. Which we'll get to in a little bit. But so as you're going along, just a few more touchstones. What Deer Hunter are you, like, kind of the darker kind of films?

[C]

Yeah, those kind of movies were always. There's a movie. Last Detail with Jack Nicholson.

[B]

That was Hal Ashby. And.

[C]

And.

[B]

And Judd Apatow talked about that.

[C]

Yeah, I love that film.

[A]

Yeah, Judd directed that. Hey, Bill, what about. What about.

[B]

He goes, judd.

[C]

You can just say, like, you know, I think my balls hurt. Last Detail. Yeah, they had a big. God, Mike.

[B]

Yeah.

[A]

Randy.

[C]

Randy before you.

[B]

No, no, no.

[C]

Randy. Randy. Look at him and be like, oh, geez. I guess I got my semen all over the place.

[B]

Think of your gun as a horse's cock. Your gun is like a horse's cock.

[C]

Does a thing, and it doesn't land. There's always a pause. And then he goes, you know.

[A]

Judd said, Deer Hunter could have been a half hour longer. No, but I really. I'm kidding.

[B]

But I saw.

[A]

I would. What about Taxi?

[B]

He makes fun of that.

[A]

We make fun of it because I showed him my hbo, my new Netflix special. It's an hour six. He goes, I think it could be two hours. Let me see it. I won't know. There's not even that many. Not that much material. I'll find it. But what about in Taxi Driver? That stood out to me. This is the tiniest thing. But when he's embarrassing, going, the thing that says, I've got to get organized.

[C]

Organized. Yeah, yeah. The card.

[B]

And she's like, what?

[C]

Oh, yeah, I gotta get organized. That's on his wall now. It's like, yeah, I gotta get organized.

[A]

That was something my mom had. Oh, yeah.

[C]

Yeah. And then he's like, this thing is like, I get organized. And she's like. And then he buys her a record that she says she already has. Like, that's all. Thing is just so awkward. We were like, dude, just like, stop, stop. Just stop it. This is so sad. Yeah.

[B]

And you're. You're 12 watching.

[C]

I'm 12 watching this.

[A]

Yeah.

[C]

Girls are, like, a total mystery to me. And I'm like, okay, don't do any of this.

[A]

I thought it was, like, a lesson in how to do it.

[B]

Yeah.

[A]

But I told Dana I saw Tommy when I was 12. Remember Tommy? And it scared me. And I had a stomachache. Yeah. I wasn't ready for the beans.

[C]

The. The scene in Tommy with all The. Remember the scene with the beans? Where isn't it, like, Ann Margaret or someone? Yeah.

[A]

Makes no sense. Scared me. Oh, Acid queen. When she threw. The guy got fire and it burned his face at the beginning with Tina Turner. I don't know what the fuck. I just saw Grease before that. I'm like, what's going on here? Let's keep it light, guys.

[C]

Yeah, yeah. No, that one was rough.

[B]

What's going.

[C]

I always liked a lot of those. Yeah. But I also like, you know, like. Like love Jaws.

[A]

Oh, yeah.

[B]

Perfect. Perfect movie.

[C]

The Godfather. And, you know, never.

[B]

Never can watch that any day of the week. Godfather. What about Alien? How did you find Alien?

[C]

Like, once upon a time in the West.

[B]

Oh, yeah. With Henry. Henry Fonda. I'm gonna shoot you right now if I. The last thing I ever do.

[A]

Now.

[C]

That you said my name.

[B]

Shoots a kid.

[A]

Yeah.

[C]

He shoots a kid.

[B]

Yeah. The old gunslinger. One of those spaghetti westerns.

[C]

This guy goes, we got them. All right. When he says his name, he goes, well, now that you've said my name, kid. And you're like, jesus Christ. I was like, geez, let's relax.

[B]

Yeah.

[C]

Sergio.

[B]

Certain.

[C]

Yeah, yeah. I like all. Like, all those 70s movies. And then a big one. You know what a big one I saw in the theater was? And it's a weird one was I took a girl to go, like, my first. Like, you're going with somebody date.

[B]

Okay.

[C]

Date.

[B]

Yeah.

[C]

And she wanted to go see Father the Bride with Steve Martin, and I took her to go see Barton Fink. Oh, all right.

[B]

That was.

[C]

She was like, okay, thanks. Well, we. We never really need to speak.

[A]

Not a panty dropper.

[C]

Yeah. I was like, damn, that movie was amazing. I was like. That was like. It's still one of my. I love that film.

[B]

The Coen Brothers who did it? Turturro was in it.

[A]

Yeah. Oh, yeah. Do you ever hit that point where everything just starts to pile up? That. I've hit that point. Work, stress, life, anything. Endless to do list. Oh, yeah. And you realize I need to talk to someone. Well, I've been there. Every time I try to find a therapist, it's always a hassle. It's a maze. Half of them weren't taking new patients. The other half don't take insurance. That's why Rula stood out to me. You know, they work with insurance.

[B]

Yeah, explain that. What do you mean, they actually work with insurance?

[A]

Well, there's over 100 plans. In fact, the. The average co pay is just 15. What?

[B]

What?

[A]

It's even Free, depending on your coverage. And instead of just matching you with the first available therapist rule, it takes time to find someone who fits you, fits your goals, your preferences. Your background makes such a difference when you actually click with your therapist. The whole process is quick and easy. Tell us about it.

[B]

Okay. From what I hear, there's no wait lists.

[A]

Okay.

[B]

No back and forth emails. You could book an appointment as soon as tomorrow.

[C]

Nice.

[B]

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[A]

Oh, shit. Go visit rula.com fly to get started. After you sign up, you'll be asked how you heard about them. Please tell them and support our show. Let them know we sent you. That's all. R u l a.com fly. You deserve mental health care that works with you, not against your budget.

[B]

Don't be a fool. Get with Ruler.

[C]

What's up? It's Draymond Green. I'm back for my 14th NBA season. And my podcast, the Draymond Green show, is back too. This season, I'm breaking down games, reacting to the biggest NBA stories, and sitting down with teammates, rivals and culture shapers. And trust me, I'm not holding back on the court or on the mic. Two new episodes every week. New segments, big conversations, real basketball talk for the real hoop heads. Listen to and follow the Draymond Green show wherever you get your podcast. We're back. We're better. Let's get it.

[A]

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[B]

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[B]

John Goodman. I. I don't have any. When he hosted the show, John Goodman, speaking of Saturday Night Live, which is sort of the theme of our show, kind of. John Goodman could do anything. And he's one of those guys that read through with the 55 scripts. He's one of those incredible cold readers. You know, that's a, that's a thing so difficult.

[C]

I don't know how people do that. I remember. And did you guys ever have people who were terrible at the table?

[B]

Yes.

[C]

You were like, this is going to be a bloodbath. And then were just amazing. Like they came in and they were like, oh, they're just not good cold readers. Or they kind of save it. Well, something happens when they're up in front of a live audience that it suddenly clicks and you're like, oh, get out of the way.

[B]

I think there's a gradient scale. I mean, you could go to some mild dyslexia or whatever's going on, but some people can really, like Dennis Miller could. And Phil Hartman could look at a cue card and just grab it so fast and they never would stumble a little bit. But even good readers, it's such a task to not trip up a word, reverse a word.

[C]

I tripped over stuff constantly. I did the. My sixth show. I played Vincent Price.

[B]

Yeah.

[C]

And Lauren, one of my favorites, came up to me. Lauren came up to me right before the band's playing and I'm, you know, my sixth show. And yeah, I'm sweating.

[B]

Yeah.

[C]

Like, I'm like, oh, I'm. Hey, Dana, you talked about, like, I would have a full blown panic attack before every show. I would go into that bathroom. That was a big makeup. Yeah.

[B]

There was a boys and girls bathroom.

[C]

Way at the end of the hall.

[B]

Yes.

[C]

Right after the meeting, before, it was like. And Lauren would be like, you know, this week, you know, we're about to go on break and people are gonna say it was a good show or a bad show.

[B]

You know, so it'd be really, really nice if it was like, really, really.

[C]

Nice if you could say, I love that about.

[B]

So when you, when you panic attack in there just for a second. So you go and you sit down, you're by yourself. Are you just hyperventilating? Okay.

[C]

Standing up. And I would just hyperventilate. I'll be honest. And cry a little bit.

[B]

Oh, of course.

[C]

Shaking. Yeah.

[B]

Oh, yeah.

[C]

Just have, like, a full. And then the thing was that Jenna, who was our stage manager when I was there, who's one of my favorite human beings on the planet, is great, but she had, I think, part of your job when you're. When you're. That you should be a little calm before air and be like, 10 minutes to air.

[B]

Oh, yeah, yeah. No, five minutes to air.

[C]

Like, her voice shaking, and I'm going, I'm gonna have a panic attack. Yeah. I was in Vincent Price, and it was like the second sketch after monologue, and I'm sitting there and I'm, like, about to pass out. And Lauren goes, I like this. But why now?

[B]

Very Lauren.

[C]

And then we did it. And if you watch, the very first one is Eva Longoria, I think was the host. I stumble the first minute. I stumble over, like, every other line. Wow, I'm so, like, discombobulated. And Wait, what did that mean? And what did I just say?

[A]

Well, also, new. New cast is hard to get the cards down. It's not so simple, you know, it takes a while how to look at it.

[B]

Of course, you were the host in that. But do you think this is kind of, like, unhealthy, what we did there? But, I mean, I ended up having a botched bypass a couple years after. I mean, when you're. What was our blood pressure in our first few shows?

[C]

Autoimmune thing that affects the retina of my left eye. And I've gone to so many people about it. I've lost vision in this eye. Like, all this stuff. And everybody's like, really? I'm like, could stress have caused this? And they're like, well, yeah.

[A]

You weren't on Saturday Live, were you? You're like, yes.

[C]

Are you on Saturday Night Live?

[B]

How many stents do you have?

[C]

Did you have any sort of post traumatic health issues or did you have any. Anything that it stopped.

[A]

It stunted my growth for sure. I'm still. I'm 5 7. But I will tell you that before, you were just saying, when I was on the eighth floor, I would go by the elevators and take a left, and there's a bathroom back there. And I would just stand there and look at my script in the stall and just go, oh, my God. And GE would come in and go out, and everyone would.

[B]

He come with his full amp.

[A]

And I'm like, not here.

[B]

He was the Coolest.

[A]

No one. No one knows how loud it is in that room. When you're. When you're, like, doing the actual show and the band kicks in. You can't hear anything. It's crazy. So I would get really sick. And I think when I moved to New York, I was this fun kid from Arizona. And I was, of course, smashed down because I didn't have any nutrients. I didn't know what carbs were back then. So it was pizza, it was pasta. I didn't have a glass of water for six years. I didn't. It was Diet Coke. And then my hair got brown because I didn't know it could get brown. But it was dark. Yeah, there's sun 10 minutes a day when it's like the buildings are straight up and directly at noon. And so I just. And I got like, sort of gray and I felt weak and sickly. I was like, powder. You know that movie powder. So I'm sort of that guy. And then I wasn't really. If I look at it now, of how much I pay attention to eating and food and what goes in. And I did not at all then. And then add all the stress of, like, I don't know if I'm ever gonna be in show business. I can't barely make it here. And it's just so much. Every day you gotta. That's all you think about. It had to affect something. I mean, it's sort of my own doing, but it had to affect something.

[B]

The first church chat, I popped a tooth. Yeah, well, isn't that really. No, I made that up. I know, because I'm just thinking it's.

[C]

Like, wasn't the first church at your first show. And it would became the cold open.

[B]

Yeah, it became the first sketch after update. I was in a cold open with Phil and Jan, and I didn't even know I was in the cold open in essence. But then the church lady was the first. And there's church keep people care. But I. Her hand came up. His hand. My hand. That character's hand. Sorry. I have the dress in the closet and it was drenched in sweat. It was pure. And yet the. To be that adrenalized. That blood pressure, heart pounding and then pretend to be relaxed was such a difficult thing. But. Well, I want to go over some of your seminal, incredible sketches.

[A]

But just.

[B]

Just quickly, the acclamation point. For me, I believe in a way, I was maybe the best. I was on the show, like the la. My last two shows. I mean, I think it took me five years to get to have fun. Put it that way. Because I see the. The panic attacks. But when I saw. And I've said this to you and Fred Armorson, you know, Batman and Robin, you guys, I always connected you too. Because of all the great stuff you did. Is that I said, how did you. You guys seem to. Seemed to be having so much fun that last season. And you said, well, we knew it was our last season, so we kind of, in a good way didn't give a. And then you have fun and then you're great. So that process did happen for you, right. At some point you got calm kind of.

[C]

Yeah. I mean, you would. It was still nervous. I was still going to the bathroom stall. But I wouldn't like have. It was more like what David's saying. You would have your script and you would just kind of read through your stuff and just have a quiet moment by yourself and then be like, all right, let me center myself. And. But then, yeah, Fred was so loose on the show. I never saw him get nervous. And so he. A lot of times. And I'm also a very soft touch. Like I can. I break constantly. So I think that was what he would bring to it.

[B]

He loved to break you.

[A]

Yeah.

[C]

Well, just also as a way of like his commitment. Yeah, it was just his. So he would. But he would just do little things. It was never big things. Like he did a sketch he wrote called Short Term Memory Theater.

[A]

Oh, I saw that.

[C]

And the whole thing is I'm the doctor who's worked with all these patients and we're going to run a play and you'll see that none of these people forget their lines because they had short term memory loss.

[A]

You keep hammering at home that there's absolutely no way they will.

[C]

I hammer at home. They will not. You mark my word, they will not miss it. A single, single line. And then the Aidy Bryant comes out, immediately goes up on her lines and I have to cure. And that's the bit is that I'm cueing everybody.

[A]

I just watched that. So fucking hilarious.

[C]

It's supposed to be in the 40s, like a, you know, like a Arthur Miller play or something. And Fred, to fuck with me, came in in a present day New York Giants jacket.

[A]

Yeah, I saw that.

[B]

And he goes.

[C]

And then I said, give me the jacket. And he said, is the play over.

[A]

Dude? I wrote down something from that. Because you go. Because I just watched it. I was laughing. And Vince Vaughn is in it too. Right? Vince Vaughn. And you go, you go. It has my keys in It. You go, jana has everyone's keys because they're all obviously gonna. They can't be without their shit. I thought it was so bad. Funny. And then I watched five years in a row that were home runs. And this is. I kept going, you have to laugh in this one. When you were doing the one where you're fucking screaming as a fireman. I was like, I didn't know where it was going. And you start going crazy. I go, there's no way. You kept saying, what?

[C]

Oh, yeah, that was. That was John Solomon and Rob Klein wrote that one. And I don't know where it came from. It was just one of those great things where you come to the table.

[A]

And it's a fucking home run.

[C]

And they're like, yeah, we went nuts last night. We. You're this, like, very effeminate firefighter that's mad that your girlfriend's there with Adam Levine. Adam Levine. And, you know, Jim Downey was there, and Jim Downey was laughing really hard for sure. When he was losing his mind during that sketch. And then we came into a dress rehearsal, and then we came into the meeting before air, and they had all the cards up, and Downey started crying, laughing. And I was like, why is Downey laughing?

[B]

That's interesting.

[C]

And he goes. He goes, the name of that sketch is the Firehouse Incident.

[B]

Yeah.

[C]

And he goes, it's so needlessly mysterious.

[B]

Yeah. That Jim does have that capacity to identify exactly why it's funny.

[C]

Mysterious.

[B]

Yeah.

[C]

And that we were just. That's my. My memory of doing that show was being in the meeting, just crying to.

[A]

Make Downey laugh is big. Also. I thought it was when everyone plays it straight. Adam Levine. I'll give it to him, too. When everyone plays it straight. It's so hilarious. And it's. It's asking a lot of everyone to, A, not laugh, and B, just play it straight. And then I think, Sicily, someone comes over and goes out of nowhere, hey, I guess they just canceled the. BE apartment C. And you go, what? The B in C? Not the B and C. Oh, my God.

[C]

I. I think I grab a dog and you'll open a window, and they all say, no, you fit to tax you. And then the dog attacks me. Yeah. Yeah.

[B]

And we're not.

[C]

That was. That was one of those ones where it's just like a gift that the writers were like, I don't know what. What happened, but we. They wrote another one with me where I was like, this guy in the. Guy in a puppet class.

[B]

Yeah. Oh, traumatized.

[C]

Anthony Coleman. And that was another one where you go to the table and there's, like, a sock puppet on your pile of scripts with a little note on it, like, nice, you know, puppet class. Could you use this, please? John and Rob, hysterical. You're, like, figuring it out as you go along. Those guys. My last season, because Mulaney had left and John Solomon and Rob Klein wrote. They really wrote some great stuff for me that.

[A]

I mean, those two right there are like. By the way, I was wondering during puppet class how it must be a little hard to get your lines. Get the puppet. Get them to kiss, get around and try to kiss. Everything you had to do was, like, two things going on at once. And make sure the camera's on your face and then the puppet's face. They had to do that. So those can be complicated. And then it comes off without a hitch.

[C]

Yeah, that one. The. The most difficult thing, everybody was like, oh, is it making the puppets smoke? And that was. You know, those things were like. They cut to someone else, and then you have. Was Flanagan there with you guys? The guy who made shit? That guy Flanagan. Anyway, Flanagan was the guy who made the puppet. He would be there, and then all the. They're hooking shit up to you real fast, you know, and you're like, jesus, this is. You know. And then. Yeah. What they don't see is the guys are all, like, on the floor right at, you know, your feet.

[A]

Right.

[B]

Yeah, it's complicated.

[C]

It was one of those things where the smoke came out. You're like, oh, thank God that fucking works. Yeah, yeah.

[A]

Doesn't work all during the week. Yeah.

[C]

Doing like that. Jesus Christ. Please.

[A]

Yeah, we had barf ones where they put the barf in a tube up your arm. And then I think it was Fred Wolf wrote one where maybe it was Gallic Baldwin. Every cop that walks up to a scene and goes, God damn. And then they go. Everyone starts barfing.

[C]

They would come out before you can get it. Yeah.

[B]

And it's even funnier, but if it.

[A]

Doesn'T come out, it sucks. Yeah, it's. Then there's a guy pumping next to him going, give him more gas, Joe. And you're like, we're live.

[C]

We can't give more gas. Yeah, I had a puppet. It was the different sketch, but I had a puppet that was supposed to throw up on a host. And the host was angry about it. The host didn't like that. Between Dress and Air and the meeting, they were like, oh, and, hey, can we do something about that puppet? You Know when the host sounds off and everybody's like, excuse me.

[A]

Oh, no, the host, I don't know.

[C]

Well, the writer who wrote that, I was like, you know, second year cast member. So I was like, oh, geez, yeah, sure. Sorry. You know, but the guy I wrote it with, it was his last show, so he was just quiet.

[A]

Did he go, hey, fuck you, we're doing it.

[C]

So we go over and we're doing the sketch, and I see him talking to the special effects guys, and the guys are pumping the water thing, and it was like, you know when you have, like, a pellet gun?

[B]

The last couple getting hard.

[C]

I hear them, we're doing the sketch, and I go to pick this thing up, and I pick up the puppet, and it's vibrating.

[B]

It's so full, ready to go explode.

[C]

I was like, jesus. And on air, this stuff, it was like a fire hose hit this guy right in the face. Face. I was like.

[A]

And he's expecting nothing now.

[C]

Instead of a little bit like a water fountain.

[A]

Yeah.

[C]

He actually said, oh, I wanted, like a drinking fountain. Like a little.

[B]

Right. And it's just way less.

[C]

It's like it hit so hard that the puppet flew off. And so it's just the nozzle of.

[B]

The on the air show. Yeah.

[A]

Oh, I have to give you, like, speaking of all that kind of stuff, because it's hard sometimes to get all this on you when you're during a show. So you got a wig, but you did one with, like, a Hollywood type of show with Scarlett Johansson and Kristen Wiig. And Scarlett Johansson, first of all, is an unsung hero. She's kind of a sleeper because every sketch I see her in, she's great in.

[C]

Yeah, she's awesome.

[A]

Yeah.

[C]

She's really committed and.

[A]

And she kills it. And then that one was just a funny one where you two were acting like idiots. And it was just another surprising sketchbook.

[C]

Yeah, It's Hollywood dish. Yeah. It was the thing of you guys have done it where people interview you, and then while you're talking, they can't talk.

[A]

Yeah.

[C]

Going right.

[A]

And you explain that. You can't overlap it.

[C]

Yeah. So I was.

[A]

And it's like making faces, you know.

[C]

And they're mouthing words and stuff. And so Kristen and I, I think, had done press for something, and we were doing that the whole time. And then it was like, oh, we should probably write that at. You know.

[A]

Right. And you also had some different moves in it, though. So it wasn't like just that it started to change up, you know, what?

[C]

The one you saw, Probably. I don't know if it was that one, because we did that one a couple times. I don't know if you guys have ever had this happen where. At dress, there was a thing where I'm drinking a Slurpee and someone says something shocking, and I go and I like, throw the Slurpee full giant Big Gulp right into wig's face, and she just has tons of Slurpee over, and then I throw a thing on her head. So we did it at dress Perfect. Of course, on air, fully miss her. It goes in front of her. Doesn't hit her at all.

[A]

Oh, my God.

[C]

And I can. The only sound and doesn't get a laugh because everybody was like, oh, something went wrong. And I can hear Lauren. It's so bad when you're at home base. And I can hear Lauren under the bleachers going, oh.

[B]

Terrible. And didn't Kristen break. Did she.

[C]

She.

[B]

Did she break on that sketch?

[C]

No. No, I don't.

[B]

Didn't.

[C]

No. There's.

[B]

So there's another one. Maybe.

[C]

What you see now is dress like.

[B]

See, he was like, okay.

[C]

So when I got done, he was like, west coastal sea dress. Oh, good. Okay.

[A]

Well, you did a spit take in her grill, too, which was hysterical.

[C]

Yeah, yeah, yeah, yeah. You realize those are all the things that work, you know? And I'm like, oh, I'm gonna have these really cerebral, weird things. And it's. Right now what works is spitting into someone's face.

[B]

Funny. Funny with the sound off. Never.

[C]

Perfect. Exactly.

[B]

What about her?

[A]

Welch.

[C]

Oh, that was based on a. That was John Mulaney, and I wrote that. That was.

[B]

A guy we all kind of know in a way. The guy retired a long time ago. The. The video. Yeah, I was on a field.

[C]

Yeah. YouTube video where the guys. They got an argument on air, and they were like, what? What'd you say? Yeah, that one was also from the combination of that. And then I was having to play. I always got cast as, like, reporters or game.

[A]

Why is that funny?

[B]

Phil Hartman was our guy doing that.

[C]

You know, I was always the guy that was like, we need a setup so they'll put me in. Going like, I'm here now at this school. You know, whatever. Yeah. So we were rehearsing with Emma Stone and for that sketch, and I had a microphone, and I was just, like, hitting people with it.

[A]

Hitting her in the face.

[C]

I was hitting her, and I was hitting a wig and just fucking around with it. And then again, I'm not. I go, oh, that's fun. And Mulaney was like, we should maybe write that up.

[A]

Oh, yeah, that could be.

[C]

Like, he was the guy that would go, what if we did that as a sketch? And I was like, oh, oh, is that what we do here?

[B]

Okay.

[C]

Yeah.

[A]

Emma again, good in that. And everyone was good. And then you go over. But I. Did you only do that once or did you that a bunch?

[C]

A couple of times.

[A]

So funny.

[C]

We did it with.

[A]

I Saw Emma.

[C]

And then when I hosted the first time I did it.

[A]

Oh.

[B]

Actually, it has an improvisational vibe to it.

[C]

You know what the funny thing about Herb Welch was? This gave me a really interesting insight into TV critics, was there was someone who would write. Because when I was there at the after party, everybody's on their phone, people are writing about the show.

[A]

Wow. We did not have that.

[C]

Yeah. So we would all. Everybody is at their table going, so and so at this site. Hates it. So and so.

[A]

Oh, that fast. Wow.

[C]

Seven out of ten on the AV Club.

[A]

Couch potato dot com.

[C]

You're just like, oh, my God. And. And there was one guy who would do a scorecard every show. Everybody would read the scorecard. And he, at the end of the season, did his year roundup, and he was like, favorite sketch, least favorite sketch. And his least favorite character was Herb.

[A]

Well, no, he doesn't know shit.

[B]

What an idiot.

[C]

This is terrible. It's racist and misogynistic and terrible. And I'm like, well, he's like an ancient asshole. I don't think it's pro that. Yeah, the sketch isn't pro him, but.

[B]

He'S a grumpy old man.

[C]

Grumpy old man. But then a year later, I was doing press for something, and they brought a guy in, and it was the guy. So I'm talking about another thing with him. And then as he leaves, he goes, hey, can I tell you what character of yours I really love? I love her. Welch. What? What? I go, all right, wait a minute, man. I gotta be honest. You said he was the worst character in the. You know, that year or whatever. And he goes, yeah, yeah. A guy I work with read that and was, like, kind of bummed out. And he goes, no, you should check it out. You know, really watch it. And I watched it. I was like, oh, yeah, this is good.

[B]

So we're suffering.

[C]

That kind of gave me a whole. I was like, oh, this is how it is with this show. You know what I mean? Like, it's like. It's. It was like that day that at that moment, the guy Hated it. And now a year later, he's like, oh, it was really nice. And then the opposite will happen. Or someone. The thing they love. Then you run into them. They're like, actually, I watched that again. It doesn't age well, you know, or whatever. Yeah.

[B]

Well, isn't it fun? I just said about. Because I saw it this morning, too. Just seeing it again, which I love when I saw it. First of all, it's. It's low energy in a way. Like, it's. It's the opposite of the firehouse incident. Yeah, it's getting huge laughs. So then you have the task of. I don't know if you could do it now, but Kristen Wiig is trans or something. And then you go. Herb goes with the mic over her body.

[C]

Yeah, yeah.

[B]

Oh, over and over that, like, did you. Was that choreographed? Like, I'll do bump, bump, bump, bump, bump. Because the crowd's going crazy. Are you going a little bit more on the air show?

[C]

Because I think probably a little bit more. I started laughing because when I hit her in the crotch, wig made a sound.

[B]

Right.

[C]

So then, yeah, she did a little sound, and I started laughing.

[B]

So you looked away a couple times.

[C]

I looked away because she went.

[B]

So instead of breaking in front of the crowd, you just. Just looked away and came back for.

[C]

A second because she was. But, yeah, you're right. We probably. Yeah, you couldn't do that now.

[B]

Well, a lot of it. Yeah, we.

[C]

A lot of those. Yeah, a lot of stuff.

[B]

I had ching change, you know, in 1988.

[C]

There's stuff Downey wrote for us that. No. Even at the time, I was like.

[B]

You couldn't do it.

[C]

Jesus Christ. I don't know about this. All right.

[A]

I like when Downey goes. There's just something in the.

[B]

Like, there's something about. There's something very. Something about.

[A]

It's very precious. It's a little too precious.

[B]

There's just something very funny about.

[C]

See, when. When you say this line, you want to go up. And then when you go. This one now, he's kind of. He's kind of this thing. Yeah. Act it out with you and get.

[A]

It's that whole thing. It's just more the idea. Yeah, I know.

[B]

He was good with rhythm.

[C]

Yeah. I mean, I. You know, I really like Downey, but, yeah, he. Yeah, he would really go. It was. You know, he goes someplace.

[A]

He was always goading me on Hollywood Minute to go harder. He goes, you're a.

[B]

You're a.

[A]

You're not doing this. Don't act like you're doing it. And I go, I'll do it. And he goes, no, you won't. Don't even talk about it. And I'd sit there and go. I go, first of all, you're the guy that's gonna fire me.

[C]

Yeah, exactly. And it's like, you don't have to go out there.

[A]

He's my boss. And then he wants me to do it, but he'd be like, hey, bad news, I have to fire you over that joke.

[B]

He's the one.

[A]

I would say, dana, I'm just jumping around. But when you said.

[B]

That you were.

[A]

Good the last year, when you were telling everyone you were really good on the show the last year, earlier, last two, three, whatever. I'm joking. But. But you got more relaxed. And I think the idea of that I wanted to jump in from 10 minutes ago is that I think you guys are in the same spot. Maybe not as much Dana or Bill, but I never knew if I was coming back. And every summer he'd say, I don't know if he's right for the show, but, you know, we don't know if we're gonna bring him back to me about me. And then they would at the last minute. And so you can't relax in that situation. And that's fair. It's a business he doesn't know. And if he wants to cut me like a baseball team, he doesn't want to have a long term deal. So I'm, you know, going check to check, going, if I don't get on for three shows or don't score, this is it. It's curtains. And so maybe you were possibly in that same position where it's your last year. You don't really care because there's no high stakes anymore. You're going anyway.

[C]

Yeah, I mean, I will also say, and you guys had this. I mean, you did. Tommy boy and Dana, What? You were doing Wayne's World. Were you still on Wayne's?

[B]

Yeah, I was on the show. Wayne's World came out.

[A]

Yeah.

[C]

Those are huge. I mean, did that give you guys a bit of confidence? Like, oh, yeah, boy came out. We were like, because it helps, Rod. After my first. And I was like, well, I was in a movie.

[B]

Yeah.

[C]

They won't cut me.

[B]

Andy Samborg.

[C]

I feel like there's some stock in me. Even if the movie didn't do well, they put me in a movie, I guess. Yeah, I was really naive too, you know?

[A]

Yeah, I, I, I, I know what you're saying. And I sort of did And I think it was right in the Hollywood. It was probably three years. I was on six after three. When I got to four, I go, I think I'm going to push this through now. I was held as a feature player longer than Schneider, Rock and Farley and Sandler. So I had an extra year. So I'm like, maybe it's just not for me. I mean, I'm not a big character guy. So I sort of saw what they saw. And I go, I can score maybe here and there, but I'm not. I'm not a full utility player like they need here.

[C]

That's so funny you say that, because I was. I was watching, you know, massive fan during those years, and it seemed like you were very much.

[A]

I have Fox.

[B]

Michael J. Fox, casual.

[A]

Oh, yeah. Hey, Sharks. What are you doing here? You know, here's. Here's my new one. Daniel Day.

[B]

I love that so much.

[A]

From There Will Be Blood. This is. Is my shot and partner. Hw. That's pretty good. Dana.

[B]

I have a competition problem. I have competition failures. I should win. You. You did that. Speaking of that, Drink your milkshake. I love that.

[A]

Daniel.

[B]

Play View as a sketch. Can you give us. You want to go into it for a second?

[C]

That was like, you know, the thing that you need to get into it.

[B]

Yeah, yeah.

[C]

Like, all day I was going, I'm an oil man. I'm an oil man.

[B]

That's perfect.

[C]

That was the other thing that drove me nuts. The writers. It was like.

[B]

It was like nuts.

[C]

It's like, this is down in, you know, Milwaukee, Wisconsin. And it's like, I'm doing a voice, so I'm working on saying Milwaukee, Wisconsin. And then for some reason, they change it to Kenosha right before air or something.

[A]

Where.

[C]

And I go, kenosha. Change it to Kenosha. And it was like, oh, we just liked Kenosha. And I was like, I'm doing a voice.

[A]

I'm locked in.

[C]

I'm locked in kind of mallet. It's not malleable in a way where I can just start riffing in it, you know?

[A]

Yeah.

[C]

I don't know if you ever had shit like that. We were like, of course. It was like all these weird lateral moves at the last minute that would throw you. And then they're like, you blew it.

[B]

Just do one phrase and repeat it. That's. That's the key. I. I never.

[A]

That's me in the bathroom before the sketch. You just go in there and you go, have I prepped enough? You're like, it's coming up. Have I been around? Are we at Wally and Joseph's? Are we bullshitting in the writers room? Like I gotta go lock in and go, okay, I'm going out there. I don't want to go. Sometimes I'm out there, even in stand up. Sometimes you're in the middle of your show, you go. I just, I was in a groove because I've done so many shows this week, but I didn't go over it right before I went on and just think like, okay, what am I going to walk out? You just gotta.

[C]

Yeah, it's fear of like being on national television going, wait, what? Yeah.

[B]

Did, did you. Yeah. Really? Seriously, I don't even know what I'm reading. Did you do cold openings? I mean, because I had a lot of those right to the camera.

[C]

I did one cold opening.

[B]

Those are the worst pressure wise.

[C]

I hated the cold open. I did one that Downey wrote where I was Spitzer, Spitzer, Governor Spitzer. And it was me talking for, you know, seven minutes.

[B]

Yeah.

[C]

And I just, I just after that was done, I went and just was like, I don't think I can do that again. That was like. I really was, I was terrified.

[A]

Is it there not that many laugh lines in it or. We just, it was just too much, too much dialogue.

[C]

It's just. Yeah, it's just like, it's. And it's. I love Jim. I love Jim so much. But it's dry. You know, it's a. You're starting off the show doing like this dry thing. It gets laughs.

[A]

They're ready to laugh.

[C]

They. It is. They are pumped and excited and the band's playing and it's like 10 seconds, 5 seconds. And then you come out with this thing that, you know, the first four minutes of it is kind of like.

[A]

Set up and here's a dry bit. Go.

[C]

Yes. You know, and I love. But it worked. It got it. It's by the way, really funny. But for my anxiety, it was like the first four minutes of this is like actually not. Has no jokes tough, you know?

[B]

Yeah.

[C]

You had to do that shit all the time. Dana. I feel like I.

[B]

Well, first of all, I just want it. For SNL listeners, the, the cold open is when the studio is just getting ready to do the show. Someone screams out 10 seconds, 5 seconds. And then, and then the studio, the rest of the show, there's ambient noise of them moving stuff around while the sketches. It's the only one where this, the whole studio goes dead quiet.

[A]

True.

[B]

If this doesn't go well, the show has to dig out from under it.

[C]

Yeah.

[B]

You know.

[C]

Yes.

[B]

So the. It's the pressure spot. I had a lot of props, and I just started waving my arms a lot. Got a dang and gabbity that, you know, to survive.

[C]

Those. That has, like, an energy to it.

[B]

Yeah. It had high energy.

[A]

Makes everyone have fun.

[B]

Yeah.

[C]

And then by the time you're doing bush and stuff, the minute would come on. We were always like, yeah, but it was like a big character. But it was. When it was a thing, like a topical thing.

[B]

Yeah. And Elliot Spitzer was not as. You know, it was only a. It was a good story for a week, and no one knew what he talked like.

[C]

It was. You know, I think after that, I was in cold opens, but it was like bring you to congress hearing.

[A]

Yeah.

[C]

There was one time I had to go into the booth because I recorded a. A thing for the pre tape, you know, the scroll. Like, you know, this week in Alabama, blah, blah, blah, blah, blah, blah, blah, you know?

[B]

Yeah, yeah.

[C]

Whatever current thing happened. And they ran to me and they go, the tape's not working. You got to go do a live. I ran into the booth, put my headphones on, and it's just everyone yelling and screaming, Is he in the booth? Is he in the booth? And I'm like, I'm here right now. It's like, all right, ank up. Now we're live.

[A]

Oh, that Don Pardo booth over there.

[C]

Yeah. And there's no scroll the script, and I'm reading over black because something went wrong. So I'm reading over black. I'm trying to remember what I did. I did it Thursday. Wow. And I'm going, okay. I do the whole thing like, Jesus Christ.

[B]

Yeah.

[C]

And I. The sketch starts, and I go to sit down. Pardo's in there.

[B]

Oh, Don Pardo.

[C]

And Pardo goes, get off of me.

[A]

Get off of me.

[B]

Bill Hader, the great Don Pardo. Get off my foot.

[C]

The whole time I was doing that, he was. Was just sitting on the thing in that small booth, and I didn't see him because I was so freaked out.

[B]

And then I was.

[C]

Oh, Jesus Christ. Oh, God, I'm sorry.

[A]

It's like he's on the toilet, and you sit on him.

[B]

You're, like, hysterical. Rob Schneider, Jim Belushi.

[A]

Jim Belushi.

[C]

You've heard that, right? No. Oh, yeah. Someone underlined Jim as a dick move to Jim Belushi.

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[B]

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[B]

Quince.com fly we can't do everything about you, but we should should say, should we talk about Barry or your. I, I think I, my wife did not realize that you went into Second City and was discovered in a backyard doing improv. So that might be interesting for a second. But your trajectory to SNL was sort of interesting in that way. And then your story on SNL became fascinating because you are a hall of famer.

[A]

Yeah, you're a first ballot hall of famer.

[B]

Put it this way, Bill, this is what I say to people. If someone said to me Bill Hader was the greatest of all time sketch and snl, I wouldn't slug them in the face.

[C]

That's really sweet.

[B]

I would have to thank from you guys.

[A]

Yeah, you had a great cast though too. You were surrounded by solid Kristen Wiig.

[B]

Andy Samberg, Jace, Will Forte, Fred Armerson, Amy Poehler. I mean Seth Meyers, Daryl Hammond, Jason Sudeikis are your bandmates.

[C]

I mean, yeah, yeah. Maya Rudolph was there. It was crazy. Yeah, I was Keenan Thompson. And Keon Thompson is actually the guy that I would sit. He would do these. What up with that? Sketches. And I was so anxious on air. And I would sit and watch him do those because I was. I had no lines in those sketches. And I would just sit there and think, like, I just need to get to be like that. How can I get that loose and have that much fun on air? Look how much fun he is having.

[A]

He does the same.

[B]

I agree. I agree. I don't think I ever got there. He has. He's like, behind. His joy is just right behind his eyes and sort of in his.

[C]

You just feel it when people talk. I was like, Kenan Thompson was the guy. I was always. He would do update. I would go out on the floor to watch him do update. Because I was just like, he's just such a.

[A]

Bill.

[C]

He's such a. It's Keenan.

[A]

Do you have to take that?

[C]

Keenan going like, what are you saying about me? No, but it was just. He was just one of those guys that when I would of. I would just. I was always kind of knocked out by how loose he was and how much fun he had. And we would be in sketches together.

[B]

Yeah.

[C]

I was like, God, he can just knock this out. It was kind of like what you were saying earlier. Like, you throw anything at him. He never seemed thrown. He was just a pro and lovely all the time. He's one of those guys. He could be bullshitting with you about something totally innocuous. And then you go on live television and he destroys it and then comes back and he picks the conversation back up. I love. I'm like, you know, yeah, you gotta get ready. Did you.

[A]

Did you guys ever hear that? You guys weren't that good? Because obviously now you look back and it's always different eyes, pretty all star.

[C]

I want to say the Washington Post or something wrote a review my first season that was like, who the fuck? Like, me and Sudeikis and Forte were interchangeable.

[B]

Who do you think you are?

[C]

Yeah. This is terrible. And living in New York, too. You didn't. You know, people would just. I remember a guy in a cab driver when, hey, yes. And now you suck.

[B]

Everybody has the cab drivers.

[C]

Yeah. Or like, you know, you go into a deli and the guy's like, they don't use you. Why don't they use you? They don't use you anymore.

[A]

They haven't even watched for two years. Yeah.

[C]

Yeah.

[B]

Everyone wants to get you bitter. Yeah. Your relatives, everybody, buddy. They don't use you.

[A]

I go, I get a. Guys go, hey, got any movies coming out? It's like the dumbest, easiest question. I go, ah, no, I got. They did that wrong, Missy. I didn't see that. Anything else? I go, well, it takes a year to shoot it. It takes a year to come out.

[B]

Yeah, it takes a year to get another one.

[A]

And I'm like, so you missed this. You're five years behind. He's like, yeah, what else?

[B]

He actually said, the guy works at a deli.

[A]

Where's Chris Pratt been?

[B]

You never see him anymore.

[A]

I got go. He was in Jurassic World and the raccoon one.

[B]

And he goes, oh, yeah, I didn't see those.

[A]

I go, well, why am I going by you?

[B]

Who the fuck you're giving Chris if.

[A]

He'S not doing well?

[B]

No one is.

[A]

My God.

[C]

I didn't see Koda. Tell me about coda.

[A]

Is that the deaf one?

[B]

Is this Chris Pratt in that?

[A]

See, he's not in shit.

[C]

Does he play coda?

[B]

You know, I saw you on Saturday Night Live. I thought you were a woman. I saw that woman character guy thing he did.

[C]

I got you a woman. Hey. But the one I always got was, why don't they use you?

[A]

I know one of the issue.

[C]

I.

[B]

Because when I'm in a wig, you.

[A]

Don'T know it's me. Oh, yeah, yeah.

[B]

Hey, is that show live? Do you really take that live?

[C]

And then for a while, it was like, what's Kristen Wiig situation?

[B]

What's her situation? She a nice person? What's his situation?

[A]

She's stuck up.

[B]

And what's up with Dale Hammond?

[A]

Is he stuck up?

[C]

You think he'd be my friend?

[A]

He looks like a friendly guy.

[B]

I fancy myself on that show once in a while. You know, I do a cactus with my friends. Anyway, what do you want? Good luck. Luck with that. All right.

[A]

All right, let's wrap it up with.

[B]

Let's talk about Barry.

[A]

Oh, Barry, real quick. Really quick.

[B]

I'm kidding, barry. Everyone loves it. 30. I mean, I mean, it's a. It's an unbelievable show. It really is. It's shocking. I mean, you're this sketch player. You're so brilliant at it. You do the voice. You do Cloudy With Meatballs this and that, and then I hear you're gonna do this. I like, huh? What'll that be like? I was like, one of those guys. What are you going all drama for? You fucking funny. But then the show is brilliant, and you're brilliant in it. And the first show, the first season where your character comes in and watches the acting class and you're not saying anything. Just in that moment, it was like the show just completely hooked me right there.

[C]

Yeah.

[B]

You know, and of course, because I like, like people like your cast, you know, Stefan Root, I mean.

[C]

Yeah, yeah.

[B]

So great. Sarah Goldberg. Anthony Carrigan is amazing.

[C]

Anthony Kerrigan is noo. Hank. That's what.

[A]

Yeah.

[B]

No ho.

[C]

Hank. Really love. Yeah.

[B]

And of course, Henry Winkler is so brilliant. So congratulations. Hank Winker. You had. It's Hank Winkler. I'll say. I haven't. You know, the nicest guy in the world. I'm at the Improv in 1981. I do, I think a mediocre set. I go outside in the bar. I've not been on TV or anything. I just hear a voice behind me going, stella, Stella. It was a Stella performance. And it's Henry Winkler.

[C]

Smooth as silk. You landed all your jokes.

[A]

Oh, he's so just looking nice. And that was him and Ronnie talking to you. You must have shit your pants, Dana.

[B]

Yeah, it was Henry Winkler. It was a big, big deal to. For him to give me that at that moment.

[A]

Scado there. Be honest. Sorry. That's from Happy Days.

[B]

Friedman was. Take it outside.

[C]

Not the hall.

[B]

Take it outside. So what. What do you so very thing. What do you want to say about Barry?

[C]

I think today the trailer, the. The official trailer came out.

[A]

So today this comes out in two years. Bill, is this one where you direct all of them?

[C]

No, I directed five of them. And yeah, so I really love directing. That's like. I love doing that. It's so much fun. But it does. It's this weird thing where people are like, oh, how do you act and direct? But you kind of write a character that doesn't talk a lot.

[B]

So I have to worry about that.

[C]

And then when I get the lines, I forget them.

[A]

It's hard to do it all. I can't even fucking act. I can't do anything.

[C]

Actually being on SNL was, you know who was. Was actually Chris Brock was the guy I was talking to. I was like, yeah, I might. I want to direct at some point. I asked him because he directed and he goes, if you could do snl, you can direct because you have to.

[A]

You sort of direct your sketches, right?

[C]

You saw your sketches?

[A]

Yeah.

[C]

So when we did the pilot for Barry, me talking to, you know, you know, heads of departments and props, I kind of knew I had confidence in what I wanted and stuff. But that was totally from snl, from Doing that.

[A]

You know, it's hard when they go, what kind of drapes do you want? You're like, these are. These. And you go, I'm just worried about the jokes. Yeah, you're good at going, that one.

[C]

This one.

[A]

You got to make a hundred of those a day. Yeah.

[C]

All day. And then. And then they go, well, the ones you pick now don't work. And it's like, okay, well, which ones do you work? Oh, that's great. Love it. You know, whatever. Yeah. But I think having.

[B]

Being.

[C]

Having that confidence, and I think the thing that SNL did, I don't know what you guys feel about, but took that, like, romanticism out of, like, creating, you know? And it was just like, we had to do a show on Saturday. So it was kind of like there was no. I have to go look out a window and write in my notebook. It's like, no, we gotta. We're, like, under a table up on the 17th floor, eating pizza, scribbling real.

[B]

Quick, you know, or reading shit in.

[C]

The bathroom, going, okay, I gotta go do this on national television in five minutes. You know?

[B]

So everything seems downhill after that.

[C]

Easy after that. Yeah.

[A]

Bill, I have a director question sometimes, because I don't. I've never directed anything, and I wonder when the director yells action. There's a times. There's some sets I've been on where the first ad yells action. I don't like it. Yeah, I think to be a director, the only thing you want to do is yell action. That's the whole fun thing.

[C]

I actually, I. I totally get that. And I've been on those sets, too. I actually have, like, my first ad. Sometimes you have first ads, and they're kind of like, you know, you work well together, but you're not partners. I have this guy, Gavin Klein, Top, who I is, like my partner in the thing. He's like a. He's amazing. He's also a big film geek. So, like that episode you were talking about, Dana, where you don't see the guy. I can explain to him, like, the Karate Girl episode and go, this is the coverage.

[A]

I'm thinking.

[C]

He goes, I totally get it. You know, I'll figure out how to make that work. So he says it. He does say it. But also, I'm in scenes, and there is a thing when you're working with people and you're in the scene together, a thing that I've been doing that all the actors are like, can you please stop doing it? Is because I'm writing this stuff, too. Is I'm mouthing the word.

[A]

Yeah.

[C]

Can I.

[B]

Can I tell you who else did that? Johnny Carson.

[C]

Really?

[B]

When I was first out in the thing, because you do the prep interview. And so I would see his mouth moving along. You know, I'm going, isn't that special? And Johnny's going, yeah, same thing. So, wow. How did you. Do you get rid of that? Or.

[A]

That was.

[C]

Henry was very sweet, like, Bill, you're doing a great job, but froze me a little bit. It. When you're mouthing along with me, especially in some of these more intense scenes, I'm like, oh, I'm so sorry. Yeah, sorry. So, yeah, it is like, you know, Conan does that a little bit. When I remember being on Conan.

[B]

Conan. Conan. Yeah. Conan. Conan will do it again. I didn't want to say Conan because he's a good friend. No, no.

[C]

Someone who does it, you know, But.

[A]

But listen, when you look at that old. Not to bring it back, that one Gap girls lay starving. I'm so scared it won't do well and it won't do as good as dress. I am mouthing along, really. And I didn't really heard someone say that before, but now that you're saying it, I go, you can see it.

[C]

In the sketch because you're so in.

[A]

I want him to nail it so perfectly.

[C]

And I'm like, nail this and please make sure this works. You know, And I think everybody kind of thinks like, we're just having fun up there, but it's like, there's so much pressure.

[A]

But I didn't know I was doing it, and probably you didn't know I.

[C]

Had no idea I was doing it. And I've had Steven Rood and Henry Winkler both said, everyone with a call sheet, please, please stop mowing along with us. And I'm like, I am so sorry. But it is. You're just so locked in to, you know, what's happening.

[B]

Do you, like, one hallmark of a show that's really working is that every. There's no weakness. Like, every actor on Barry seems like that's the person that had to play that part. And they're so good. So you, psychologically, with all your experience, do you change your directing style depending on who you're talking to in terms of, like, that little note right before you go, trying to give them confidence.

[C]

Oh, yeah. I mean, like, Steven Root and Sarah Goldberg are theater people, you know, like, very theater trained. And so, okay, they come in pretty prepared. Sarah especially, like, she is super prepared. So it's like, gentle, like, maybe have like a little private moment in the middle of this or maybe try this. But.

[B]

Yeah.

[C]

And then, you know, Henry is. Is kind of free flowing kind of, you know.

[B]

Yeah. So you emotional.

[C]

And so he's kind of. Oh, he needs more, you know, like, we did a scene this season where he. He has to enter it really angry. And so he was like. I could see him being angry and stuff. And so he was taking a broom and throwing it on the ground and was like, oh, good. Can make sure props has a broom there for him. We'll never see it, but he needs something to just kind of go smash something and then enter the scene, you know.

[B]

Oh, okay.

[C]

And, you know, stuff like that, you know.

[B]

Yeah.

[C]

And then a lot of it is you try to stay out of their way. But then I do in that way of, like. Because I'm also acting in it. It's a thing I've had to try to reign in as I can't help but be like. Like, you know, and this is also. At snl, I had no problem if it was a sketch. I am like, you know, it's more like we were saying about Downey, you know, it's more like the rhythm is this.

[B]

Yeah.

[C]

Actors don't like that. You know what I'm saying? At snl, I didn't have. I don't know about you guys, but I had no problem going to Andy or somebody and going like, you know, it's.

[B]

Yeah.

[C]

You know.

[B]

Oh, yeah. And people.

[A]

What.

[B]

People would ask for it. If you were the writer of the sketch, I would ask, like, well, what are you thinking here? You know, what do you. Yeah, we did the ca.

[C]

Which is one of the hardest. The. That's John Malanei's favorite sketch we ever wrote. It died at dress. But the whole.

[B]

Yeah, I know.

[C]

Is rhythm.

[B]

Like, the whole thing is rhythm. The whole thing is nothing else.

[C]

There's nothing else to it but rhythm.

[B]

Casey K. Some father. Son. Son.

[C]

Yeah, we did it at Largo with you. Yeah. You were there. Yeah, yeah.

[B]

And we, We. If the audience doesn't hook the premise. And sometimes at SNL, just gets lost that first 30 seconds. What is going on here? And then it just, you know, but it was a quiet sketch and very dry. But at Largo, we really set it up.

[C]

Yeah. Yeah.

[B]

We had him on our side.

[C]

Surprise. And that. My. Yeah. But, yeah, the point. Yeah. That thing on Barry is like, you can't go, hey, the rhythm is this. This.

[A]

Yeah.

[C]

People will go, yeah. Please don't tell me how to.

[A]

Some people literally Go give me a. Give me a line reading.

[C]

Yeah, sometimes that'll happen. Not so much on Barry, but sometimes Henry will be like, just tell me how you want me to say it. But yeah, everybody's a little different, you know, and mostly I just know, you guys know from acting and things. The biggest thing I think is actors just don't. They don't want to look like idiots. They don't want to look foolish. They want to make sure they want competence. Like, I've never understood.

[B]

That's it.

[C]

I've worked with directors that their whole thing is kind of brow beating you.

[A]

Yeah.

[C]

Weird. Never understand it. And so to me, it's just like. But at the same time, smart actors can kind of sniff out if everything's great. That's not good either.

[B]

Yeah.

[C]

Where it's like, beautiful, beautiful. I love it. I love it. People.

[B]

Yeah. Fred Wolf would always go, oh, that's great. That's really great. Really great. Oh, that's just incredible. You know, you might want to just try this one thing, which I, I appreciate that about him. I was never in a movie with him like David, but I think that that is the challenge of being a director. What I had a director would give me 10 notes between takes. 10, 10. And I was just like, it turned into nothing.

[A]

More energy, Less energy.

[B]

Yeah, yeah.

[C]

Or people being like, you know, very precious about the words. You know, I could see sometimes of an actor's like, like, you know, struggling with a line. You can go, just say it and how you would say it. But here's the, the information that we want to get across is this, you know.

[B]

Right.

[A]

I've been locked into lines. They get really mad if you change one word. What's that one word? Where you do what you're doing and they. Yeah, they change. If you change one word because it sounds more real. And they go, no, we gotta do the whole thing over. And you go, what happened? You go. You flip these two and you go. It's the same exact thought. I get, I get it's your writing.

[C]

But no, I had that once on a show or movie where the writer was directing and came over and was like, you know, there's a comma there for a reason.

[A]

And I was, yeah, exactly.

[C]

It's not that good.

[A]

Yeah. Trying to spice it up.

[C]

Trying to give it. But, you know, as long as the, the general thing is there, you know, I don't. I'm not, I'm not that. That stoked on if we can kind of find something better. Yeah. Sarah Goldberg and Anthony Kerrigan especially are two people who can come in and make. Will come up with lines or say, Anthony will just improvise it. But Sarah was like, hey, I was working on it and I was thinking maybe I could say this, this and this. And I'm like, oh, yeah, try that.

[B]

You know, that's perfect. So it's not over rehearsed and they.

[C]

Could just do it in a way and then. But then. Yeah, you know, I've done this too though, where you improvise a thing and it's like, now we're getting way off course.

[A]

Yeah.

[C]

Story is this. You guys are going over here. Can we. You know, so it's like, it's like a nice balance, I think of that, you know, with people. But I do think when you're acting with people, it's hard because they're scene partners telling them what to do, you know, so that's always. I'm always very conscious of that, you know, when.

[B]

Yeah. I wonder, have you done a Woody Allen movie? I guess no one does it anymore. But, you know, he's. Sorry to be facetious. Yeah. Because.

[A]

Andre Previn, John Kuzak told me.

[B]

Once, he goes, you know, it sounds like you're, you're acting, you know, so you should try to make it seem like you're not like just acting, you know, because.

[A]

Oh, that was a note.

[B]

Yeah, but it's maybe the writer. But he's maybe the writer, which would be me.

[C]

No, you have a wonderful.

[A]

You're a beautiful, intelligence, intelligent woman.

[C]

Yeah. You're a beautiful, intelligent boy.

[B]

But talk about a writer director. So it looks like if I had to guess, you'll. You'll do whatever seasons of Barry and then you'll. You'll be out off on the reservation being a film director, which you dreamed of at age, at age 10.

[C]

Yeah, yeah, yeah. Pretty much. Yeah. But it's fun, you know, it's been the weird security road to the thing that you always wanted to do.

[A]

But it's fun how fun that you get to do a show and you get to be in it and what a blast.

[B]

And it represents your sensibility, what you want. You're working with like minded people. Your partner, Alex, you know.

[C]

Yeah. And you, you know, it's dark and this season especially is incredibly, you know, brutal at times. But I don't know, it's nice to kind of have that. That in it and it just feels right again. It's that instinctive thing. It's like we're talking about death and people getting murdered and stuff.

[A]

Yeah.

[B]

I. I wondered about that watching season one and season two. The darkness and the lightness and the comedy beats, you know, right on the edge, you know, you must have been thinking about that as you go along. How funny can this be before it takes us away from the story? Always threading the needle with that. But, but, but doing it beautifully. It's working, you know? Know.

[C]

Yeah. This season was definitely like, oh, let's push that maybe a little bit when you're trying to be honest with what the. The material is. But sometimes I wonder if it's just getting older. You see friends getting older, people are dying.

[A]

Yeah.

[B]

You want to go darker. Yeah.

[C]

You know, life happens, and it's like, oh, if I'm going to do this, we should be kind of honest about it. Where I. I feel if I did the Show in my 20s, it'd be a little bit more glib.

[B]

Right? Yeah. It's an inevitable trajectory as. As life beats you up, bad really happens on this planet and to everybody.

[C]

Wow.

[B]

Wow. Well, anyway, we're finished with part one. We're gonna take a short break. Our guest today is Bill Hater.

[A]

Bill's like, oh, Jesus Christ, Bill.

[C]

I had a.

[B]

Bill, do you have anything more you want to say? Because we loved having you. I had a great time.

[C]

Oh, man, it's, like, awesome being here. And. Yeah, man, it's crazy. I. I'm being genuine. It's very cool getting to talk to you guys. I'm still. Yeah, it's just awesome.

[B]

Well, we're. I'm up on the ladder from you. I'm up. David's a half step down from me, and you're the other way down, so. Thank you. I. I'm an elder at this point, which is great, but look how fit I am. I mean, it's. It's amazing. My.

[A]

My energy.

[B]

I look startled.

[A]

Amazing.

[B]

Yeah, I know you can't see it. Listen, no, I feel good. I'm working on a scripted podcast with my sons, which is so much fun. It's like making a movie. Very difficult, just all voice acting and effects. But I'm having a blast doing that. It's called the Weird Place. David, a little plug before we go. This be our biggest episode.

[A]

Oh, yeah. Go on the road and watch me. David Spade. Dot com. No, I'm kidding.

[C]

Dana, wait. Do you know that your son. Your impression of your sons is the Californians?

[B]

I was flattered that Fred Armisen told me that. I. I thought it could. I mean, I feel that voice was in the ether, but it was pretty much all we're gonna do today. Yeah, yeah.

[C]

It's you impersonating your son. And. And then the first ep, first time they did that sketch, he was doing a different voice.

[B]

Okay.

[C]

Oh.

[B]

And then he switched it out.

[C]

Oh. And then addressed. He came out and went, wait a minute. And we all were like, if you see it, I think it's online. Kristen and I are going, what is he doing?

[B]

What is he doing? That's what.

[C]

And we both lose it.

[B]

That's where that sketch, when it first hit me that you were. You were all going to do that voice and then talk about how to drive around la, that has hit me like a ton of bricks. It was so fucking. I'm going to take Fountain and I'm going to take.

[C]

That was a bit we did when we would come back from LA and you would be at the table waiting for Lauren to show up on Wednesday.

[A]

Yeah.

[C]

And then everybody would go, hey, I just went to la. And it's like. And then someone go, how'd you get there? It's like, well, I took four or.

[B]

Five, but to do it with those voices. No, I'm gonna take 405.

[C]

No, that's your. Your impression of your son is the voice we're doing.

[B]

All right, I'll take that.

[A]

Hey, guys, if you're loving this podcast, which you are, be sure to click follow on your favorite podcast app, give us review, five star rating and maybe even 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 and 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 by.

[A]

Phil Sweet Tech booking by Cultivated Entertainment.

[B]

Special thanks to Patrick Fogarty, Evan Cox, Maura Curran, Melissa Wester, Hillary Schuff, Eric Donnelly, Colin Gaynor, Sean Cherry, Kirk 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-Y dot com.