RE-RELEASE - Fred Armisen

Summary

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Fly on the Wall with Dana Carvey and David Spade

RE-RELEASE: Fred Armisen (July 1, 2026)

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Episode Overview

In this fan-favorite re-release, SNL legends Dana Carvey and David Spade have a sprawling, hilarious, and heartfelt conversation with Fred Armisen—comedian, musician, and longtime Saturday Night Live cast member. The trio dives deep into the realities of working on SNL, Fred’s path from drummer to sketch comedy star, inside stories from the show's golden eras, the beautiful (and awkward) absurdities of comedy, and the magnetic role of music in Fred’s life and performances. The episode is equal parts behind-the-scenes storytelling, mutual admiration, deep dives into music nerdery, and classic comic riffing.

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Key Discussion Points & Insights

1. Fred Armisen’s SNL Ethnic Range

• 03:40–05:40
  • David and Dana reflect on Fred’s unique “international” comic range on SNL.
    • David: “You had the widest range of ethnicities… you could play anyone from all over the world. What was that about?”
    • Fred: “My mom's Venezuelan, my dad is half Korean and half German… they're immigrants. I think somewhere in there, as far as DNA goes, that's how it worked.”
  • Discussion on the evolving landscape of character work and cultural sensitivity on SNL.

2. Navigating SNL: Cast Dynamics & Changing Times

• 05:49–09:25
  • The hosts discuss the all-star SNL cast Fred was part of (Maya, Amy, Hader, Sudeikis, Samberg) and how the comedic environment has shifted over time—what sketches they could “get away with,” expanding boundaries, and the pressure of “feeding the nest.”
  • “I call them bandmates. Your bandmates… you guys could get away with a lot in 2005.” —David (06:08)

3. First Years & the SNL Machine

• 09:31–16:45
  • Fred’s path from being “lucky just to be there” as a feature player to full cast member—enjoying the progression and feeling the pressure ease off as familiarity grew.
  • Fred on being a feature player: “It's okay if on a couple of shows I play an elf or something… I kind of liked easing into it.” (15:46)

4. Transition from Music to Comedy

• 16:51–20:56
  • Fred details his journey from full-time musician to comedian:
    • Making quirky VHS tapes of fake band interviews and strange characters.
    • The importance of the LA Largo comedy scene and Bob Odenkirk’s encouragement.
    • How a failed sketch show (“Next” for Fox) led to his SNL audition tape.
  • “Bob Odenkirk had me on a pilot… he was the one who made the work I did legitimate.” —Fred (19:14)

5. SNL Read-Throughs: Terror and Triumph

• 11:23–14:50
  • Vivid depiction of SNL’s infamously tense sketch read-throughs: crowded rooms, nerves, and the crushing silence when a sketch bombs.
  • “When you get up to do a bit, everyone’s like, ‘this better be three times as funny as it was sitting down.’” —Dana (13:28)

6. The Role of Musicality in Comedy

• 21:44–24:21
  • Fred’s musicianship seeps into his comedy—writing musical parody sketches and infusing characters with musical rhythms.
  • “Music is like my crutch. It’s my only way in.” —Fred (22:21)
  • Hosts marvel at Fred’s intuitive knack for marrying music and character work.

7. Behind the Iconic “Californians” Sketch

• 31:13–32:44
  • The now-classic SNL sketch originated from in-house bits about LA traffic, ultimately becoming a soap opera parody thanks to James Anderson’s suggestion.
  • “What do we do with these Californians? He goes, ‘Why don’t we make it a soap opera?’” —Fred (31:59)

8. Writing Staff, Collaboration, and SNL’s Ecosystem

• 32:41–36:29
  • Reflections on the collaborative process, writers’ ambitions, the thrill when a peer makes your idea better, and the ecosystem where writers perform and performers write.
  • Special praise for prolific writers like Tina Fey and selfless collaborators like Seth Meyers.

9. Hosting SNL: Full Circle

• 36:48–37:21
  • Fred describes the surreal feeling of returning as host, the difference between being cast and being the show’s “focus,” and the gratitude and trust in the writing staff.
  • “I loved it so much… what a highlight in life. All these writers are coming up with stuff…I didn’t even have time to think.” —Fred (36:20)

10. Finding Your Audience: When You “Belong” on SNL

• 37:01–39:15
  • The importance of recognizing audience recognition and comfort after a few years, plus how symbiotic performer pairings (especially with Bill Hader) brought out Fred’s best work.
  • “Being with Bill felt like I was really with my friend. We made each other laugh so much.” —Fred (38:39)

11. Musician Nerd-Out: All About Drumming

• 41:44–49:15
  • Long, enthusiastic section on drummers, technique, and their favorite influences: from Ringo Starr to Keith Moon to Buddy Rich.
  • Discussion of Fred’s special “Standup for Drummers” and why drummers feel seen by his comedy.
  • “It’s like the biggest part of my life… that was my goal, for drummers to feel like they’re part of an inside joke.” —Fred (42:11)

12. The Emotional Aftermath of Leaving SNL

• 51:40–53:53
  • Fred shares his feelings on moving beyond SNL, admiring ex-cast members, and how with time, the blood connection to the show’s current cast diminishes, but the community and legacy continue.
  • “Every year there’s a new feeling… you start to see people you do not know. That’s what I was asking about—what does that feel like?” —Fred (51:40)

13. Nostalgia Segment: Childhood Toys, Bikes & Mind-Blowing Pop Culture

• 59:43–63:39
  • Each host shares a favorite childhood toy, bike, or media moment. Standouts:
    • Fred: “Six Million Dollar Man action figure… you could look through his eye and it blinked, roll off his skin to see the bionic arm.” (60:26)
    • Riding bikes with friends until dark, the magic of suburban adventure.

14. Formative Records and Early Musical Memories

• 70:39–74:39
  • Reminiscing about first records and albums purchased:
    • Fred: The first single was “The Candyman” by Sammy Davis Jr.; favorite album is Paul McCartney’s “Ram.”
    • Group nerd-out over deep Paul McCartney solo cuts, especially from “Back to the Egg.”

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Notable Quotes & Memorable Moments

• On shifting comedic boundaries:
  • “You can expand your comedy appetites, and then it did evolve into wherever it is and get away with stuff.” —David (06:16)
• Fred on his big break:
  • “It all felt like just a lucky break every step of the way… even the audition.” (16:45)
• On if a sketch flops at read-through:
  • “If it bombs, it’s even 10 times more sickening.” —Fred (13:49)
• On the challenge of impressions:
  • “It’s one of those impressions where you don’t know there’s an impression, you do it and everyone goes, ‘all right, okay.’ Those are good.” —Dana (23:42)
• On SNL’s writing staff:
  • “At least half the writing staff wanted to be performing as well. They just—like Bob Odenkirk—were in the writer’s box for a while, and then got out.” —David (33:29)
• On Lauren Michaels:
  • “Lauren is a really musical person… that's where it was easiest for me to connect with him.” —Fred (24:08)
• On leaving SNL:
  • “Every year you’re further and further away… you start to see people you don’t know.” —Fred (52:52)
• On the power of childlike wonder:
  • “The aimlessness of it… being with your friends. Just laughing when it’s not a school day and you have the whole day.” —Fred (62:26)

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Timestamps for Essential Segments

• SNL: Ethnic Range & Boundaries — 03:40–05:49
• Cast Dynamics, Memories & “Getting On” — 05:49–15:43
• Music → Comedy Journey — 16:45–21:44
• Read-Throughs & SNL Process — 11:23–14:50
• Musicality in Comedy / New Wave Sketches — 21:44–24:21
• The “Californians” Origin Story — 31:13–32:44
• Collaboration & Writing Process — 32:41–36:29
• Drummers & Musical Geek-out — 41:44–49:15
• Post-SNL Life & Community — 51:40–54:50
• Childhood Nostaliga (Toys, Bikes, Memories) — 59:43–63:39
• Formative Albums & McCartney Deep-Cuts — 70:39–74:39

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Tone & Atmosphere

• A loose, affectionate, tangential conversation filled with improvisational bits, self-deprecation, and genuine respect.
• Frequent riffing, playful jabs, and layered inside jokes characteristic of veteran SNL cast interactions.
• Deep mutual admiration: “I just say I love you to grown men now.” —David (74:58)

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Final Thoughts

Whether you’re a diehard SNL fan, comedy nerd, or just love stories about creative lives, this episode offers an intimate “green room” experience with three legends at their most candid and generous. Fred’s distinctive voice as both a comic and a musician shines, revealing not only backstage insights but the enduring bond and legacy among SNL cast members.

Transcript

[A]

Hey, before we jump back into the show, let's take a quick break. All right, not just any break. This is a refreshing break with Snapple. We all know about Snapple's iconic real facts, so let's take a minute to go over some of my faves.

[B]

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[A]

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[B]

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[A]

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[B]

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[A]

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[B]

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[B]

Toyota let's go places. Let's go places. Fred Armisen is our special Applause Yes. Yeah, our special republished.

[A]

One of the most liked over there. He's just such a quirky, hilarious dude and everyone seems to light up and get along with this dude, including myself. Including you.

[B]

Oh yeah, he's super easy and he's a drummer, he's a musician, so you can see that in his comedy work. But yeah, he's one of my favorites. Whoever did that show for sure. Something funny about him. You know, I don't think we talk about the Californians take I would five or something. And the way he did it and how committed he was. Always made Bill Hader and everybody and Kristen.

[A]

Yeah. I saw him on a flight recently. And when it's funny, these guys that I don't know, well, I'll walk up and immediately go into bits. You know what I mean? Like, I walk up and grab my. Oh, sir, you can't be in this aisle.

[B]

Yeah, yeah, totally. And they get it right away. And then they answer. They go along with it.

[A]

And it's like, we don't even say hi. It's just, you go right into a bit.

[B]

If there's an on switch. Yeah. That equipped from appear is on switch.

[A]

Yeah. Okay.

[B]

We're joking around here.

[A]

Yeah. We're going into something. Just go get around.

[B]

So enjoy this republish. It was a fun interview.

[A]

Fred Armisen.

[B]

It feels like. Fred, you're the first cast member. Are we starting or is it.

[C]

Wait, can you hear me okay? Like, is the mic working okay and all that stuff?

[B]

I can hear you. Can you. Can you hear me, Fred?

[C]

Yes, crystal clear.

[A]

Can you hear Spade?

[B]

Can you. Can you me now, Fred? Okay. Can't trick a trickster.

[A]

Bits.

[B]

Of all the cast members of snl, you were. Had the widest range of ethnicities or whatever the word would be that you could play like. You could play like any. Anything from all over the world. What was that about?

[C]

It's just that.

[A]

Keep your answer to one hour. Exactly.

[C]

My mom's Venezuelan, so. And my dad is half Korean and half German, so I think that they were, you know, they're. They're immigrants. So I think somewhere in there, as far as DNA goes, that's how it worked.

[B]

You're all over. Yeah, yeah.

[A]

But you're not offending anyone because you're. You're a part 1% of something. So.

[C]

Yeah.

[A]

Yeah, that's a good idea.

[C]

And it just. That's just how it worked out. And you know how it is over there. Like when they have, you know, a role for you in one of the sketches, you just, you know, try to do it.

[B]

You know, I played Tony Montana in a sketch. You know, I don't know if I could do that now. I was. I. Whenever I do that, because I enjoy doing Scarface, the Tony Montana accent, and I go, I'm doing Al Pacino's bizarre Cuban accent. And that seems to relax people. Like, I'm not making a statement about people from. From Cuba it is.

[A]

It is tough if you're just trying to mimic something or mimic a look, which is the whole thing. And some are offensive and some aren't. When you're just going, I'm just trying to do my best to represent that person, whatever that is. Voice, hair, face wigs. And then sometimes a wiggle be counted as offensive or something about it will be offensive. And then more and more as time goes on with me and Dana. Not. Not as bad with you. Maybe it was a little tougher.

[C]

A little. But then I'm. I think it just got tougher as the casts going. So as the years kept going, that kept changing, and it probably will keep changing.

[A]

I'm just getting tougher, for sure.

[B]

I think so. But I think there's stuff I've looked up with other. I call them bandmates. Your bandmates? Yeah, from, you know, that era with, you know, line them up. It was as good as any cast by far. I mean, you had Maya, you had Amy, you z. You had. You had Billy Hater.

[C]

Yeah.

[B]

You had. You had Jason Sedis. So you had an all star.

[C]

Andy, Sam.

[B]

And you guys could get away with a lot in 2005, I think. Yeah. Not so called Getaway. You could. You could expand your. Your comedy appetites. And then it did evolve into wherever

[A]

it is and get away with stuff.

[B]

And get away with it sounds kind of negative, David.

[A]

No, but listen, first of all, I apologize. My voice is so sexy. But I think I might.

[B]

I don't know what you may have. Covid.

[A]

No, I don't.

[B]

I don't.

[A]

Because I did. No, Fred, stop spreading the rumor. I have. I went to James Cord and yesterday and they gave me a test, so I don't have. But I just feel. You know what? I just. I'm a hard worker. That's my crime.

[B]

Oh, I work so hard. I'm going to do my Fred.

[A]

You get it?

[B]

My Christoph Waltz. I'm doing my new Christoph Waltz impression. Talking about that. So you're a hard worker.

[C]

That's.

[B]

When I was in school, Dolph, people would say I look like a crazy person on the street. This is just him in real life, he's not even. He's like. You're like. You're kind of like him, Fred, in a way. Like you. You hit these rhythms. You do stuff that makes me so happy. And I, you know, I don't like rankings anymore because people ask us, what's the best? What's the second? I'll just say you're one of my favorites because you're. You never pushed there. Oh, such quirky stuff. And even you and. And Bill Hader's Italian. A fake Italian guy. Which I love that sketch just how you. You just. You're playing it so real just as the guy eating like I can listen to that forever. But shall we go back to the beginning?

[C]

But Dana, coming from you, I mean, you know, like walking the halls of snl, you just came up all the time as like the. The stand. The gold standard of how to have like an incredible first year. I cannot believe even your first year.

[A]

Oh yeah. He came out of the gate cold open and never looked back.

[B]

Once I had the late. Once I had the lady. I was. I was okay. But you came in as a feature player, so. And also it was different back then that the show. There was only six of us. Me filming.

[A]

Jesus.

[C]

What.

[B]

And of. Of main players.

[A]

No wonder you got fed six little birds in the nest.

[B]

Yeah,

[A]

you got so many worms.

[B]

We might Winslow.

[A]

You make fun of me on camel. I'll talk to you after the class.

[B]

I did it once because you're. You're a fan favorite on Kimmel. And then every time I did it, they laugh. So you know, I'm a comedian, so I'm like. It's like, okay. I go. I'm David's. I'm sad.

[A]

That's pretty good actually.

[B]

Anyway back.

[C]

But David, I did not mean. Also I. I doesn't. I didn't want to overlook the fact that you. How great you were on SNL as well. I. I didn't mean to swinging back just. You didn't want to gloss over that.

[A]

No. Thank you, buddy, but I will give it up. That data was the gold stand. When I got there, he was already crushing it. And then he just continued to mow down. Yeah.

[C]

Yeah.

[B]

Thank you. We're recording, right? This is recording.

[A]

Okay, good.

[B]

Just want to make sure put it

[A]

for your clip reel.

[B]

This is called gold. No, but I don't know where to start with you. And I want to get to a lot of things. I hope you don't have much to do today.

[C]

I have like I think four minutes and then we gotta. We gotta wrap it up.

[B]

Oh, you got a hard fast.

[A]

I have a question for him, Dana, before he gets. Before you get to really young stuff because he hasn't really answered anything yet. We just talk over them. But Fred, one of my favorite things that I did not see live but I saw today was such a great monologue when you. When you acted out you doing a play about how you Got snl?

[C]

Yeah. Like a one. Like a one man show.

[A]

Yeah, it was so. It was so weird and quirky and interesting and I. I loved how you. Dana, he does Lauren's voice in it. And of course he does it really horribly and nothing like Lauren hysterical.

[C]

Like a mafia boss or something.

[B]

Yeah.

[A]

You guys, I went in his office, he's like, hey, kid, come on.

[C]

That's all written by Seth Meyers. That, that monologue.

[A]

Oh, for real?

[C]

He just.

[A]

Oh, it was great. I thought. I just, you know, when you do that, I picture it at Read Through. Sometimes monologues for people at home don't get put up at Read through because they're not even written till Friday.

[C]

Right.

[B]

But.

[A]

But if you do it at Read Through, I was thinking, he's got to move around and stand up. That, that read throughs where you move around are tough.

[B]

Yeah.

[A]

You can lose the crowd quickly. Also, Dana, or in.

[B]

In the performance on Wednesday, Fred would go.

[A]

Because you walked off the stage and you went for someone in the audience. What did you ask her?

[C]

Don't answer. You know, like, what do you think?

[B]

Yeah, what do you think? What do you think? What do you think?

[A]

Just a real person, right?

[C]

Yeah, that was a real person. Yeah.

[A]

Yeah. And then she doesn't know what to say, so she finally goes, you think I'm lying? You think I'm like.

[B]

She goes, no.

[A]

And you go, don't answer. Please don't worry.

[C]

Part of the show.

[A]

And then you keep asking her and she says something else and you go, God damn, you ruined it. You walk back all that was so funny. If you want to look it up.

[C]

Thanks. But what I was going to ask you guys is where at Read through, what space did you go to to do stuff where you had to walk because you know how difficult it is around a table?

[B]

Where.

[C]

Where were you when you had to sort of act something out?

[B]

It was kind of over by Cheryl Harwood on the piano. There was just a little wedge of a space there.

[C]

Yeah.

[B]

And I did one once. I. I really didn't like to do it because it felt like you're trying too hard. But I did one once with Ben Stiller playing Bono. I was playing the Edge and Dolly Parton had to stand up and we stood and did our little sketch there. You know, that was the one I remember for you. Did you stand up a lot or move around in the.

[C]

I'm the same. Like, I did not like to do it because it was just also, you know, three sketches before it. You're sort of Thinking, okay, where do I have to go? Where do I have to move on to? And like. But it was sort of over by, kind of by the piano. But in between those doors, there's like a main, these two main doors before you go into that. That writer's room in there looked like, looked like a little bit of a stage kind of.

[B]

Yeah, but God.

[A]

Oh, the entrance to the writer's room.

[C]

Yes. Kind of, kind of in front of it towards the table.

[A]

But we had so many fucking people jammed in. Read through room. I mean it was. If people at home can fix like a big sort of square where everyone sits around all the main cast and Lauren and the host. Yeah, host and Lauren were by the window. I got to sit next to the host when Dana left. But before that I think I sat behind Dana. And then. Do you know where you were in that thing? Because it was like three deep. Like people were stacked in there at the table.

[C]

I was diagonally across to the left and I think I was at the same place every year, which I liked.

[A]

Once you pick a place, you kind of stay there and you know, for people at home again, it's. It's like three or four deep. And you have every department, you have a rep from every department. So wigs will be watching a sketch like you do and you see him scribbling going, oh, this is going to fucking suck. This guy needs eight wigs in here. And then music if you need them. Cheryl hits the piano or maybe GE's in there and they help a bit. But you're right, it get, you know what it. You don't want to be sweaty.

[C]

No.

[A]

And so if you get up to do a bit, everyone's like, this better be three times as funny as it was sitting down.

[C]

Yeah. Because you've got to walk up to that spot. That's the hard part.

[A]

You gotta like a five hour read through and everyone's like, what are you.

[B]

Yeah, because you're snaking through with your little script and oh, he's moving up there now.

[C]

Excuse me, with a ukulele and. Oh, it's, it's.

[A]

If it bombs, it's even 10 times more sickening.

[C]

Awful. Dead silence.

[B]

Yeah, that was on a nerve scale of 1 to 10. I mean, where was read through compared to the actual show? I mean, had its own terrors.

[C]

I mean, you know, it went so long that sometimes it just got, you know, you just get sleepy as it's going.

[A]

Five hours.

[C]

Yeah, yeah, four or five hours. That kind of dissipates after a While. But it's the buildup up to your sketch that, you know.

[A]

Oh, you see it coming and you're like, oh, no. And then something kills right before it. Oh, my God, just me.

[C]

Oh, my God.

[A]

Oh, yeah. I'd see, like, right before it. It's like Adam's new song. I'm like, no, come on, give me a chance.

[B]

Or something.

[C]

We used to think it's brilliant. Something with that you think is brilliant. And then when you get there, it's the exact opposite. And that silence is. Is the worst.

[A]

Yeah.

[B]

When they don't bite in the first joke that you think is really great. You think the premise has been set up and you hit your first thing and it's. It's less than nothing.

[C]

No, there.

[B]

There's disdain subconsciously in the room. When you got nine pages of pain.

[A]

Yeah. When it. Tom Davis. Well, no names, but when Tom Davis would write like a 17 pager and. And some of them really worked. And if it doesn't work by page four and you feel the whole wave just tap out, everyone leans back.

[C]

Yeah.

[A]

And you just go, oh. And if you're in it or if you wrote it and you're like, please, God, just Lauren, just go to the next one. Don't even. Don't do this to me. Because I don't want to be like, yeah, just swinging hard. And.

[C]

Yeah.

[A]

Everyone already just said, no, not on this one.

[B]

No.

[C]

Nobody. Even your best friends are like, it's not clicking.

[A]

And they kind of were quietly going, yeah.

[B]

So, Fred, you. You. Since we're on snl, because you were on it, so you come in as a feature, and then in two seasons, they. You go to the main company, like, how was that journey? How did that change and what begot that.

[C]

I felt lucky to even be there at all. You know, even that first show, I didn't know that I was going to get on, you know, so whatever it was, I kind of liked there was like, less pressure to be a feature player. Just this kind of like, it's okay if on a couple of shows I play an elf or something

[A]

or you're not on at all.

[C]

That happened.

[A]

That happens a lot.

[C]

And we had a lot of cast members, so it's kind of nice. I kind of liked sort of easing into it. And then, you know, however many that was, like, two years later, it was like a nice. I don't know, it's like, it's a good feeling to, oh, I guess this. I'm actually part of the cast. But it all felt like just A lucky break every step of the way, you know, even. And not exaggerating. Even the audition. Even the audition. Just being there up on, you know, just the, you know, the. Where people do the monologues even. I was like, I cannot believe I got this. Can't believe that like I. I'm actually on the stage in front of Lauren Michaels. I was star struck by when Michaels.

[A]

And they sit in those little seats, like where the audience at home sits during the monologue. In the little chairs in the front.

[C]

Yeah.

[B]

And the theater's empty. The studio's dead empty. And it's a death march. What were the. Like, I. I don't really know your journey. Just to go back a little bit because I want to talk about your music career and your musicianship. I just had a little pop earlier. He's a musician and a drummer and. And then you start. Did you. How did you get your stuff together that ended up auditioning? Were you going to theater groups for three years or what was that journey? No music to comedy.

[C]

I was doing music for a long time. Like all through my 20s I was in a band and that's all I was going to do. We broke up and then I started making videos of me interviewing bands and stuff as different characters.

[A]

Yeah, I'm sure they were weird.

[C]

It was weird and you know, and I knew the band, so it was just a little. It was kind of. And all of a sudden that video and it was on vhs, like sort of made the rounds and I started to. I would be asked to be on some variety show, you know, some like Cornelius, Cornelius street. You know, something where there's a couple of comedians and some music and I just started doing characters. I just. I did this one character who I auditioned with Felicito, like a timbale player who was like Tito Puente and. Yeah, that one. And then somewhere in there, like it fit into standup shows. So there would be like all these regular standups and in it there would be this one weird thing I would just do, you know, do a character. I don't think there were any jokes. And that was something that I could sort of use as an act. And then Bob Odenkirk. So I started doing this at Largo in la and I would do Felicito. I did this self defense expert. I did a bunch of characters. And you know, this scene was like where like Zach Galifianakis was Nick Swardson.

[A]

Oh, Largo was great.

[C]

Yeah, Largo is amazing. It was kind of like the only place I prefer performed At. And then Bob Odenkirk had me on a pilot for a variety. A sketch show called Next for Fox. It was just a pilot and I did these characters and, you know, there were sketches with, you know, everyone. There was like, you know, a cast and everything. But I had enough. The pilot didn't go, but I had enough video to send to snl, so we sent it.

[A]

Did Odenkirk help you with that? Because he's a big deal at snl.

[C]

He really. He's responsible for me having all that. All of that together. Before that, I was just, just at Largo. He was the one who sort of made the work that I did legitimate to be on a Fox pilot.

[A]

Sure. And he could spot that you were good.

[C]

He. Yeah, he was.

[A]

He's great too.

[C]

He knows all that and he's amazing.

[A]

Goes and does like three other great sketch shows.

[C]

Yeah, incredible.

[A]

Yeah.

[C]

And then from that video, this, we sent it into SNL and Marcy Klein saw it, she showed it to Lauren and then next thing I know, Marcy,

[B]

who's going to be on our podcast coming on.

[A]

Yeah.

[B]

She knows where all the bodies are buried.

[C]

I mean, she really, you know, made sure that Lauren saw it. The video.

[B]

Yeah.

[C]

And from there then I just, you know, came into audition and I just did this.

[B]

Was that like five years? Sorry, just that timeline of what between.

[C]

No, it's like four. It's like. So let, let's of. Yeah, something like that was 2002 is when I got on the show. And then 99 is like kind of when I was making those videos. Like 98, 99. So, yeah, whatever that is.

[A]

And then were you ever a straight. I'm sorry, a straight stand up or. Was always like never. You just came on. I don't want to say variety acts. That sounds like you're reducing it too much. So as characters you'd go on and do. But that's hard to find stage time. If you don't go in and say, I'm a standup, they don't know what to do with you. Right.

[C]

Yes. But there are venues and shows going on that where it works for the show. So if there's like, if you know Patton Oswalt and Paul F. Tompkins and Karen Kilgariff are doing a show. It's like the one little weird thing at the end that kind of works with the rest of the show.

[A]

So that was like my little paprika at the end.

[C]

Yeah, yeah. That was like my sweet spot. So. So I did the audition as Ferito That Timbali player and I did him doing impressions and characters. So this way there's, like a way in.

[B]

Does Liberace.

[C]

Yeah, yeah, yeah, I did. I did Sam Waterston from Law and Order and.

[B]

Can we hear.

[A]

I can't even picture it.

[B]

That's such a subtle one, isn't it? The trial judge heard the testimony. Why didn't you call 911? Why didn't you call the police?

[C]

Like this, you know.

[B]

Oh, yeah, that's awesome.

[C]

He just has something like his teeth or something. There's the way that.

[B]

That it's in his.

[C]

It's in, like, his.

[B]

It's very trebly, too. Yeah. Almost garbly.

[A]

Yeah.

[B]

I kind of want to ask you because these are things that popped in my head. It's like your musicality and your. All that. How do. I mean, it's obvious. It's informing your comedy. And is that. How do you find that connection? Like, when I. When I was a guest host, you wrote a really funny musical thing we're in, and I was watching you just tap it out on some little computer and. Yeah, just like. I don't know if there's been a cast member who's really a musician like you were, and a brilliant drummer I saw. We'll get to that later. But how does that inform your. Your stuff? Or is it just a completely separate part of your brain? No, no, it's just intuitive.

[C]

It's. It's completely. It was the only thing I knew, you know, like, being in bands for that long, that's all I knew was music. And, you know, I did have aspirations to. You know, I definitely had ambition to be on tv, but I was just in bands for so long that that's the only. That's all I had was. You know, I could do parodies of songs or of a style. The one that we did that you're talking about was like a parody of just, like, new wave music. The sketch was that there's a Super bowl party. They're watching a Super bowl, and then they pause it because, like, let's let this new wave band play. So everyone's really upset, and it's really new, wavy and super new wavy. Kind of like. Yeah, Soft Sell or the Pet Shop Boys or something. But it's just all I knew. And just the same way that some people, you know, could talk about their families or whatever or do impressions, for me, it was just. Music is. Is like a crutch. It's like my. My only way in.

[A]

It's a big plus on snl. If you can weave in music into something, they love it.

[B]

Yeah, but like, your Sam Waterston is kind of musical, you know, it's extenuating him into these musical rhythms. You know, that's a rim shot and

[C]

he's like doing a speed, you know, he's like performing for the. The court, you know.

[B]

Yeah, but picking that out, one Indian. It's like you're playing a cow bill.

[A]

It's one of those impressions where you don't know there's an impress. You do it and everyone goes, all right, okay. Yeah, those are good. Because it's hard to break. It's hard to break ground in impressions and just come up with a new one.

[C]

But I think that, like, Lauren is a really musical person. In fact, it's like. It was like the first. Oh, like, oh, hello.

[A]

It's.

[C]

It's the.

[A]

Hello, Fred.

[C]

Hello.

[A]

Hello.

[B]

Do you mean as an impression of him or as a person?

[C]

No, as a person. As. As a person. I think he's such a music fan that that's where it was easiest for me to connect with him as a person. So for me to talk to him about all the musical guests he's had on the shows.

[A]

Interesting.

[C]

It's a. Such a quick, easy conversation to talk to him about all those music, which I love talking to him about, you know, the bands that he booked. And it's just easy. And he's into it. Like, a lot of those were his decisions, booking a lot of those bands.

[A]

Fred, what do you think of Eagle Eyed Cherry?

[C]

Should we do it? I don't know if the year, but, yeah, I did.

[A]

When I hosted, it was Eagle Eyed Cherry. And I go, marcy, why do I get. I mean, not. No offense, but I didn't know who that was. And then the next time I didn't. And they go, the formula is big host. We don't need a huge music act. Are you saying I'm a big host? They're like, well, in this situation, it's a little different way. No, no, I like the first. I don't want to be the exception to the rule. No. So, yeah, it's fun to have. I want. I always wanted a big band, but

[C]

I remember when both. Both of you hosted. Those are both really.

[A]

Did we do something with me, you and Maya? And we were like. And we were dressed, like, very snooty, and I came to your house or

[C]

something, and yes, we were. We were this design couple.

[A]

Yes.

[C]

Like this Danish design. So we had all these chairs and the whole. Everything's Uncomfortable design of the chairs.

[A]

God, I love Maya. Maya and I did a song too. Who cares? But back to Fred. Fred, you're gonna get to talk to the end of this. But I do have another sketch I like Dana. I'm gonna tell Fred just to, you know, boost his ego.

[C]

Have you ever had someone zone out a couple?

[B]

Yeah, we've a couple of. No, I don't think so.

[A]

I, I, we always have to scream at them for interrupting me and Dana talking when it's their show. So you had one called Co Check, but was that really cut? Is that really wasn't on air?

[C]

Yes, that's a Cecily Strong one.

[A]

That's a great.

[C]

And, but, but, but they put it online, which is kind of the same thing.

[A]

Oh, it's great. I mean, I wish we had online. Oh, my.

[C]

I know you wouldn't have thought about stuff getting. Can you.

[A]

I used to joke about Best of Dress. Oh, that'll be on Best of Dress because. Yeah, it never gets on. But she was your girlfriend in it.

[C]

Yeah. So good girlfriend.

[A]

Oh, okay. Remember when she kept saying that you go, hey, we're a couple now. She goes, couple.

[B]

Wow.

[A]

Okay.

[B]

It's so good.

[A]

That was a really weird one. And it was perfect because it was pretty simple. And you and Dana. He kept asking for his coat. It's hard to explain.

[C]

Yeah. I'm like, this is not my coat I would wear.

[A]

God damn.

[C]

You know how it is. I mean.

[A]

But it seemed like it was working.

[C]

But I do feel like it made its way on. I mean.

[A]

Oh, well, the fact that I saw it, like, that's great. If anyone can just see it.

[C]

Yeah. And they, I think they put it online the next day or something. So I. It's cool. It has, it had had its own life for sure. But it was brilliant.

[A]

Sometimes dresses are a little rough around the edges because you don't even know the fucking lines. You haven't done it since Thursday or something. Or Friday.

[C]

No, you don't.

[A]

And you're just doing it live. You're like, I didn't. I rehearsed this once two days ago, and we're already in front of a crowd. It's dress. But you're still, like, figuring it out. You're remembering the blocking the air. You kind of go, okay, I know it a little better.

[B]

Yeah.

[C]

Yeah.

[A]

That's fun of. That's the fun of dress.

[C]

I like that.

[A]

Yeah.

[C]

So I mean, there also, there are those times where you don't quite understand what, what's happening in the sketch. Like where Am I what am I in this?

[B]

Yeah.

[A]

Do I have an accent?

[B]

Halfway through, I did a Jack Handy sketch with Robert Mitchum and neither of us knew what the sketch was about. He was a beekeeper and the Himalayas or something. Jack Hannity.

[A]

You know, did Jack really stay around for you guys or.

[C]

No, no, he was gone already.

[A]

Have you heard about him?

[C]

Yeah. I mean, also, his deep Thoughts work is amazing. You know, that really stood the test of time.

[A]

It's almost like a fake guy. You hear deep thoughts of Jack Andy, people go, wait, is that a real guy?

[C]

That's what I thought when I got there.

[A]

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[B]

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[C]

Oh, your camera went.

[A]

Yeah.

[C]

David, your camera went dark.

[A]

I know.

[B]

David, what are you. What are you doing?

[A]

Heather, did your lights. Did your lights work out front? They probably cut through the.

[C]

Oh, there you are. You're like. You're, like, fading in, but your sound is good.

[A]

Jesus. Made it worse.

[B]

Wow. Oh, there you go.

[C]

There you go.

[A]

Federicito.

[B]

I didn't think that was possible.

[A]

You know what? Hashtag Mansion probs.

[B]

Hey, Fred, did you. What was your. Your team stuff? What was your favorite? Like, you know, I know you had the Californians, which. I was watching that, like, maybe three weeks ago, and you came in and there was. You did it so earnestly.

[A]

Yeah.

[B]

Your guy. And it just. I don't know. That sketch really kills me. And I. I guess the arbitrariness of that, like, I think Bill said, you got on the soundstage and suddenly you were doing that guy. Or was it in Read through.

[C]

It's a. It was like a common. It was really. It was a bit. Also, we would do at the table. You know, that moment before you're actually reading the sketches. We did, like, we would. You know, everyone goes to la and this summer. So when we came back, we would just start talking, like, where were you? Were you. Oh, I was in la. Like, did you go up Barham? Did you make a left on. And then that sort of, you know, built up and built. Well, we kept doing it. And then I worked with this writer, James Anderson, and I was like, what do we do with this Californians? What can we do with these directions? And he was simply like, why don't we just make it a soap opera?

[A]

And so it's such an odd call, though.

[C]

I know, but that's kind of like. The magic of this is so corny. It's the magic of working with writers that, like, I never would have thought of that. And just to have someone say, let's make it a soap opera, and then it's done. But for.

[B]

For. For standups who write their own material, for utterly. And when you get on SNL and suddenly somebody is handing you something and you go, wow, this is great.

[A]

Yeah.

[B]

Yeah. And it just got handed to me. That was revelatory to me. Like, wow. Or. Or taking your idea and greatly improving it, like, oh, this is so much better.

[C]

Yeah.

[B]

So it's. It was exhilarating, really.

[A]

To you go, knock on anyone's door. And you go. We read this once, we have a second, and they go. Even down, he goes, you know what? I might. What I might do is there's something funny about if you just don't ever say that. And I'm like, oh, okay.

[B]

Yeah, yeah, yeah.

[A]

And then that's all you get. And then you go and you figure it out. But if they can give you any. Anything, just fresh eyes, you know, and they're all smart, so they're all thinking, what's the best for this? That's such a gift. It's hard to get people to write.

[C]

And they care. They care about the piece being good.

[A]

Right.

[C]

So they're, They're. Their advice is always the best advice.

[B]

Oh, I'd see them. If you came off something that someone else had written and it worked, there was like a little quick little party.

[C]

Yeah.

[B]

They kind of backstage, like, yeah, yeah.

[A]

Again.

[B]

Oh, man. Crushed it. So that was a real high for them. And I didn't really realize till later that at least back then, at least half the writing staff wanted to be performing as well. They just. They were. They were in the writer's box for a while, and then they, you know, like Bob Odekirk, you know.

[C]

Yeah.

[B]

And then he got out of that.

[A]

Now they were both on our.

[B]

Conan. Conan as well.

[A]

They'd write themselves in just little things and it wouldn't seem to work. They would just. Not that they weren't good, but they would be replaced. Maybe we had too many cast members, and it was very hard. It was because I was a feature player. Very hard to get on. We had too many mouths to feed. And I think that's sort of the norm now. Just too many.

[C]

How many were in your cast? You were in, like, different casts. I feel like you were.

[B]

Yeah, he was. You, like, overlapped a bridge.

[A]

Yeah, yeah. It was tough when I got there because these guys are. Everyone's a, you know, first ballot hall of famer, and. And so you got, you know, you're gonna do something instead of Phil Hartman. No chance. You know, Lovett's was even there for a little bit. Dana and Dennis Miller and Jan Hooks and Nora Dunn were both unreal. So. And then they influxed Farley and Sandler and Schneider's very good sketch guy and Chris Rock. Chris Rock and Tim Meadows. So, you know, it's just not enough to go around. It's just.

[C]

But that's. That's your memory of it as a viewer. I never thought of that. I was never like, ah, David Spade isn't Getting enough. I was like. I was always like, did you see the thing that he did on Update?

[A]

Yeah. Maybe there's something for them to remember. Yeah.

[C]

Yeah. And then that's like the. Yeah. That's the main memory from it never did I.

[A]

And it's better to be in almost less than just make them try to work. Because I told Dana that the first show I came into, they brought you in a day early and to watch the show and love ITZ was all depressed. He was only in two things. And he goes, well, Dana's in six. And I go, I said what you said? I said, I've never seen this show and thought someone was light still. I just think there's that guy I love. Oh, that's funny. He's in that.

[C]

Yeah.

[A]

Couldn't even. Was never counting lines or sketches. And then when I got there, I fell right into it.

[B]

I. I preferred personally, like, to be in two things, maybe totally. You know, or a third as a supporting character.

[C]

Yeah.

[B]

To shepherd a sketch, even one where you're kind of the executive producer of your sketch.

[C]

Yeah.

[B]

Is very nice. That's why. And I was going to ask you about when you hosted snl, the difference in that. Because you. You have to really let it go. There's. You're. You're kind of in. Have to prepare 13 or 14 sketches, and then six or eight get cut. So what was that like emotionally for you when you came back? You. You let. You did 11 seasons at the time, as long as anybody, right?

[C]

Yeah.

[B]

Huge run. And then you come back and host and you come out and do your monologue and they're screaming. It's surreal, isn't it? How did you feel about it?

[C]

I mean. I mean, I loved it so much, you know, like, what a highlight in life. Just in general.

[B]

Yeah.

[C]

But the experience, you know, of handing everything over, like, I really was, like, I was still in the mode of, like, oh, man, I got to take care of all these sketches, make sure I write this much. And you're doing so much other stuff that everything is taken care of for you. So all these writers are coming up with stuff. I didn't even have time to think. And then it just turned out great on its own. So I really like that part of it of just trusting everyone. And then that worked out.

[A]

And they're laser focused on you.

[C]

Yes. And they know you. They know what you like to do and what's gonna work.

[B]

It's such a big transition on the show when the audience starts to be familiar with you and I don't know how many shows it takes, but I. You see people all the time who come on unknown, and then they. They turn it, turn it better, better, better. The audience goes, I like you. Man or woman?

[C]

Yeah.

[B]

And then it gives you so much more confidence.

[C]

Yes.

[B]

Because you can feel that they're on your side already. As opposed to, is this guy gonna make it or is this woman gonna make it on the show? And so when did you start to feel that? Like, four years in. Three years in.

[C]

That's what I was gonna say. I was gonna say, like, three or four years in, I did this judge. What was his name? Judge Seidlen or something and something. He was like the Anna Nicole Smith judge, you know.

[B]

Oh, yeah.

[C]

Something in there felt like I had to work less meaning. Like I was like, oh, please, please. Like this. It felt a little more like I could come out and update, and it was, okay, they're happy. And you're right. Like, there's a feeling of. Of. There's, like, of being familiar that I really liked, but something in there. I don't know, three years or something.

[B]

Yeah.

[C]

That.

[B]

That I think is. That's pretty typical. And when you were out there with your different bandmates, it seemed like you, you know, obviously had Garth and Cat with Kristen Wi, who's Supernatural sketch performer. And then you and Bill Hader just, to me, just had a symbiotic thing as well. We did just mixed really well. And was he someone you. When you got out there and the band's playing, you get there doing your tie or whatever it is, and you see Bill, he calms you down. I mean, how. Where were you on the nerve scale?

[C]

I was kind of okay on the nerve scale. I don't know why. I just, you know, I just enjoyed it and had such a great time. But being with Bill really felt like I was really with my friend. Like, we made each other laugh so much, and we just identified with each other, supported each other, something. There was something in that relationship where it just was really supportive and fun all the way. God, he made me laugh all the time. I mean, everybody did. But there was something with him that I felt like we were going through, I don't know, the same experience, you know, being there.

[A]

Do you have a favorite writer?

[C]

James Anderson? Because we wrote so much together. We wrote. We just always ended up writing together.

[A]

But, you know.

[C]

Yeah, yeah, but, you know, but when you're there, I mean, there's so many people who are so prolific. I remember when I first got there, seeing Tina Fey's work ethic was incredible.

[B]

That changed.

[C]

Just to see how focused someone could be on writing without ego. That was like a real. It kind of. I was like, that's the way to be. That's the way to be a writer. She was. God, she was so good.

[A]

She can churn it out.

[B]

She can just write great jokes, just one after the other.

[C]

Yeah. I don't know.

[B]

She has some kind of frequency that just. They come to her. She reminds me of Steve Martin in many ways. I don't know why. Just kind of put them together in some ways. You know, they write great books and yeah, they're. They're intellectuals, but they don't wear it on their sleeve at all, you know?

[C]

No, there's a humility to it.

[B]

Yeah.

[C]

But it's still effortless somehow. They just sit down and then all of this stuff starts coming out week after week. I couldn't believe it. So. Yeah, but everyone. Seth Meyers is also sort of selfless and. And works really hard. Like, he would just work throughout the whole night.

[A]

Were you hired as a writer performer?

[C]

No, I was just feature. Just feature player. But you know how it is. We just. We write.

[A]

Sure. I'm just saying because Dane and I, we asked people because I was a writer performer. I didn't want to be a writer and they wanted me to be more then they wanted me to be a feature player. And Schneider, same thing. We hired together, but Dana was hired straight cast because he's such a home run hitter. And then. But no writing. But that kind of sucks because everyone writes.

[C]

Yeah.

[A]

So it's like, who decides? It's a weird decision to go. You're not a writer, especially feature, because you're just scrambling to get on. So you have to write an update or something. No one even knows you.

[B]

Yeah, we just accepted it. I mean, it's really just the plat. The platform of being on SNL if you were a main player. Only Phil did get a writing credit because he had written Peewee's Big Adventure with Baby Herman. Bad, bad apple. I never added that. A prompt with it, but I. What one?

[A]

Oh, remember when he goes, I'm a bad, bad apple. Rotten to the core.

[B]

Oh, yeah, that was.

[A]

He was in jail all the time.

[B]

So do you mind if we go back a minute and just talk about your drumming? Because I. I'm just a big fan of drummers and I have favorite drummers and I loved your special Stand up for Drummers for Drummers, where you just go through at the Great American Music Hall. In San Francisco.

[C]

Yeah.

[B]

And all the set kits set up and you did all the styles.

[C]

Yeah.

[B]

So, so great. Did you get a lot of feedback from other musicians and drummers about how it's like.

[C]

Exactly. First of all, thank you. That's very, very kind of you. And you know, I love drumming so much. It's like the biggest part of my life. And, you know, that's how I got into whatever showbiz or entertainment. I just still love watching drummers. I still love playing. And the things people have said to me, it's like that was my goal. I was like, I just want something where like drummers can come up to me and feel like they're part of an inside joke that they can, you know, have like a really heartfelt conversation about, like, oh man, I'm a drummer and I know exactly what you're talking about. And it's really. That's really gratifying. And that, that whole thing with the drum kits was just like, it visually looked cool just to have all these kits and go to the 80s. So it was.

[B]

And you go one after the other and play all these styles. I mean, it's such a singularity as a stand up special.

[C]

Yeah, yeah.

[B]

Completely its own thing.

[C]

But thanks. Thank you.

[B]

I love the way you play. I just would call you just very musical. You have a heavy foot. You're very light on it. You're very organic with it. I just like to watch you play. Some drummers, you can kind of work with them a little bit. Like, are they going to make it with you? I feel very relaxed.

[C]

I mean, wow, what a, what a thing to say.

[B]

That's so, so I just all sincere. I just wonder, the drummers that inspired you stood out for you. I mean, people, Pepsi, Coke, it's always for my generation. With a friend of mine, it was Ringo Starr or, or Rolling Stones.

[C]

Charlie Watts.

[B]

Charlie Watts. Are you. I like, like you have to be one or the other. You're either Charlie Watts or Ringo Starr. That was like back in the 70s. And who. Some of your favorites?

[C]

Well, my favorite, like the guy who like I really emulated was Clem Burke from Blondie. And the first time I ever saw him was on snl.

[B]

Whoa.

[C]

And he's. Because he's like, because, you know, he's. He dresses like in a little suit, like he looks like a mod. And his drum kit is set up like, it's like this red sparkle, like very flat.

[B]

Yeah.

[C]

And so the aesthetics of how he was. I was like, that's a great way to Be so he was like. He's like my favorite drummer. But to your point, I love Ringo. I think, I think everybody loves Ringo. I think there's like a myth that like there's some controversy about bad rap.

[A]

Right.

[C]

He doesn't rap.

[A]

Not good.

[B]

What's the myth?

[C]

No, the myth is sort of like. Well, you know, he's. People talk about him like, you know, he's actually a great drummer. Every drummer I know loves Ringo. Even privately they'll go, no, those are expressive fills.

[B]

He's great.

[C]

Everyone loves him.

[B]

Everyone loves him. You put on she loves you on YouTube.

[C]

Yeah.

[B]

Live remix. And the way he goes to the lower tom. I know he's a left handed drummer. Just this little fill.

[C]

Yeah.

[B]

Like he did these little fills and they were so electric and he gets shinier and brighter just like the whole band does.

[C]

Yeah.

[B]

For me personally, I think that it was such a, a wave that is still hitting the, the sand. We are trying to comprehend why and how that happened. Yeah. That much great music in, in. In 72 months with these four guys.

[C]

Yeah. He was perfect for them. And everyone knows that sound. Everyone knows. You just. You can picture, you can hear his drumming in your head when you think of any of their songs, you know.

[B]

Yeah. He'd stylized to the, to the, to the song. So when you're playing with your bands and you came up learning, you know, kind of Devo Clash.

[C]

Yeah, yeah, yeah.

[B]

All that type of sound.

[C]

Yeah.

[B]

And what is the.

[A]

I'm doing diva going.

[B]

And you're, you're kind of probably a Ride the Pocket guy. With, with, with some fills or you just. How would you describe your stuff?

[A]

Ride the Pocket guy.

[B]

Well, the Ride the Pocket is a. Yeah.

[C]

Like fewer fil.

[A]

There's this thing alert.

[B]

Say again. You integrate the fills into the beat.

[C]

Yeah, that's. Yeah, that's exactly what I was going to say. That in new wave and in punk they had this thing where like they would do these busy beats. These beats that were like. That had Toms in them, you know, throughout.

[B]

Yeah.

[C]

So it wasn't a fill, it was just like. So the Toms were in it without like a crash at the end of it. It was just like. That's what the beat was. And that's how I learned Alan Myers from Devo played like that. So. Yeah, it was just, it was just part of the beat. So. But it was all. None of it was complex time signatures. They were all four. Four. So I'm really into like four on the floor. Just keep the kick drum going. I like the simplicity of that. But, yeah, it's, like, busy. But those aren't fills.

[B]

Can you play to a click track in a studio? Does it throw you or does it help you?

[C]

It helps. It's frustrating. I'm like. I actually. I don't think I'm great at tempo. I think I speed up. So sometimes I have to. Especially during the pandemic, there was, like, a lot of stuff that I had to do to a click, but now I'm used to it, so it's frustrating.

[B]

People don't know. It's like that, that. That in your headphones and on the fourth beat, you come in.

[C]

Yeah. And it sounds like this on the headphones.

[A]

Is it like looping?

[C]

It's just so that you don't lose the tempo.

[A]

You know Lederman over there?

[C]

Yeah, yeah. Yes. He's like the producer of.

[B]

Do you find yourself drumming, like, if you're driving a car or just drumming with your mouth

[C]

or tapping away all

[B]

the time or tapping on your keyboard, fingers just doing a beat? Yeah, stuff like that. Yeah, yeah.

[C]

When you're driving.

[B]

I just love rhythm. Yeah. Yeah.

[C]

Who. What about you? Who's your. Your favorite drummer?

[B]

I don't know that it's. I think over time, there is a. The most mesmerizing thing I watch a couple times a year. There's so many Buddy Rich solos. There's one. I think it's in black and white. Whatever. To me, his just technical skill is so mesmerizing.

[C]

Yeah.

[B]

And that solo that he does, and he did it over and over again, but it builds to a certain way. And he's got the snare going from super fast to, like, just down to nothing and then right back again. And then he's doing all the fills and all the stuff. But, you know, I was listening to Fleetwood Mac the other day because I have a car stereo that blows my mind. And I just go, man, I love Mick Fleetwood. He has a sound and a pocket that's so simple, but it. It really weights all that brilliant melody. So I kind of. I go for the band. Yeah. It's so bassy. I mean, obviously, John Bonham, everyone says him. I still don't understand him. I don't know where he got his sound. Like his kick drum. The. The value of that with his snare blows my mind. You know, just the sound of it and how it was my.

[C]

I know.

[B]

You know, people keep trying to explain it.

[C]

People keep trying to explain him. His. His style to. Or how he got that sound. And I've Heard so many different explanations. So I've heard people say, well, he's actually very jazzy and he plays lightly. It's the way he tuned his drums. And I have no idea. I. I'm the same. I have no idea how he got to be that way. Keith Moon. I love Keith Moon.

[B]

I could listen to Forever Love Keith Moon. I just couldn't imagine anyone better. Who's. Who's next? The way he is so busy, but it's. It's so part of the music. Yeah. He's like a genius.

[C]

He's fun. He's like. It's fun to listen to him.

[B]

Playful and fun. Yeah.

[C]

David, I feel bad. We won't talk about drummers. This. I just. I'm sorry.

[A]

Jesus.

[B]

Let's talk about Tinder and how to meet a gal.

[A]

Look at. I'm looking at his Google if. Fear of heights. And he feels bad for everyone he's gone out with. I think I have one of those.

[B]

Are those your quotes?

[A]

These are quotes, yeah.

[B]

Fear of. Fear of heights. And we feel bad for him. Not anyone.

[C]

Not any. I feel less that way. I mean, that quote.

[A]

Oh, good.

[C]

While ago. So I feel less that way. As, you know, as time has gone

[A]

on, I feel like I'm not married. So I feel like I'm not nailing it somehow along the way.

[C]

That's not true. That's a. That's. That doesn't have to be the end point, because some people do get married and it doesn't work out.

[A]

Yeah, I know.

[C]

So. So go easy on yourself on that.

[A]

I thank you. Because it is tough. Because it is. It is. If you really think about. It's very hard to sync that up perfectly.

[C]

It's very hard.

[B]

But I would say true.

[C]

Yeah.

[A]

And Dana did it. Right. And that's why I got to deal with Dana, because he. He's had the same beautiful wife.

[B]

I was a terrible single person. It's just. I would feel so sorry because the. No woman who wanted to be with me was carnal about it. If they want a boyfriend, he's cute, you know, and if I was there for other purposes. But I. I really enjoyed being married. I like having a friend. You meld into each other. We're very. She's. She listens to the podcast.

[A]

Yeah. She's our. She's our eyes and ears.

[B]

She's my confidant. Like, I run everything by her just because she knows me since 1979.

[C]

Oh, that's so nice.

[B]

You know, and she enjoys this podcast. And I go, really? Because I Can't listen to myself. Bloviate. But, Fred, can I. You're bloviate that you're. You're an emotional character, and you're a sensitive character, and I remember you like, we all are clowns that are wounded. But whatever. Whatever it came from. But I want to ask you first. You. You sent me an email after you left snl, and you kind of said, how do you process no longer being on the show? Speak to that.

[C]

Yeah, because like. Like, I. I like the experience of being an ex cast member because we all get to go back and do stuff. But you know that feeling. Cause I used to or still do admire ex cast members. I like how they go on to do other stuff. You know, there's something about that tradition, whatever it is, movies, other TV shows. I was like, what is that life like? And, you know, just seeing how Molly Shannon was afterwards, and she'd keep working on stuff and then just watching your career, same thing. I was like, what does Dana Carvey do afterwards? And then every year there's a new feeling, like, okay, I'm still kind of there. I know a lot of those cast members. Then another. I'm talking about snl, right? It just turns a couple more cast members, and in about four or five years, all of a sudden, it's all new people, and you start to see people you do not know. And so that feeling. That's what I was asking you about. I was like, what does that look like? What does that feel like? I kind of like it. But every year that goes is just like you're further and further away, you know?

[B]

Yeah, from.

[C]

From like the. The actual. You know, the blood, the meat of the. Of the show.

[A]

Well, how about hosting when you don't know anyone? It's just so much different because you go, I wish I could host when I was on the show. And you go, I know, right? This thing works. I know how everyone is and be perfect. First time I hosted, I knew a few people, I think. Second time, I didn't know one person. And then you feel scared, like, oh, I feel like a real host. Where. What does everyone do?

[C]

Who's that person?

[A]

You know, people talking to me. I don't know if they're a cast member. I don't know if they're writer.

[B]

How. How do you handle it? Feel alone when people or other performers or people come up and sort of, you know, tell you very, very flattering, sincere things, like, you're in that mode now. I'm sure if you run into cast members now, somewhere they would be Fred Armorson. I got to tell you, that sketch you did, and it's all a surreal circle, and it's still going. And the fact that we're part of the continuum is sort of where the gratitude comes in. But how do you handle people? Just Fred Armorson, get out of town.

[C]

It's so nice, and people are really kind. People are so nice about it. They say all the right things to remember all the sketches that I love. They love doing deep cuts. Someone will mention a dress rehearsal sketch. I love it because that's the way I was when, you know, I got to meet whoever. Chevy Chase, you know, whoever it is that Lorraine Newman. I'm the same way. So I. I like that. I like that tradition and just people are Just. Are cool. I don't know what it is when

[A]

they get excited, it's nice. Also, they're. They're. While they're talking to. They're figuring out other things you've done or other sketches. Like.

[C]

Yeah.

[A]

And you also.

[C]

Oh, yeah.

[A]

Because when they walk away, they go, oh, I didn't even think that. But that's cool. Like, I just saw your new girl, you. Your new girlfriend sketch where you played Regina or something.

[C]

Yeah, yeah, yeah.

[A]

God damn.

[C]

That was also with. With James Anderson. That was like an intellectual. I just like, you know, someone. It's that. That's people who don't like to do small talk. Like, every conversation has got to be deep. Yeah, exactly. I know.

[B]

See, like that. That premise is just so great, and it's well done. Rather than just Church Lays out there. She's. Come on. No, it's fine. I mean, every era has its own.

[A]

Yeah, it just evolution. Once you get to snl, even back when I was there, you're going, every sketch has been done. You think in your head.

[C]

Right.

[A]

And then it's been 20 more years of just new sketches. But it's hard to crack the code. It's like writing a song. You go, this is kind of like that one they did. This is kind of. You know, it's hard.

[B]

I know. And the game. The game of which cast was the best and, you know, forget all that.

[C]

Yeah.

[B]

The current cast is the. Is always the best. I agree.

[C]

And also, for every cast, there's always a great enough people in it that you could pick out stuff that is, you know.

[B]

Yeah.

[C]

That's fantastic.

[A]

And I still like writers. They still look at. I know Dan Boule is a writer there. That's the only one I think I know. But these guys come up. I Watch the sketches. Even if somehow it doesn't work. I. I look at the writing go, shit, man, that was a good idea. You know, they did it pretty well, or there's still good stuff. And they probably get hammered right now about it. Like, there's like, every present cast there, people are bad because the old one's gone.

[C]

Yeah. But I. I watch all the time.

[B]

If you can do, like, you were kind of like a jazz player. I'm just using words loosely. But if you can do dry, smart stuff and make it kill with, like, huge laughs, you know, that's always a real rush. There's some things are more rock and roll and more high energy.

[C]

Yeah.

[B]

Bass and pushed. And some are kind of subtle and a little different. But when the. When you hook the audience on SNL and one of those. It's really fun. I. I got it with Carson. That was. It was a very. For my part in that sketch was very dry. Did you have some favorites? Kind of. It's hard to ask people their favorites.

[C]

No, that's okay. I don't mind.

[B]

Like, the way you envisioned it and the way it turned out. You know, I think because the thing

[C]

is, like, as much as I could take credit for it, I got to give credit to Lauren. That's why it's easy to talk about. He's the guy who, on paper, it looks like it's not gonna work. And he's the guy who goes, let's put it on and see if it's gonna work out. And for me, it was like this comedian I used to do on Update who had no punchlines. He just would open up a newspaper and just point out the headline.

[B]

Can you do that on command? Could you do 10 seconds of it?

[C]

It's just kind of like, pick up the New York Times.

[B]

He interrupts himself.

[C]

Yeah. And it's just him going, look at this. Congress is going to donate. It's going to have, like, $8 billion for the Ukraine. You can't.

[B]

What?

[C]

You can't. There's no. On any other day, if any of us. And he just keeps going until there's no. You know, there's no. This is. There's no punchline. It's just pointing things out and being outraged.

[B]

It's really funny.

[C]

Then another headline. Anyway, I don't. God, it sounds like I'm. I don't mean to pat myself on the back about it.

[A]

No, I feel bad. You gotta like some of them.

[B]

Come on. No, that. That's a skilled thing. If you try to do it yourself, it's it's difficult. It's.

[A]

It's kind of weird like that. And get it to work. It's huge victory.

[B]

Yes. And.

[C]

Yeah. And the fact that they put it on update, I just feel like that would. There's no jokes in it. And then, you know, and we, you

[B]

know, we do give Lauren credit for stuff like you just said that he will go for the really weird, dry things sometimes. He likes the rock and roll things. He likes a mix. He likes big laughs. But he also. Let's just see if it works. Everyone has a lord impression officially. What. What. What's your take?

[C]

I like doing the one. I like doing the one of the. Of, like the warm greeting. So, like, if. If everyone comes out to dinner, you know, there's this thing that he does where he sort of is super polite, and if he saw you, he'd say, like, hello, Dana. Hello, David.

[B]

Like a very warm. That's a frequency I've not heard. Everyone always is doing this. No, no, no, no, no, no, no, no, no, no.

[C]

Yeah.

[B]

You know. Yeah, that's. That's an exaggeration of Lauren backpedaling because you misunderstood what he was saying. Yeah. All I'm saying is that this and that.

[C]

Yeah.

[B]

Well, you mean we shouldn't put it on?

[C]

No, no, no, no, no, no, no. And then you get them back. And then you get them back.

[B]

But you can't imagine SNL without Lauren. I just think he's the. He's obviously the linchpin, sensibility wise. I think the. The Ivy League guys come in and they respect his intellect. They respect him as a smart person.

[C]

Yeah.

[B]

And he has that. And he also likes, you know, kind of shoot for the fences.

[C]

Yeah.

[B]

Before we go, I always. No, we don't have to wrap up because I'm having so much fun, but I always like to ask our guests three things.

[C]

Sure.

[B]

Just to just. I like to put. Fred, I'd like to put you at, like, you know, 8, 10, 11 years of age. So a toy. And you don't. If you don't have to answer, you don't have a toy that you remember that you really liked as a kid, a bicycle that you might have got, and any music or television show or film that really rocked your. Blew your mind in those formative years.

[C]

So you're saying eight. Well, like, what grade is that?

[B]

Well, I, I always say 5 to 12 is the formative years.

[C]

So, like, kids, like, like being a little kid.

[B]

Yeah. I had Rock and Sock and Robots to get you started that they. They didn't last long, but that really blew my mind.

[C]

I would say. I think I really liked. I had like, Six Million Dollar man action figure.

[A]

Yeah.

[C]

And it had.

[B]

There you go.

[C]

It had so many details to it. Like, you could add so much to it.

[A]

Yeah, yeah.

[B]

Like put on little helmets.

[C]

Yeah, yeah, Little helmets.

[B]

And then like the eye and the.

[C]

You know exactly what I'm talking about, the eye. Like, you could look through the eye and it sort of like blinked. It had like a. You have a light, but like a sort of lens. And then if you rolled off his skin, off of his left arm, there's the mechanics of his bionic arm.

[A]

Yeah.

[C]

You know, it was. It was really cool.

[B]

And you were like.

[A]

It took a lot of imagination because it looks cool, but it doesn't really do much. So you've got to kind of make your own scenarios in your head, which is good.

[B]

Would you.

[C]

Yeah.

[B]

Put it in dirt and stuff and make a trench or be like a little.

[C]

I don't know, a rocket ship or some. Some rocket he was in, you know, I don't know, some. Some vehicle of some kind. So there were a lot of things you could get for it that I really liked. Bicycle. I had like an. I'm thinking of the word Apollo. I had an Apollo. Something like a yellow one with like a banana seat.

[B]

Banana seat, Yeah.

[C]

I grew up in the suburbs of New York, and I remember endlessly riding with my friends. And I was really young, but there was no sense of, like, hey, be careful. None tell us where it was.

[A]

Just not a helmet in sight.

[C]

Nothing. No helmet. You know, Main streets, like, with traffic. And me and my friends would just ride around and forever, all afternoon, not even.

[A]

Be careful. Nothing.

[C]

Oh, nothing.

[B]

Nothing.

[A]

And wipeouts. You just had to get home, like, squeak, squeak, squeak. Your legs bleeding.

[C]

Yeah.

[B]

Was it. If you can look back at, in a sense memory way, when you had your. I had a stingray, kind of a knockoff. But you get on your bike and Saturday morning and you start going. And the wind. And you're here and. Yeah, you're. You're pedaling this bike. And then if you go shoot hoops or run around a park or a school, your bike's just tilted over and you go. And you get your bike with your friends. It's just sort of magic.

[A]

Yeah, yeah.

[C]

And the aimlessness of it, like also being with your friends and you just.

[B]

Yeah.

[C]

You know.

[B]

Yeah. Going up hills and.

[C]

Yeah, yeah, yeah, that's it. Just like laughing with them when it's

[A]

not a school day and you've got the whole day. Just do anything.

[C]

It's getting dark. I remember the getting dark part. That's kind of like.

[B]

Yeah.

[C]

All of a sudden it's like there's no lights and your friends look different in the light.

[B]

You know, you got to get home. You're supposed to get home. And it's getting darker and darker. Yeah, yeah.

[C]

The best. The best. It's funny that there's dirt involved. I feel like there's a lot of dirt. Like, like feel.

[B]

Yeah, yeah, yeah, yeah, yeah. Park where there was mud. Someone made a little dirt jump.

[C]

Yeah, I could do.

[A]

Really. I could do a wheelie for like a quarter mile. I, I really. I had a.

[B]

You had a loot, like kind of a very light chain.

[A]

Yeah, I had a BMX bike. So once I got up. Yeah, I was a skateboarder too. I don't know if that helped, but I could do goddamn wheelie. And I was, I thought I was king. I had, I had medium dick energy.

[B]

King. Was that a doll that you had two and when you were 10, you know, like king.

[A]

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[C]

I don't know if this was 8 and 12. I think it is. Might be, might be.

[B]

It could be 13. There's no heart. This is just a conversation starter.

[C]

For some reason Planet of the Apes jumps out at me as like, of like the idea that like I thought about Planet of the Apes all the time. So there was, there was, there was the movie but there was still this sort of, there was a still like in my head I'd be like wow, the Statue of Liberty. And wow, they took over and you know there were these intelligent dude.

[A]

Statue of Liberty at the end where you like what the.

[B]

Yes.

[A]

That was unreal. I was like this. No way where are they?

[B]

I know Rod Serling, I guess came up with that. Did you notice after the spaceship crashed that they. They walked across the desert for like 20 minutes having philosophical arguments. Heston and the two astronauts. And then they reveal the. The monkeys riding horses.

[C]

Yeah, but with the nets and they're

[B]

all grabbing with the nets and the music. Yeah, that was. You know Bill Hader, your bandmate. He mentioned his one was Taxi Driver.

[C]

What?

[B]

Yeah, as the movie that blew his mind. He saw it when he was young. I mean I did not very dark. No, I saw.

[C]

No, I was.

[B]

I was a 20 grown.

[C]

I was a grown up already.

[A]

I wouldn't understand how crazy that was. I didn't. It made me scared or sad or something.

[C]

Yeah.

[B]

Bill would have like 10. 10 years old or something but he

[A]

always, you know, I was like louder. You know, I'm like very sensitive so I couldn't handle those movies. Yeah.

[C]

I saw a Taxi Driver. I can't. Blew my mind.

[B]

No. Bill Hader. Yeah, I know. I don't know. His voice is so interesting. And then he. He went into a Daniel Day Lewis in There Will Be Blood. That was. His voice was so transformed because his speaking voice. You don't. Wouldn't imagine he'd have such a range that he has.

[C]

Yeah. Because he really basy.

[B]

Hey, how are you? And yeah, it's not enough that I. But now what about what.

[C]

What do you think goes on in. In. In Bill's skull? Like where. Why can you do that? Like what can. Why can he do that with his voice that he can go that deep? But he talks up here.

[B]

Yeah. That's unique. I think that's kind of unique.

[C]

It's a real physical. It's like this talent but there's something physical going on.

[A]

Like something's wrong with them. Yeah.

[B]

Yeah.

[C]

Because he could go into Howard Stern like really deep.

[B]

Yeah.

[C]

Like he goes.

[B]

Yeah.

[C]

Really basic.

[B]

I found that really hard and I felt I found which a guy. You did too Obama. Difficult for a long time. The basiness. But I finally got it. That's what we got to do. Think about Obama. You got to stay calm. That's. We're going to be fine. There's no reason to panic. No one's got to do a thing. So I finally do them now and now I feel like I got him. But back in the day it was like so down here.

[C]

We didn't know him very well, I guess.

[B]

No, I. When I first four years I did them didn't work at all. Even his second term a little More. But I can do him now and everyone. He's successful, we love him. He's no drama Obama. So he's just to me, no drama. That's what he was.

[A]

Save the drama for Obama.

[B]

Did you watch any for music since you're a musician? One last question. What was your first, like record you bought or the love you mean as a little kid is a little kid I bought. Do you want to know a secret as a 45? You did? Yeah. Because I want to hold your hand was sold out. Yeah, it was. Do you want to know a secret? And I don't know if it's. Please, please me. I don't know anyway. 45. Yeah. Wait, listen. Do you want to know a secret? Do. Do.

[C]

Where did. Where did you grow up?

[B]

I. I. From Montana, but I grew up on the peninsula. San Carlos, 20 miles south of San Francisco. And the Beatles came on Ed Sullivan. And I went down to this little record store. I must have stole some quarters from my dad's stole pants. Right. I don't know where I got. I think it was 50 cents for a 45. And I remember it was. I was disappointed because I wanted. I want to hold your hand. And I saw there. You know. But I had three older brothers, so they probably had them already. I don't know why. I just for you.

[C]

I picture you buying lps for some reason later.

[B]

Yeah. In the very beginning, I. We. We were buying both. But all. All of us were buying albums later. And my brothers were. They were older than me, so. But in the beginning it was a 45.

[C]

Kind of.

[B]

Kind of hip. I know. I'm. I'm so old, Fred. I'm. I'm really. You wouldn't believe it. I go way back. Don't let this face fool you.

[C]

Wow. So you were getting 45. I.

[B]

In early days. And we bought. We. I bought a Beach Boy album with my brother and we had a band called the Surfers. And my kick drum was a clothes hamper and my Hardy Boys book was my snare drum. And I stole drumsticks from Mickey Hart's drum store. The guy was in the Grateful Dead.

[C]

Wow.

[B]

Yeah. Welcome to my podcast.

[C]

But my.

[B]

What did you get? What's your first drum set, by the way?

[C]

Way like, Like a weird mix, I think a Japanese made sort of. I think it was like a knockoff of a Gretch. So it had that sort of, you know, pearl inlay to it, but it was like fake and cheap. But it was. It was. But it was great. I loved it. I loved My kid, it was like a. You know, we got it used. My dad got it for me, and first record I think my parents got me, the Candyman by Sammy Davis Jr. Oh, really?

[B]

Oh, yeah, yeah.

[C]

That's like the first memory of, like. I mean, I think I was really little, but Candyman.

[B]

Yeah.

[A]

It's a great one, though.

[C]

Yeah, it is great.

[A]

Yeah.

[C]

Yeah.

[B]

Oh, yeah. Sammy Davis was genius. There's a documentary on him, you know, just. And so such a great drummer and great dancer.

[C]

Talk about entertainer. And then my parents would get me Beatles albums, and during the 70s, like, they were already broken up, but then I'd get solo albums and stuff like that.

[B]

Which one rocked your world?

[C]

Ram.

[B]

Yeah,

[C]

Ram is. That's my favorite album ever.

[B]

Really?

[C]

That's a masterpiece. Yeah.

[B]

Wow. Yeah, it is brilliant. That is probably his best McCartney, I think he had gems on every album.

[A]

I don't even know Ram. And I love McCartney. That's how much.

[C]

Yeah, it's a 19. This 1971 album. That is. Boy, that blew my mind. I still listen to it. It's like a weird. It's like a hip. It's like a weird, like, country ish, hippie kind of. It's experimental album, I would say.

[B]

And he won't play those on his tour. Right.

[C]

I don't think I've ever heard one song from an album.

[B]

Are you familiar with Arrow Right Through Me from Back to the Egg?

[C]

I think that's basically I. One of his best songs. Because that horn part. The horn part at the end is ins. Scene.

[B]

Wow, this is making my day, Fred.

[C]

Because it turns around weird. Like, it doesn't land on the. Yeah, yeah. Arrow through me. God, that's so, so good.

[B]

Oh, God, Fred, you made my day. Someone else knows. Back to the Egg and Arrow, right?

[C]

Come on. Come on.

[B]

Jeez, that's awesome. This is the greatest podcast ever. Anyway, Fred, we love you. We. We just say that now. I'm old enough now. I just say I love you to grow, man.

[C]

I love the both of you. I admire the both of you. I look up to both of you and I love hanging out with you guys.

[A]

And thank you for chatting, buddy. It's a lot of laughs.

[B]

And let's. Let's have. Let's have. Let's have. Let's have a lazy dinner one of these nights in LA somewhere. Yeah, we'll run into it. Largo.

[C]

Yeah. I feel like we. I feel like the three. Both of you. I feel like we. We do run into each other once in a while.

[B]

I bet we through Largo and this sushi restaurant we go to right near Largo. Well, I don't know if I'm supposed to say it. I, I, there's no one there. If you go with Sandler or Conan, there's nobody on the street with cameras. It's just very mellow. Great place to have a conversation and hang out.

[A]

So Fred will go and Dana will buy.

[C]

Okay. Please do.

[B]

Oh, baby.

[A]

Thank you, Fred. Love it.

[B]

And you did the horn part at the end.

[C]

Oh, I love that part. Yeah.

[B]

So much fun.

[C]

Fred, thanks for, thanks for asking me to do this.

[B]

This was awesome.

[C]

All right, love you.

[B]

Okay, bye. Bye.

[A]

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

[B]

Whoops.

[A]

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

[B]

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