Listener Q&A Episode 13

Summary

The Lonely Island & Seth Meyers Podcast

Listener Q&A Episode 13 (June 30, 2026)

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Episode Overview

In this lively Listener Q&A, Seth Meyers and The Lonely Island (Andy Samberg, Akiva Schaffer, Jorma Taccone)—with guests Keith Powell, Liz Cackowski, and Axel—dive into fan questions about their SNL era, the making and aftermath of classics like "I Just Had Sex" and "I'm On a Boat," behind-the-scenes SNL processes, run-ins with Akon, the roots of their recurring comedic habits, and memorable collaborations with SNL hosts like Jim Carrey. Along the way, they share stories, poke fun at each other, and reflect on the staying power of their digital shorts, with plenty of tangential story breaks and cast member banter.

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Key Themes and Discussion Points

1. The Legacy of "I Just Had Sex" and SNL Short Performances

Timestamps: 01:11 – 08:07

• Reception and Impact:

  • Akiva ("Keev") reflects on feeling confident about "I Just Had Sex," but is surprised by its lasting success, especially given the song's perceived simplicity.
  • Quote:
    • Keith: "I was very surprised that it did as well as it did." (01:45)
    • Jorma: "I do wanna listen with laughs and see how that goes." (02:24)

• Live Performances and Award Shows:

  • The group discusses performing the song at various events, notably with Akon at the short-lived Comedy Awards (02:41) and at a huge Akon/Usher concert at Nassau Coliseum.
  • Jorma: "He asked us to come do it. Of course I don’t think I even got on stage, but I just came—I'm not really in it." (03:49)

• Akon and Communication:

  • Recollections about how quickly Akon reached out about the song’s success—usually through managers, with the first big in-person interaction at a downtown recording studio before shooting the video.
  • Quote:
    • Jorma: "He kept saying, 'Of course the song’s a smash. It’s a smash.'" (05:51)

• Wider Influence:

  • Other artists, like T-Pain (performing "I’m On a Boat" without them) and Michael Bolton, performing Lonely Island songs live, providing a sense of validation.
  • Keith: "...such an honor to be like, wow. These dudes who are, like, real recording artists put it on that level..." (07:45)

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2. SNL Memories, Audience Responses, and Digital Short Crafting

Timestamps: 09:45 – 14:11

• Putting Real Names in Sketches:

  • Seth and others confess to occasionally slipping real friends’ names into SNL material—but only when it felt "right."
    • Seth: “I would never do a name that didn’t work originally as the thing that sounded like a name that would fit for that character.” (10:01)

• Travel, Procrastination, and SNL Alumni Stories:

  • Extended riff on Colin Jost’s laid-back travel style, the panicky counterpoint of Seth’s anxiety, and a parallel to personal quirks (like not knowing months in order).
  • Seth: "Jost is on a completely different clock and, like, moves so slowly." (11:20)

• Comedy Self-Deprecation / Family Life:

  • Humorous recurring theme about feeling “thirsty” or self-indulgent for putting themselves in shorts, countered by practical necessity—if they wrote the songs, it made sense to star in them.
    • Jorma: "It felt a little embarrassing. But then it also felt awesome... they knew who we were and wanted our picture too." (32:39)

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3. Filmmaking Process: Shooting and Editing SNL Shorts

Timestamps: 18:31 – 20:51

• Coverage and Efficiency:
  • Strong advice to new filmmakers: always shoot more coverage than you think you’ll need, especially when staging musical numbers or complex setups.
  • Jorma: "That has rung in my head for, like, 25 years...what the hell was I thinking?" (19:57)
  • Keith: "That is what you learn... calming everybody down and being like, nope, this is more important." (19:48)
  • Seth: "It is definitely to your benefit to use a little bit extra time to get more shots..." (20:51)

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4. Classic SNL Sketches: Alternate Cuts and Archival Choices

Timestamps: 29:17 – 32:39

• Fan Question: Different Cuts Online vs. Peacock
  • Explaining how SNL sometimes airs the dress rehearsal version in reruns or uploads, if it played better than the live cut.
  • Jorma: "If the performers or producers... feel that dress rehearsal went better... for reruns, put in the dress rehearsal version..." (30:13)
  • Keith: "I disagree with doing that. I... feel like it should just be mistakes and all." (31:01)

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5. Jim Carrey’s SNL Week and the “Maryville Brothers” Sketch

Timestamps: 34:18 – 43:54

• Firsthand Account of Jim Carrey’s Comedy Genius

  • Seth describes Jim Carrey’s immediate, dazzling presence at SNL and how his spontaneous bits elevated everyone.
  • Seth: "...he can do things that only Jim Carrey can do. And it feels as though it is almost... the definition of a God given talent." (35:42)
  • Recounts Carrey jokingly “calling a home run” in response to a failed pitch on Monday, showing off his effortless charm. (37:09)

• “Maryville Brothers” with Taran Killam, Bill Hader, Jim Carrey

  • Taran (via voice note) recounts the thrill of writing the sketch, getting an applause break at dress, and the personal validation from both Carrey and Hader—plus a shoutout from Tom Hanks.
  • Taran (voice note): "I remember looking to the left and seeing, like, Jim Carrey, my hero, kind of giving me a look of like, oh, not bad, cool." (42:17)
  • Seth: "Talk about an approval sandwich... Hader and Carrey." (43:38)

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6. Live TV Performances & The Roots Collaboration

Timestamps: 44:30 – 51:47

• Performing on Fallon and with The Roots

  • They recall their debut with The Roots on “I’m On a Boat” for Jimmy Fallon, their deep respect for The Roots’ musicianship, and how stage gimmicks (like the dunce cap) helped.
  • Jorma: "It makes the joke of the song way more obvious when you’re not able to cut to joke shots." (45:04)
  • Keith: "...like, with all comedy, you need an audience member...to really sell jokes sometimes." (45:15)

• “Classroom Instruments” Version

  • Describes the process and difficulty of performing the song without cursing, requiring multiple takes, but ends up proud of how true it sounded to the original.
  • Jorma: "Honestly, that might be the performance I’m most proud of. That is great because it’s super clean from start to finish." (50:59)

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7. Personal Tangents, Child Reviews, and Listener Miscellany

Timestamps: 21:12 – 23:47, 46:06 – 46:32

• Making Dumplings with the Family

  • Jorma shares his recent “Airbnb Experience” doing a vegan dumpling-making class, giving a surprisingly heartfelt review while riffing on terminology (“dumps” vs. dumplings).
  • Jorma: "For years, we've called dumplings ‘dumps’... I wasn't even thinking it was a joke." (22:26)

• Clifford Movie Kid Review

  • Axel gives the “Clifford” movie a 7/10 (“I liked it a lot.”). (46:28)

• Listener Questions and Easter Eggs

  • Examples of audience engagement: Beetlejuice impressions, ALF references, in-jokes with fans (“Quaid Army”), and debates over van names.

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Notable Quotes & Memorable Moments

• "He kept saying, 'Of course the song’s a smash. It’s a smash.'" — Jorma (05:51)
• "You go to Jim Carrey maybe because he’s Jim Carrey, but looking at everyone, they’re all pretty fucking flawless." — Keith (39:19)
• "Talk about an approval sandwich that you want to be in the middle of. Hader and Carrey." — Seth (43:38)
• “It felt a little embarrassing. But then it also felt awesome…they knew who we were and wanted our picture too.” — Jorma (32:39)
• "That is what you learn as a fledgling filmmaker: calming everybody down and being like, nope, this is more important." — Keith (19:48)
• "I love you guys. Genuinely. Not just pods talk." — Seth (47:00)

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Segments & Timestamps

• 01:11: "I Just Had Sex" reception/impact, Akon stories
• 02:41: Performing at Comedy Awards, Akon concerts
• 10:01: Using real friends' names in SNL sketches
• 11:20: Colin Jost’s travel habits
• 18:31: Editing decisions and shooting extra coverage in musical shorts
• 29:17: SNL dress vs. live version (alternate cuts on streaming)
• 34:18: First appearances in Digital Shorts; self-consciousness vs. pride
• 35:42: Jim Carrey's SNL week; cultural legend status
• 39:08: "Maryville Brothers" mechanical men sketch
• 42:17: Taran Killam’s voice note—debut & validation from idols
• 44:30: Performing with The Roots, live Fallon debut, straight man role
• 46:28: Clifford kid review (Axel)
• 50:59: Classroom Instruments: Clean “I’m On a Boat” performance—proudest live version

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Tone & Style

The conversation dances between behind-the-scenes SNL/anecdotal gold and sharp comedic riffs. The group is self-effacing, quick-witted, nostalgic, and consistently warm-hearted toward fans and each other. They aren’t above gentle roasting or celebrating absurdities (“dumps,” “wig wave”), making the episode feel simultaneously like a writers’ room, a reunion, and a fan letter to comedy itself.

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For Listeners Who Missed It

This episode is a treasure trove of Lonely Island history, SNL lore, and industry insight—filled with spontaneous comedy, rare behind-the-scenes stories, and the kind of creative camaraderie that made SNL’s Digital Shorts legendary. Whether you’re obsessed with how they made “I Just Had Sex,” yearn for Jim Carrey tales, or just enjoy sharp improvisational banter among friends, this episode is an essential listen for comedy fans.

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End Note

As always:
"Love you, Quaides." (Multiple, 53:29+)

Transcript

[Andy Samberg]

It's the Lonely island and Seth Myers podcast.

[Keith Powell]

I hope she recovers well. And Bethany, if you're listening, sorry that you got attacked by a bear.

[Seth Meyers]

You did say before we start, so I wasn't recording neither.

[Keith Powell]

I was, though, so it's fine. I mean, you guys weren't telling the story, so it doesn't matter.

[Jorma Taccone]

Yeah, but we were responding. I. I kept going, whoa.

[Seth Meyers]

I just really felt strongly that you were asking us not to record.

[Jorma Taccone]

Yeah. Saying before we start.

[Keith Powell]

And I said, okay, jump on, Seth. I only come in hot now, so.

[Seth Meyers]

Oh, okay. That's a pretty cool thing.

[Keith Powell]

Thank you. Caliente.

[Seth Meyers]

Caliente. Yarma. Caliente. Hey, everybody. Welcome to the show. And this week, Andy's on a little break. Andy just wrapped his movie and is back with his family and really has to do a little bit of work to get back in their good graces.

[Jorma Taccone]

I'm sure that's true.

[Seth Meyers]

I mean, accurate. He shot two movies back to back, so, I mean, he's a beloved father, don't get me wrong. But sometimes you gotta do a little extra work and not popcorn.

[Jorma Taccone]

Know what, Seth?

[Liz Cackowski]

Money.

[Jorma Taccone]

Money talks.

[Seth Meyers]

Money does talk.

[Keith Powell]

What does it say?

[Seth Meyers]

Thank you for? What does it say?

[Keith Powell]

You need me right in America.

[Seth Meyers]

All right, here we go. First of all, there was a request by multiple quades asking for just a little bit of final wrap up on I Just had Sex. In regards to how it was received afterwards, how mad was Lauren at the afterparty that Akon had said Lonely Island.

[Keith Powell]

I don't think that was coming from

[Seth Meyers]

Lauren, but in general, you had talked about Keeve. This was one that you felt very confident about and you knew it was going to crush in the room. Were you then a little surprised by how much it crushed as a song or was that also expectations?

[Keith Powell]

By the way, can I say I'm a little surprised to hear that Keev was as confident about this one because to me, it's always been a little too basic too to be successful. I was very surprised that it did as well as it did.

[Jorma Taccone]

You know what I don't have a memory of is how well it did like on the night. Whereas if you recall with like I'm on a boat, I remember being deflated a little bit by the room.

[Seth Meyers]

Oh, interesting.

[Jorma Taccone]

Where to? Like an SNL audience. It doesn't have the hard jokes you're looking for. I'm on a boat. This does, I would argue, have the hard jokes you're looking for from an SNL audience.

[Seth Meyers]

Right. Although we didn't watch it again with the Laughs Right? Yeah.

[Jorma Taccone]

Do we wanna put a pin in it till we have Andy? I mean, I do wanna listen with laughs and see how that goes. I don't know if that will make the podcast audience listen to it again, but I am curious. And yeah, what else? We've done it live a bunch of different times. Sometimes with Akon, sometimes without.

[Seth Meyers]

Where have you done it with Akon live?

[Jorma Taccone]

There was a short lived award show on Comedy Central called the Comedy Awards.

[Seth Meyers]

Wow.

[Keith Powell]

I don't even remember this.

[Jorma Taccone]

It happened to be this year right when it came out and so we did it there. I hope you can't even find the performance because I feel like it was so kind of thrown together.

[Keith Powell]

Was this the one that like Tim and Eric were there? Like there was a bunch of YouTube performances. Like it was a bizarre little.

[Jorma Taccone]

No, that. No. We did the spring break anthem at a thing called the YouTube Awards.

[Keith Powell]

Oh, yeah, yeah, yeah, yeah, yeah. The YouTube Awards. Okay, gotcha.

[Jorma Taccone]

We went to a bunch of like fledgling award shows that did maybe two. Two of them. You know what I mean?

[Keith Powell]

They don't all work.

[Jorma Taccone]

No. Where else have we performed? We performed parts of it maybe at

[Keith Powell]

Emmys, the Spike Awards.

[Seth Meyers]

By the way, I definitely was hoping that when you did it with Akon it would be things like the Grammys.

[Jorma Taccone]

Yeah, that'd be awesome.

[Keith Powell]

It was all bullshit.

[Jorma Taccone]

Oh, you know where we did it with Akon again, Andy should really be a part of this. But that was really fun. Was an Akon concert at an arena in Long Island. Where would that be?

[Keith Powell]

Saw it was Nassau Coliseum and it was during.

[Jorma Taccone]

You know, it was within the next six months after it came out.

[Keith Powell]

It was a big concert. It was.

[Jorma Taccone]

And it was a real Akon show, so. And it was Akon and Usher. I think so. So it was a big sold out arena and he asked us to come do it. And of course I don't think I even got on stage, but I just came because I'm not really in it. No one needed me to come do a manicure or a pedicure.

[Keith Powell]

He didn't bring his top hat, so he can. Yeah.

[Jorma Taccone]

So I wasn't even recognizable. I was out of character.

[Keith Powell]

Yeah.

[Seth Meyers]

Security wouldn't let you through. Despite Yorm and Andy bouncing.

[Keith Powell]

Yeah. He didn't have his Abe Lincoln look.

[Jorma Taccone]

That's right.

[Seth Meyers]

Yeah.

[Keith Powell]

Yeah.

[Jorma Taccone]

Backstage. What I remember is that Akon was unapologetically smiling while doing a Shake Weight.

[Keith Powell]

That's right. Oh my God, your memory's so good.

[Jorma Taccone]

He had one of those chin up bars that you like. Put into a doorway and it was like his pre show, like get pumped up kind of ritual.

[Keith Powell]

By the way, when someone has a chin up bar, to me, they should also have like a poster of like a Lamborghini and a babe on the Lamborghini.

[Jorma Taccone]

I mean, I'm pretty sure Akon's ripped.

[Keith Powell]

That's like such a 14 year old's thing to have a chin up bar.

[Seth Meyers]

When I would go on a sleepover at a kid's house and he had one of those chin up bars, I was like, I don't feel like we're the same friends.

[Keith Powell]

Yeah, it's a qualifying.

[Seth Meyers]

I don't think we're the same kind of dude.

[Keith Powell]

It's like I had a couple friends who had like snakes in high school and I'm like, I'm never gonna fully relate to you now.

[Seth Meyers]

I have a quick question. First of all, it's awesome that Akon asked you to do it. Like how quickly do you hear from Akon because he's not with you the night it airs?

[Jorma Taccone]

No.

[Seth Meyers]

And does he reach out? Do you guys communicate with him the Sunday after?

[Jorma Taccone]

I mean, it might be more like his manager called our manager and we heard from our music manager being like, yo, Akon's camp is so psyched or whatever.

[Seth Meyers]

So when is the first time? Was that the first time you talked directly to Akon about how well it had gone on the show?

[Keith Powell]

Probably, yeah.

[Jorma Taccone]

You know what I really remembered is when we were at that downtown recording studio we talked about and it was the night before we were about to shoot the video, but it was the first time we were meeting him face to face and we were just going, yo, thank you so much for doing it. And he kept saying, of course the song's a smash. It's a smash. And he kept saying, is that why

[Keith Powell]

you were more confident with it? Cause like, when JT did that, I was like, oh yeah.

[Jorma Taccone]

No, I think the reason I could be unapologetic confident yhorm is because I'm not on it. I was more objective. And because I hadn't been there at

[Keith Powell]

the inception, I will say that that's exactly how I felt about bo. When I walked in the room and you guys had completed, I was like, that's a fucking monster hit. I hate you guys.

[Jorma Taccone]

There's a clarity to not being part of the thing because I could just be an audience member more.

[Keith Powell]

I was like the exact opposite of how Neil Brennan perceived the song Disposable. He was just like, no, he can't do it.

[Seth Meyers]

Again, the most confident I ever felt at SNL were things that I was not in, but I had written because it was not my face, my voice. I just was like, oh, this is going to be great. It's just my words in, like, better hands. Love it.

[Jorma Taccone]

Exactly.

[Keith Powell]

There's also a thing in writers rooms that I think we've all had where you pitch a joke, it goes in, people like it, and then you immediately feel regret of, like, that's a bad. Like a bad. And then you start on it, and then people have to be like, no, it's fine.

[Liz Cackowski]

Right.

[Jorma Taccone]

Akon has so many hits. The other thing I remember from that show is because he was opening for Usher. His set was probably 30 minutes, and he played like. It's like when you see one of those Jay Z shows where he played half of every song.

[Keith Powell]

Oh, I love that.

[Jorma Taccone]

Like, chorus, verse, chorus, go to the next song just to be able to jam it in. And you. You don't realize how many. You know. You know, so many. And so even with I Just Had Sex, it was definitely just within a nonstop, almost like a DJ set of a thing where it just was one after another. And then ours squeaked in. But it sounded good up there with everybody else.

[Keith Powell]

But, like, it's so wild to think of these as, like, real songs that anytime anybody wanted to do that, like, you know, T Pain has performed Boat without us on stage before, right, Keith?

[Jorma Taccone]

Like, yeah, we've seen videos of that,

[Keith Powell]

and it's such an honor to be like, wow. These dudes who are, like, real recording artists put it on that level that they're willing to do it on stage.

[Jorma Taccone]

I'm pretty sure Michael Bolton started doing a version of Jack Sparrow, like, at least the choruses.

[Seth Meyers]

That's amazing. Did the audience, like, immediately recognize it as a hit when you started doing I Just Had Sex With Akon at

[Jorma Taccone]

that concert, they knew it. It fit in.

[Seth Meyers]

Yeah.

[Jorma Taccone]

Yeah.

[Seth Meyers]

I wonder what percentage of people. And again, obviously, there's an SNL comedy audience that maybe doesn't know Akon through a lens other than I Just Had Sex, but I wonder what percentage of Quaid Army. Maybe we'll put a poll wherever we put our polls.

[Jorma Taccone]

Yeah.

[Seth Meyers]

The question to Quaid army is when you hear Akon, is I Just Had Sex, the first song you think of. And I know obviously this is an incredibly biased audience, but, you know.

[Jorma Taccone]

Yeah, I think he's also one of those artists that you know way more than you think you do. If someone started playing you the songs,

[Seth Meyers]

I think that's true.

[Keith Powell]

It's like Maroon 5.

[Seth Meyers]

But again, the question is, when you hear Akon is the first song you think of. I just had sex. And again, I know you're quite army. Um, we talked about how the first time we saw you guys, maybe the makeup was a little hot.

[Keith Powell]

Yeah, just a little.

[Seth Meyers]

But a few people said that they actually thought that was an active choice to give you guys a post sex glow.

[Keith Powell]

Yeah, it was definitely. We had. We had thought about that.

[Seth Meyers]

All right, great. Somebody wrote. The funniest part of this short is believing Blake Lively and Jessica Alba could ever get with two Alvins.

[Jorma Taccone]

Respect.

[Keith Powell]

By the way, thank you for calling us both Alvin, because I'm. Clearly.

[Seth Meyers]

Somebody said Aon still counts is a thing they think about all the time.

[Jorma Taccone]

Yeah.

[Seth Meyers]

As like a just a little thingy popped in really good there. Oh, I mentioned my friend. This is just a very. A side thing. I mentioned my friend Doug Stradley really likes Space Hog. And somebody said, there's no way Doug Stradley is someone's actual name that sounds like the name of a class nerd in every 90s Nickelodeon cartoon. Not only is it my friend's real name, but I did use it, like, seven times in sketches over the years because it. I think for that very reason that the person thought it was fake. Kind of a perfect real name that sounds like a company name.

[Keith Powell]

My question is for you, Seth. How often did you put real people's names into sketches to be able to shout out your friends via television?

[Seth Meyers]

Very little. That's not true. Five or six times. I don't love it as a move. I feel like the name has to fit in the premise.

[Keith Powell]

Yes, sure.

[Seth Meyers]

So I would never do a name that didn't work originally as the thing that sounded like a name that would fit for that character.

[Doug Benson]

Okay.

[Keith Powell]

So the one. The one that I did. The only time I ever did this was on, I think, Sloths, the animated short. And Jason says, hi, my name is Mark Potcik, which is TJ knew Mark's real name. And he. It was because he was in the audience because I wanted to, like, freak him out. This is the only time.

[Seth Meyers]

But that's a good one. I mean, Mark Potsik is a great guy for Sloth. And yeah, that sounds like a really totally. You didn't mess with the integrity of the sketch.

[Keith Powell]

No.

[Seth Meyers]

Hey, somebody wrote. And again, I really like the very short YouTube comments that just feel like the economy of the writing is really nice. Somebody wrote, I just had Seth. I really enjoyed that. And I. I just hung Out Jost. We were. We were both in Cannes, France, for Cannes lion, which is like a brand festival. And so we were. We were both there at the invitation of NBC. And obviously, nothing's better than hanging out with Jost anywhere particularly entertaining in France. I will say about Jost. I've never met anybody as sort of successful and capable as Jost, who is on just like, a completely different clock and, like, moves so slowly.

[Keith Powell]

He is chilling.

[Seth Meyers]

It was like an hour drive from the Nice airport to Cannes, and I knew that Jost knew this because he had arrived to Nice and driven to Cannes already. This is information he had for departure day.

[Keith Powell]

Sure.

[Seth Meyers]

This is something he should know. We were on the same flight Back to Newark, 1240. I got a text saying, meet in the lobby at 9:40 from the people who are arranging our travel. Which seemed just right to me.

[Keith Powell]

Right?

[Seth Meyers]

You know what I mean? Hour drive, two hours before an international flight.

[Keith Powell]

Sure.

[Seth Meyers]

So I set an alarm early, went to the gym.

[Jorma Taccone]

Whoa.

[Seth Meyers]

Went back to my room, packed up.

[Keith Powell]

Responsible guy.

[Seth Meyers]

Walk into the elevator. It's 9:35. I'm walking to the elevator. I see Jost in workout clothes. He's walking towards me. He's like, hey. And I'm like, what's up, bud? Where's your suitcase? He's like, oh, I was going to go work out. And I said, oh, he's on his

[Jorma Taccone]

way to work out. That's even worse.

[Seth Meyers]

Yeah, totally. And by the way, like, not a drop of sweat on him. And I was like, oh, yeah, we're supposed to leave now. And he said, oh, I thought it was 10:40. Okay, well, let's go down and check. So again, he's not like, fuck, fuck, fuck, fuck. He's not, like, immediately running back to his hotel room. So then we go down to the elevator and we get in the lobby and our people are waiting. And he's like, what time are we leaving? And they're like, now, right now? And he was like, oh, okay. And then he looks at me and says, are you checking a bag? And I was like, no. And he's like, oh, I am so. Again, everything, like, now. You should get there even earlier. And so I have such travel anxiety. And I basically just announced to everybody who's listening, so is there a second car? Because I'm gonna leave right now. And they were like, yes, we actually have two cars for you guys. I'm like, great. And I'm like, I love you, Joe, and I wish you the best of luck. And I'm really, based on everything I know about you. This is going to work out. And he's like, okay, all right, I'll see you in a minute. And so then again, nothing happening. Then we're boarding the flight, and it's one. It's like one of those things where it's oversold. And they're like, we're looking for somebody to give up a seat.

[Keith Powell]

Oh, my God.

[Seth Meyers]

And nobody's giving up the seat. And then I get a text from Joe's being like, hey, I'm checking in. They told me they gave up my seat. I'm like, yeah, I think they might have just thought you weren't coming. So I'm like, all right. You know, there's another flight a couple hours later. You know, this is the price you pay. And so I get on the flight, and I'm like, you know, getting my suitcase up. And then, like, five minutes later, there's Jos on the plane. And he's like, yeah, they figured it out.

[Jorma Taccone]

Good for him.

[Seth Meyers]

Great.

[Jorma Taccone]

I knew that's how the story was gonna end.

[Keith Powell]

Oh, yeah, for sure. That's in the fucking stars. Like, I don't believe in astrology, but he's fine.

[Jorma Taccone]

Yeah, that's why he's. He's been rewarded or he's blessed for this behavior his whole life. Like, he's been afforded it.

[Keith Powell]

It's just. But it just going to work out. My. My brother's the exact same way and will, like, set a time for you. And you come over to meet him, and he's in the shower, and you're like, what? Like, he just got in. And you're like, how is this possible? Also, let me dump on my brother one more time. Two quick stories. He recently. This is, like, within the last five years, was like, dude, I don't even know the months in order. First of all, that's not something you should be proud of. But he was like. He was like, september, November. And I was like, first of all, it's like, Sept. Oct. No, like. Like, you should know that. Whatever.

[Seth Meyers]

And then do you remember Amy Poehler's reality star Amber, who had one leg and was super confident? That character? Yeah. Yeah, she definitely sounds like. One of her catchphrases was, I don't even know the months in order 100%.

[Keith Powell]

Here's another one. In December, we were talking about New Year's, and we were talking about, like, December 15th for some reason, and my brother was like, yo, is that New Year's? And I was like, no, no, it's at least at the end of the month. It's like a turn.

[Jorma Taccone]

That's really crazy.

[Seth Meyers]

It's so funny.

[Keith Powell]

He also doesn't know my birthday. Also.

[Seth Meyers]

The other thing is, Jost and I were both talking about how. Which was true for both of us. We both had so much work to do. And we were both looking at the fact that we had this nine hour flight that was not a red eye. And it does feel like stolen time. You know, you like leave Europe at one, you land at like 3:40 and yet you have nine hours to work. And so for anybody who procrastinates, it's a dream come true. And Jose is like, oh my God, I have so much work to do. And at one point I got up to go to the bathroom and he was asleep watching the movie Speed Racer.

[Keith Powell]

I like that he could fall asleep to that particular movie.

[Jorma Taccone]

But he was like, I got so much work to do. But I do need to see Speed Racer the way it was intended on a 4 inch screen.

[Seth Meyers]

If not now, when?

[Jorma Taccone]

Yeah.

[Keith Powell]

That movie is also like a conniption fit.

[Seth Meyers]

Yeah. And yet he's still. I guess somebody wrote. How is it that every time the Alvin's reference alf, they don't bring up or play Yoram's line from semicolon.

[Keith Powell]

Oh, yeah, good point.

[Seth Meyers]

What's the line? You're. I'm gonna let you say it.

[Jorma Taccone]

Oh, but I'll eat all you cats.

[Keith Powell]

But I'll eat all you cats, alf.

[Seth Meyers]

Yeah, yeah, yeah.

[Jorma Taccone]

We had like three ALF references in our live show. Do you remember, Seth? I don't remember what they were, but do you just remember feeling like it was?

[Seth Meyers]

I do remember that, alf. Yeah, it does feel like you guys have a lot of alpha ownership. People are disappointed. We said Beetlejuice three times. You did, Keev. And Andy did do his Beetlejuice impression.

[Axel]

Oh yeah.

[Jorma Taccone]

I was summoning him with the trees

[Seth Meyers]

and nobody was listening.

[Jorma Taccone]

He never showed up. That's crazy.

[Keith Powell]

Can I do Andy's impression of Beetlejuice?

[Jorma Taccone]

As a Beetlejuice impressionist, he should always be counting the amount of times it said.

[Seth Meyers]

He should always be counting the Beetlejuice. It's very disappointing when you do.

[Jorma Taccone]

Yeah. All right. Yorm, that was three, go ahead.

[Keith Powell]

But in order to do that, I gotta get married.

[Jorma Taccone]

Yeah.

[Seth Meyers]

Pretty good.

[Keith Powell]

This is okay.

[Seth Meyers]

I think we're in pretty good shape. I feel like we can go into Andy List podcast knowing that we have a Beetlejuice on hand.

[Jorma Taccone]

Yeah.

[Seth Meyers]

Unless it happens again.

[Keith Powell]

No problem, said sand worms.

[Liz Cackowski]

I don't know.

[Keith Powell]

Fucking.

[Seth Meyers]

This is a two part comment It's a comment and then equates comment on the comment. And both of them. I just enjoyed a great deal. Someone wrote inform us in the yormous.

[Keith Powell]

Ooh.

[Seth Meyers]

And then the comment beneath. It was really good, my man.

[Jorma Taccone]

See some nice positivity. Yeah.

[Seth Meyers]

It is absolutely the appropriate response to inform us. And the Yarmouth is really nice, my man.

[Keith Powell]

That's like, I don't give a honk level support. Yeah, yeah, I agree.

[Seth Meyers]

We talked a lot about should we play the August Alsina song? Because we were worried it would get flagged. And Keith, do you want to explain to everybody what did get flagged?

[Jorma Taccone]

Well, I just had sex got flagged by the record label.

[Seth Meyers]

Right. So that is an interesting way that this thing goes down, which is you guys have a podcast for your songs. But if you put I just had sex, YouTube will flag it because someone else owns the rights. Correct.

[Jorma Taccone]

That's right. Universal Music Group, umg owns the rights to the master.

[Keith Powell]

That's how capitalism works.

[Seth Meyers]

That's how it works.

[Jorma Taccone]

Also, the August Alina one did get flagged as well, so. Right.

[Seth Meyers]

They both got flagged. But it wouldn't have mattered if we

[Jorma Taccone]

had left out splitting the money from the ads on that post. And again, if anybody notices there's too many ads, take it up with umg.

[Seth Meyers]

Right.

[Keith Powell]

This is exactly what Karl Marx was talking about. In fact, after he talked about, like the whole front line of the proletariat and everything like that it was all copyright stuff and like, why it should

[Seth Meyers]

be just more open who owns what songs.

[Keith Powell]

Yeah, exactly.

[Seth Meyers]

Hey, this is a just a good filmmaker question because you guys are talking about how you did the cafe shots and I just had sex. It was mentioned there was probably a whole shot of Andy walking over to the counter, but in the edit, there was a decision made to add in a shot with Blake instead. My question is, do you film the entirety of the song in every location so that you have options when you're doing the edit?

[Keith Powell]

Keev. One, two, three. Yes.

[Jorma Taccone]

Yeah, most of the time. Yes. There's occasionally when it's really a story song like I just had sex, where maybe we did everything from, you know, Andy's entrance out of the women's room. What's his line there? Oh, hey, didn't see you there. Guess what I just did. Yeah, we probably did playback starting from that and then definitely would always let it play to the end of the song.

[Seth Meyers]

Got it.

[Jorma Taccone]

I doubt we went back to the beginning.

[Keith Powell]

You wouldn't do the beginning. No, because it's a reveal so, yeah,

[Seth Meyers]

but once you establish that location, why not just do it all the way through? Exactly.

[Keith Powell]

It takes.

[Jorma Taccone]

You go. It's another 40 seconds or whatever it is.

[Keith Powell]

That is the. By the way, the same logic that you have with almost all of filmmaking and movies and, like, you might as well do the rest of the scene.

[Jorma Taccone]

There's so much work to get to the moment when you can actually say action and film. Yeah, right. So many people are so worried about making their day that they rush through that part, and that's not a good idea.

[Seth Meyers]

It's crazy.

[Keith Powell]

Like, literally, like, that is what you learn as a fledgling filmmaker into being a little bit more seasoned, of just. Just, like, calming everybody down and being like, nope, this is more important.

[Jorma Taccone]

One of the first music videos for other artists, I did the We Are Scientists one. I remember being on set and we had really specific. Like, we'll just see this part of the song in performance and this part in performance. And I remember, to her credit, this woman that worked for their record label going, because they're up there doing performance. You have the cameras. You just have them do the whole song, right? And I went, oh, yeah, yeah. And in my brain went, oh, my God, no, duh. What the hell was I thinking? I was really not going to. And that has rung in my head for, like, 25 years.

[Keith Powell]

I've. I've probably said this, but I will reiterate that what I love about filmmaking is that there usually are enough smart people that something will be caught like that, where, like, somebody will suggest something and you will get credit as the director, but it's that somebody is like. Will be like, hey, should you get that footage? And you will. And then sometimes not. But, like, most of the time, there's enough smart people on set to catch those things.

[Seth Meyers]

And it is the truest thing in the world that it will take about two and a half hours or more to light a scene and get everything looking the best way. And it is definitely to your benefit to use a little bit extra time to get more shots that you can actually fall back on. In the edit, somebody said, welcome back to Three Cliffords and a Grodin Podcast

[Jorma Taccone]

Fair.

[Keith Powell]

That's a person who saw it.

[Seth Meyers]

My kids watch Clifford. It's a rainy day. They watch Clifford this afternoon. And I will get the review.

[Jorma Taccone]

The one with the red sweater or the one with the red dog?

[Seth Meyers]

Red sweater.

[Jorma Taccone]

Okay.

[Keith Powell]

Wait, did they actually.

[Seth Meyers]

They did. I went downstairs and. By the way, I didn't even recommend it.

[Jorma Taccone]

They made it through it, by the way.

[Seth Meyers]

It's very rare for my kids to bail on a movie.

[Jorma Taccone]

Okay?

[Keith Powell]

Really?

[Seth Meyers]

They don't get a lot of movies. So when a movie starts, they're like, what are we going to do? We're not going to get a second movie.

[Jorma Taccone]

I would love to put that on for my kids and time how far they make it before they turn it off and yell at me for turning

[Seth Meyers]

it on for next week. I will get my kids to review Clifford, Please, please do.

[Keith Powell]

Oh, my God. That's well worth it.

[Seth Meyers]

Speaking of, we're gonna get. At some point during this week's episode, we're gonna get a dumps bump. A dumps quumps bump. What?

[Jorma Taccone]

Yeah.

[Doug Benson]

What is.

[Jorma Taccone]

Sorry with you. I don't know what you're talking about. And I love it. You're.

[Seth Meyers]

You went dumping. You went dumpling making.

[Jorma Taccone]

Oh, yeah, I went dumping. That's gonna be on this episode. So one of the commercial breaks here will be about my dump quump bump.

[Seth Meyers]

So stand by for a real genuine. While we were talking about kids, and it made me think, oh, my God, you guys are getting a very special surprise at this episode. There's gonna be a dump squump. So bump. And you don't know what I'm talking

[Keith Powell]

about now, but, oh, my God.

[Andy Samberg]

Great.

[Axel]

Love it.

[Jorma Taccone]

You know, for years, we've called dumplings dumps. And then this week, because we went and made some dumplings with my family, you know, like, had a little dumpling making class, and I kept calling them dumps. I got called out on a lot, and I wasn't even thinking it was a joke or funny. I was just being like, yeah, let's make some dumps.

[Seth Meyers]

Was your family. Have you used dumps with your family or just, like, your friends?

[Jorma Taccone]

Not really. I think it's just in the Andy and Europe thing.

[Keith Powell]

Oh, God, I hate it. I hate it so much. Yeah. There's a phrase in the English language which is a rose by any other name, and I feel like dumps is one of those things of, like, is it worse? Yeah. Fucking. I don't want to eat that dumpling. Let me bring it back to Will Forte.

[Jorma Taccone]

Big order of dumps.

[Keith Powell]

Will Forte has a dog named Mud Butt, and I hate that name so much. And I was thinking, like, he's a pretty cute dog. I'm like, would a dog by any other name fuck yes? Like, my God, if you just called him anything but mud Butt, I would like that dog way more.

[Seth Meyers]

Yeah, Mud butt's bad.

[Keith Powell]

It's horrendous.

[Seth Meyers]

Mud butt's Real bad.

[Keith Powell]

Frisbee was the same way, though. I gotta.

[Seth Meyers]

I have to listen. But I guess Mr. Dabolina is a sample from a monkey song called Zils.

[Jorma Taccone]

Is it really the Music or the Mr. Dabolina, Mr. Bob Dabelina?

[Seth Meyers]

I think that must be the part that is sampled.

[Keith Powell]

I didn't get to say this last week, but I have the Mr. Daboulina record. It's a single. It's one of my pride and joys. Because on the B side of Mr. Dabolina, it might be Mr. Bombay, but I think it has Dabolina as well. Is the song Eye Examination, which I think is my favorite hip hop song ever made. So if you can find.

[Jorma Taccone]

That was a hard to find Del song back before the Internet, because it was not on his album. And it was one of the hardest, coolest ones.

[Keith Powell]

And fun fact, Del, the funky homosemion is from the Bay, which we are also from.

[Jorma Taccone]

Yeah. And the bay is what? And the Bay is what?

[Keith Powell]

Your area.

[Jorma Taccone]

Oh, it's an area. Oh, that's very interesting.

[Keith Powell]

It's a whole area.

[Jorma Taccone]

All right, here's Mr. Bob Daboulina. The Monkeys song is called Zilch. It's got a Parliament sample and a James Brown sample. Yeah, it's vocals, lyrics.

[Seth Meyers]

Are you looking at a thing that tells you who does what on songs?

[Jorma Taccone]

Yeah, it's a website called who Sampled? Oh, cool. And it'll tell you the samples on any song.

[Keith Powell]

You know who would not be into that premiere?

[Jorma Taccone]

Yeah, he's always gatekeeping his samples.

[Keith Powell]

Stop snitching. Violating straight up and down. It's from the premiere sketch.

[Seth Meyers]

Let's see, what else do I have from our lectures? Like another pitch for the name of your Van Van Whalen. Just gonna throw that out.

[Keith Powell]

Okay.

[Seth Meyers]

We had an ad for NPR in the show last week.

[Jorma Taccone]

Yeah, we're classy.

[Seth Meyers]

We're classy. Somebody said hearing an NPR ad in this podcast is that weird feeling when your old high school friends meet your college adult friends.

[Keith Powell]

I love that.

[Seth Meyers]

Also, you were. People thought you with the top hat looked like a guy who was about. This is back to you. Keith and I just had sex. That you were about to lift up. Punxsxutawney Phil.

[Jorma Taccone]

Oh, I should be so lucky. I know exactly who they're talking about. Isn't that Brian Doyle Murphy in the movie?

[Seth Meyers]

Yeah.

[Keith Powell]

Yeah.

[Jorma Taccone]

Hello, everybody. Akiva here. This ad break is going to be a little different because in partnership with Airbnb, I just attended my first Airbnb experience with my family. We took a cooking class at a restaurant called Men and Beasts, which is in Echo park in Los Angeles, where we learned how to make dumplings.

[Axel]

The restaurant is entirely vegan.

[Jorma Taccone]

That's true. Thank you for chiming in.

[Seth Meyers]

We're gonna start with our white dough. We have two different colors just for fun. Later on, we're gonna experiment with some two tone dumplings, but we're gonna try and learn the basics.

[Jorma Taccone]

So first off, you just go on the Airbnb website. There's a list of experiences in any city. So if you're a tourist there or if you watch something fun to do with your family. But we went on there and we chose something at a local vegan Chinese restaurant to make dumplings. And it honestly ended up pretty fun. Would you agree with that, Liz?

[Liz Cackowski]

Yeah, I loved the whole thing. And it was also on Father's Day, which was an extra little special something. Don't you think? Think?

[Jorma Taccone]

Yeah. It was really nice. We went as a whole family. How about you?

[Axel]

It was really nice. I gotta learn how to make something. I didn't know. I got to explore different ways to make a dumpling. I gotta learn different folds.

[Jorma Taccone]

And, you know, honestly, it felt a little bit like being on vacation. The owner of the restaurant is also the head chef, and he gave us the full lesson and he was lovely and it was really fun. We got to make the dough into little circles ourselves. And tell me about the circle. What did you have to leave?

[Axel]

So you got your dough and it was almost like in this almost marshmallow kind of shape. And you put it down and you pressed it, and then it was time to start rolling. And as you were rolling, you kind of held it in your hand a certain way. So then you left a thicker part of the dough towards the middle.

[Keith Powell]

All right.

[Seth Meyers]

So our first chunk of dough.

[Axel]

And we did that not to just keep, like the filling, but also to find the shape.

[Jorma Taccone]

Yeah. And we asked. And it's so that the dumpling has a little bit of a more sturdy bottom.

[Seth Meyers]

Roll this down to the cylinder. You're looking for about a 1 inch diameter here because if you leave the

[Jorma Taccone]

center a little thicker, then when you're doing all your folds, it can hold all the. The vegan fake meat inside it. And it was delicious.

[Seth Meyers]

The length is going to depend on how much dough you cut off, as long as you're about one inch.

[Jorma Taccone]

And then we also ordered a little from the menu. Menu before we left, obviously, we got to eat our own dumplings and take them home. And we got to try Some of the food there and everything we tasted there was really inventive and delicious.

[Axel]

And one more thing to add. At the restaurant, Men and Beast, they have this really good oolong tea.

[Jorma Taccone]

Yeah. That they just brought out. And we got to wear silly chef hats. And afterwards, I had a nice coffee. What else do you want? I don't know. It was a really nice way to spend an afternoon. And there was lots of other versions of these kind of experiences. It's not all just making vegan Chinese dumplings. That's just what we chose.

[Liz Cackowski]

Yeah. Like, I think, you know, especially for families, you kind of can get in a pattern of always going to the same places and all that stuff. And so this was kind of cool to be like, oh, what else is in our own city to go do and learn something and be in a different part of town than we usually go to. And it made me, like, appreciate la.

[Jorma Taccone]

And whether you're traveling or simply exploring your own city, Airbnb experiences are an easy way to meet new people, build real world connections. The things you do on a trip, those are what stay with you. Find thousands of [e-mail] experiences. It's been brought to my attention that our comedy award performance of I Just Had Sex is on our YouTube channel.

[Seth Meyers]

Oh, wow.

[Jorma Taccone]

April 10, 2011. So it was four months after the video.

[Seth Meyers]

That's very cool. And let's see. That's about all I had.

[Jorma Taccone]

You want to do this? Greg Chun. He's a listener, and he had a genuine question.

[Seth Meyers]

Greg Chun, send something in. Thanks, bud. Let's hear from Greg Chun.

[Jorma Taccone]

This is a genuine question he had. And I said, you know what? Send it to me.

[Greg Chun]

Hey, guys, it's Greg. Not messing with you this time. This is a legitimate question. Instagram fed me one of my favorite SNL sketches of all time. It's the Crossing over one where Will Ferrell's. He's doing the psychic who just can't get anything right. And so I'm watching it, and the resolution on Instagra was so bad, I wanted to see the actual show. So I fired up Peacock, and I realized as I was watching it that the Instagram one is a totally different cut of the sketch than the one that's on Peacock. So I was wondering, and I thought this would be illuminating for the Quaids too. Do they ever go back for whatever reason and replace with, like, a dress rehearsal run or another run? This was, like, different costuming and everything. So I was. I was super confused. So if you could tell us that would be amazing.

[Keith Powell]

Keev, Seth, you do it.

[Jorma Taccone]

I mean, yes. The answer is yes. His guess was exactly right. I feel like we maybe even talked about it on a very early episode of this pod. But sometimes if the performers or producers of the show feel that dress rehearsal went better than air, they'll make a note of it and go, hey, for reruns, put in the dress rehearsal version and then that'll become the official version. And if anything gets put online or anywhere, obviously this Instagram one, it's a VHS recording, so somebody recorded it off air and put it on Instagram. So this is probably the only existing one besides SNL of the air version.

[Keith Powell]

I will say this, I disagree with doing that. I. It's called Saturday Night Live and I feel like it should just be mistakes and all.

[Jorma Taccone]

So I kind of agree with you. And there's probably, honestly other things they fixed or made better between dress and heir and they just had a different audience and it just didn't probably play as well. So they think that dress was better. But the truth is, I bet you heir is. But the sketch is a parody of Crossing over with John Edward, which was, I guess, a show back then.

[Keith Powell]

Okay, we're gonna listen to this for two seconds.

[Seth Meyers]

A woman who's got a woman with a J.

[Jorma Taccone]

Drew Barrymore, Maya Rudolph in the crowd.

[Seth Meyers]

Maybe K. K or J. A woman with a K or J.

[Keith Powell]

Oh my God, I love this.

[Jorma Taccone]

Or R.

[Seth Meyers]

This is a question from Ryan, which I feel like we've in a weird way kind of covered a little bit, based on how you're a key part of I'm on a boat and you're a murk. You're part of I just had Sex, which is Bor. Keev and Yoram. When you each make your first substantial appearances in digital shorts, how were you feeling leading up to it airing? And while it played, were you excited, nervous? Worried people would be like, who the heck is this guy?

[Keith Powell]

Yeah, yeah, like Keev, you go first.

[Seth Meyers]

Yeah.

[Jorma Taccone]

I think because we weren't actually on the show, there was a little level of self conscious embarrassment, I would say not embarrassed in the work, but embarrassed like at the office. Knowing, like we put ourselves in is kind of feels a little self indulgent.

[Keith Powell]

Maybe it felt a bit thirsty. Yes.

[Jorma Taccone]

Yeah, a little thirsty. That's a good word for it. But you know, we had made the songs and they were ours and so it would also not have felt right to give the parts to other people in the cast, which we.

[Keith Powell]

Which we also did occasionally. And that was Cool, too. Like, we did this short glerk for our pilot for Fox called Awesome Town.

[Jorma Taccone]

Yeah. Or Seth Rogen. We replaced me with Seth Rogen on Like a Boss. Like, if you hear the album, it's me and then Seth. When it felt appropriate, it was like, I just had sex or I'm on a boat. Would be very different. Just plopping a cast member who didn't write it into it. So it felt a little embarrassing. But then it also felt awesome on the outside because we would leave the show and, you know, there's all the people outside waiting to meet the cast and take pictures with the cast, and then all of a sudden, they knew who we were and wanted our picture too. And that feels kind of cool, like, oh, thank you.

[Keith Powell]

Yeah. And that still happens at the show.

[Seth Meyers]

And you were very. I remember you guys would walk in very slowly in hopes that. That people would take your picture.

[Jorma Taccone]

Yeah. Yeah. I'd give them a lot of opportunities, like, they'd had to get through, like, Hater and Forte and Sudeikis.

[Seth Meyers]

And I remember, go through the revolving door and often come back out again and do this thing where you go, I guess I missed my spot.

[Axel]

Yeah.

[Keith Powell]

Well, me and Keev also got very good.

[Seth Meyers]

You missed my spot. What the is wrong with me?

[Keith Powell]

Well, drinking very good at ventriloquism. So as you'd leave, you'd do like

[Seth Meyers]

a. Oh, my God.

[Keith Powell]

You're like. And so that helps.

[Jorma Taccone]

Yeah. We'd wait for the wig wave. We.

[Doug Benson]

It.

[Jorma Taccone]

The wig wave is for. For Kristen. And we'd be like, wait for the wig wave. We would just wait right inside the doors waiting for her to leave. And then we'd be like, okay, it's our spot.

[Seth Meyers]

Yeah.

[Jorma Taccone]

Yeah. It's like surfing. You don't. You don't get on the wave.

[Seth Meyers]

You would say, let's. I'm hoping to catch a little splash from the wig wave.

[Jorma Taccone]

Yeah, exactly.

[Seth Meyers]

Got a little wet from the wig wave.

[Keith Powell]

Let's just say we're drafting. We're drafting. We got very good at drafting.

[Seth Meyers]

Got a little sea spray off that wig wave.

[Andy Samberg]

Yeah.

[Seth Meyers]

We have a short coming up, which is Andy and Peewee.

[Keith Powell]

Yeah, I came back for that one.

[Seth Meyers]

There's a non short show in the middle, which I want to talk about for a second, which is Jim Carrey came and hosted the show, and that was a huge deal for me to see Jim Carrey do SNL up close and in person.

[Jorma Taccone]

I think it would have been for me and Yoram if either of us was there. Were you There.

[Seth Meyers]

Neither was there.

[Jorma Taccone]

No. Andy probably has some good memories of this.

[Keith Powell]

Oh, Jim Carrey.

[Jorma Taccone]

Yeah.

[Keith Powell]

Yeah. No, no. I'm jealous I didn't fucking stop by for that shit.

[Seth Meyers]

Yeah.

[Jorma Taccone]

So this is Yorm still on his sabbatical where he had left the show.

[Keith Powell]

I'm in Africa.

[Jorma Taccone]

I'm probably in Africa and I. It's January 8th and my daughter was born January 2nd and so I am definitely not there.

[Doug Benson]

I'm home.

[Keith Powell]

So you're just being completely lazy and.

[Jorma Taccone]

Exactly. I'm home with a six day old.

[Keith Powell]

Unbelievable.

[Jorma Taccone]

But let's see. Yeah, it feels like maybe we want to talk about this one with Andy there because we were all huge Jim Carrey heads and I'm sure Andy was geeking out the whole week that he was there.

[Keith Powell]

One of the things that Andy quotes from Jim Carrey all the time, which I think is a really fun quote, is whenever it's really hot out, Andy says from Ace Ventura, two pretty hot in these rhinos.

[Seth Meyers]

That's true.

[Jorma Taccone]

And yhorm has this really interesting one. It's all righty then.

[Keith Powell]

Oh, yeah, yeah, yeah. That's a deep cut.

[Seth Meyers]

I will say my memory and I will get Andy's memories next week when he's here is that Jim. Jim Carrey in person is so much like Jim Carrey that you kind of can't believe it in that he can do things that only Jim Carrey can do. And it feels as though it is almost. It's the definition of a God given talent in that it looks like magic the way he like has control over his face and body and voice and everything he can do. Because again, every one of us has pitched and fucking eaten shit on Monday in the Monday pitch.

[Keith Powell]

Right.

[Seth Meyers]

Like, of course it's impossible thing to do. I will say that when Jim Carrey was there, the first person who pitched had like just. And again, no judgment. I've had this a hundred times, had a pitch that just was a lead balloon. And there was this brief pause and again, this is the first time this room, most of us had ever sort of perceived him in person. And he's just sitting in that chair so close and I remember lead balloon. And then Jim Carrey just literally made the crack of the bat noise like someone had just hit a ball really hard. And of course he did it better than I could ever do. And then he just started doing like people cheering and he goes, it's a homrot. Like just a hole. And it was like everybody. I just remember everybody was gasping because the fact that the first pitch, he decided to do a long bit about how well it had gone, and it was just. It was like, he's rounding the basin.

[Keith Powell]

It's like, you're like, you know what? I think this week's gonna go all right regardless.

[Seth Meyers]

I mean, everybody was just like, holy moly. Because, you know, when you think about sometimes. Sometimes you're at, like, charity events in Hollywood, and one of the auction items is like, al Pacino will leave outgoing voicemail for you. Like, I just remember sitting there being like, I would have paid so much money if to see this. This thing that I'm getting to witness right now. I would have paid so much money to actually get to witness. And so the fact that I'm getting it for free at my job is really amazing. Amazing.

[Jorma Taccone]

That sounds amazing. And it was equally amazing just changing a dirty diaper, probably for me at that exact moment, you know, and also

[Seth Meyers]

for a child that had yet to make eye contact in a meaningful way.

[Jorma Taccone]

Yeah, we were having the same experience. Basically.

[Seth Meyers]

There's a chance six days in, which is what this would be when this aired and when your daughter was born.

[Keith Powell]

Good math. That's very good math.

[Seth Meyers]

Seth, Jim Carrey still might have meant more to you than your daughter did. There was, like, a small window. But I have a real favorite from this episode, which is Taran Killam's Merryville Brothers, and it is such a good use of Jim Carrey, and it is also a sketch that starts immediately. It does not waste any time getting into its game. And everybody should just go to YouTube and watch Maryville Brothers, because this is a physical comedy sketch. But I'm just gonna show the beginning to Keith and Yoram and then let them speak to the skills of Jim Carre and how smart Taran Killam was to write this for him with Klein. Oh, the Merryville trolley ride. Honey, I haven't been on this in forever. Yeah, your sister told me it was your favorite.

[Axel]

Aw.

[Seth Meyers]

Oh, look, here come the Maryville brothers.

[Andy Samberg]

If you join with a friend in a friendly song, then you'll have friendship all day long. So call, come along and sing all day because that's the Maryville brother way.

[Keith Powell]

So impressive.

[Jorma Taccone]

God, they do it perfect.

[Keith Powell]

Oh, that is.

[Seth Meyers]

It's incredibly.

[Keith Powell]

That's so good.

[Seth Meyers]

Nobody's overdoing it. It is absolutely how animatronic people would look.

[Keith Powell]

You go to Jim Carrey maybe because he's Jim Carrey, but looking at everyone, they're all pretty fucking flawless. It's great.

[Seth Meyers]

Yeah. Taran and Jim Carrey and Bill Hader are the three Maryville brothers. They are animatronic and they are really good at it, and it's just very fun to watch. And it's also a three minute sketch and that was the first 34 seconds and you know the game and you're enjoying yourself and it's just very fun.

[Keith Powell]

Does it get dark after that?

[Seth Meyers]

Yeah, of course, bud. You know how that works. No, it's great. Everybody's happy. They love the Maryville brothers.

[Keith Powell]

Okay, good. It doesn't get weird after that. It doesn't get weird. Yeah, it's just normal. Normal from then on.

[Seth Meyers]

It is a reminder. You watch it and you see there is a little bit of David S pumpkins in that. It's a reminder how funny Taran can be physically and wordlessly.

[Keith Powell]

I saw him perform Hamilton as the king. Right? Didn't he do that? Yeah. And he was. He was great.

[Seth Meyers]

I just saw Rachel Dratch in a Rocky Horror Picture show and it was fantastic.

[Keith Powell]

You're a Broadway guy. You're a classy guy.

[Jorma Taccone]

Seth, we've been talking a lot about Broadway because you guys go a lot.

[Keith Powell]

Juliette Lewis, like, because I know she's fantastic in that show too, but she was amazing. She. The minute I saw her for over here, did Buddy, she was like, Dratch is like a revelation. She was like, she's built for this in a way that is like, so impressive.

[Seth Meyers]

So I reached out to Taran and asked him for his if he had any memories about Maryville.

[Jorma Taccone]

Oh, great.

[Keith Powell]

Oh, this better be good.

[Andy Samberg]

Quaid Army, Yay.

[Seth Meyers]

Righteous kill.

[Jorma Taccone]

Righteous kill.

[Keith Powell]

Good start.

[Andy Samberg]

Such an honor to be asked to leave my first of at least two voice notes for the podcast. As we all know, the Quaidos are frothing at the mouth in anticipation of Andy and I's often forgotten Gaultier sketch.

[Keith Powell]

Hell yeah.

[Andy Samberg]

Coming up, Maryville Brothers was a really cool week. Jim Carrey is my comedy idol, always has been. And that sketch was based off of, like a physical thing I'd done at Groundlings that two other comedians had written, Ryan Gaul and Greg Roman. And I got their blessing to kind of put it in a new format. And so I wrote Maryville Brothers with Rob Klein and Kent Sublet. The dream Team. Truly and kind of. The story of note is from dress rehearsals. It went well at the table, got picked. We rehearsed it. But then at dress rehearsal, the first time we come up, we do the physicality and then we duck back behind this, like plywood wall and we actually got like an applause break, which was a new experience for a young, overwhelmed cast member. But I remember looking to the left and seeing, like, Jim Carrey, my hero, kind of giving me a look of like, oh, not bad, cool. And then looking to my right and Bill Hader, who was also in the sketch, giving me a thumbs up. And he kind of whispered like, it's going really good.

[Seth Meyers]

That's awesome, man.

[Keith Powell]

That's a good Bill.

[Andy Samberg]

And that felt great. And then on Monday, where I often found myself, like, you know, trying to play it cool, but so desperate for any mention or validation of the work he'd done the week before, Hig Bones, Steve Higgins told me that Tom Hanks had texted him during the show and was like, that was such a good sketch. Who did that? And so that felt really nice. And we ultimately got Tom in a Maryville Brothers sketch. We did four or five of them, but, yeah, really cool. Really exciting. I love you guys. I love the podcast. I've listened to every episode. I've been listening since it was a Monday podcast.

[Seth Meyers]

No, we don't burn. How dare you.

[Keith Powell]

Snuck in.

[Andy Samberg]

Let me know when you guys want to do the Grown Ups to car wash scene episode. Yes. Later, dudes.

[Jorma Taccone]

The Grown Ups 2 episode. That's gotta be a big one. People are probably waiting for the Grownups 2 episode.

[Keith Powell]

I forgot about that. Thanks, Taran. That was great.

[Seth Meyers]

Thank you, Taran.

[Jorma Taccone]

That made me smile thinking about that moment.

[Seth Meyers]

Yes. And how much those first ones mean. The first time you feel like something's working, you can do it. It doesn't mean you're going to be able to do it next week, but, like, just to know you can do

[Keith Powell]

it is exactly how I felt with Mugless with. Sure, yeah, sure.

[Jorma Taccone]

Good. Yeah. Must have been amazing. So jealous.

[Seth Meyers]

Also, talk about an approval sandwich that you want to be in the middle of. Hater and Carrie.

[Jorma Taccone]

That's amazing.

[Keith Powell]

I thought you were going to say Hanks, but yeah, absolutely. I mean, it's like a. A nice little topper to have Tom Hanks be like, that was great.

[Seth Meyers]

Also great work by Higgins to pass it along. That's. That's a job well done.

[Keith Powell]

Good job.

[Jorma Taccone]

I. I'm looking through these questions. This is an easy one for me and Yorm to do a very quick version of, which is Z. Hello. I absolutely love the podcast. Look forward to it. Every week I want to ask you to address the two performances on Jimmy Fallon. One, the full performance and two classroom instruments. Full performance was with the Roots. Jimmy introduces you as your live debut. Go into detail about what that was like Performing with the Roots. Had you met them before? How did you decide to go so hard at Yorm? So that's talking about when we did I'm on a Boat when he was doing the Late show, not the show you do now, Seth.

[Seth Meyers]

Yes.

[Jorma Taccone]

And it was a thrill, as we've talked about many times on the pod, how we had seen the Roots in concert so many times, and we had had some nice interactions with them already, especially Amir was so kind about, like, Lazy Sunday and stuff. But it was amazing to have them doing the song and then for us to figure out how to work Yorm into it live, which once we did it for that. That's kind of how we did it at all our concerts many years later. Like, just the idea of putting Yorm.

[Keith Powell]

Was that the first time we figured the dunce cap.

[Jorma Taccone]

The dunce cap. And putting him on a. A little stool in the center of the stage.

[Keith Powell]

Dunce kept coming back.

[Jorma Taccone]

And it helps me and Andy, so we're not just up there, like, flailing with nothing to do. It gives us somebody to perform the song to, and it makes the joke of the song way more obvious when you're not able to cut to joke shots.

[Keith Powell]

Here's the thing, like, with all comedy, you need an audience member, you know, who's actually witnessing some of this to really sell jokes sometimes. And when you do that part well, which I do very, very, very well.

[Doug Benson]

Yeah.

[Keith Powell]

I feel like that role doesn't usually get enough credit. And so it's really nice for you to acknowledge me.

[Jorma Taccone]

Keith, would you consider yourself the straight man of the song?

[Keith Powell]

I would. I would. And I think it's a very difficult job, and I think I perform it ably. And so thank you for bringing it up.

[Jorma Taccone]

Also, Tariq, AKA Blackthought, learned, you know, the whole T pain thing that day and did it so well. So it was just really fun. And then for Classroom Instruments, whose idea was it to do the song as part of Classroom Instruments series? Who came up with the arrangement? How many takes did you have to do? Was it difficult to sing without cursing?

[Seth Meyers]

Sorry, real quick, can you guys ask just Axel a few questions about what he thought about Clifford?

[Keith Powell]

Oh, yes, please. So my first question to you about Clifford, Axl, is, what was your favorite part of the movie?

[Axel]

I have no idea.

[Jorma Taccone]

Okay, good.

[Axel]

I liked it a lot.

[Jorma Taccone]

And on a scale of 1 to 10, 10 being your favorite movie, whatever that is, and 1 being a movie you don't like, where would you put it? Where would you rate this one?

[Axel]

Seven.

[Jorma Taccone]

A seven. Okay. That's pretty high accurate.

[Seth Meyers]

Seven. All right, I'll be out in a minute.

[Jorma Taccone]

So to answer these questions in order. We were there because Andy was going to be the guest to promote Pop Star Are. And we were already all in New York also because we were doing a week of press before the premiere.

[Keith Powell]

And also I live there and.

[Jorma Taccone]

Yeah, and also your lives there.

[Keith Powell]

And go next.

[Seth Meyers]

Hey, guys, I. I do have to run.

[Jorma Taccone]

Yeah, say that you love us now, and then we can put that in later. Say it like you mean it, though.

[Seth Meyers]

Okay.

[Keith Powell]

Yeah, wrap it up.

[Seth Meyers]

Love you guys.

[Keith Powell]

Oh, love you, Seth. Love you, Kiva.

[Jorma Taccone]

Leave that here and then repeat it later so we get to hear it again.

[Seth Meyers]

Yeah. All right. Love you guys, genuinely. Not just pods top.

[Jorma Taccone]

Love you.

[Keith Powell]

Yeah, we already said that, and we meant it.

[Jorma Taccone]

Okay. Bye to Seth.

[Keith Powell]

Bye, Seth.

[Jorma Taccone]

So Andy was gonna be on it, and they proposed doing a classroom instrument, the Tonight show, as a way to do more stuff. And they brought up I'm on a Boat. And so to answer all these questions, they did the arrangement. They had fully figured out everything, including the director, had figured out the camera and the room. And all we had to do was practice doing it without the bad words. And it was a little bit difficult. Difficult without the cursing. Just to remember them all like, we were like, I'm gonna slip. And we did two takes.

[Keith Powell]

Did you do Mickey Ficky? Instead of which you. Yeah, Mickey Figgy.

[Jorma Taccone]

We did Mickey Fickey.

[Keith Powell]

Shout Out Spike Lee.

[Jorma Taccone]

I believe it's on our YouTube channel for anyone who wants to hear it. I think it's pretty good, actually.

[Keith Powell]

Yeah.

[Jorma Taccone]

And I was proud that with no production, it sounded pretty good and we sounded like the record, and I was glad about that. I remember because you're just in a room shouting, and the room is just mic'd, so there's no trickery.

[Keith Powell]

Which performance did we use? Do we use the second one or.

[Jorma Taccone]

No, I think we did. I think we did it first. And everyone was like, got it. That's how it goes. Then we just did it a second time. So the whole thing was 10 minutes.

[Keith Powell]

Yeah.

[Jorma Taccone]

And, yeah, it's.

[Keith Powell]

It's weird because you know that the Roots have put in more hours of performing than maybe any other band on the planet. And yet it's still impressive to see them do stuff.

[Jorma Taccone]

It's so intimidating.

[Keith Powell]

Like, they're still incredible, and you can't

[Jorma Taccone]

believe you just sit down there and they're that good at. At it here. Let's just.

[Keith Powell]

It's a very good performance. And again, thank you for bringing up my role in it, Cube, because I do it excellently, lets me and Yorm

[Jorma Taccone]

just take a little trip down memory lane since we're talking about it.

[Keith Powell]

Oh, look at my wardrobe. Really good.

[Seth Meyers]

Oh, shirt.

[Jorma Taccone]

Yeah, good censored stuff your monkey funky toes.

[Keith Powell]

What am I reading?

[Jorma Taccone]

The joy of land.

[Seth Meyers]

Cold. You can't stop me. This is tight. I got my twin drums and my flippy poppy. I'm loving burgers. You go straight flipping copy. I'm riding on a go.

[Jorma Taccone]

You're annoyed.

[Seth Meyers]

I'm doing great.

[Jorma Taccone]

Mommy, Daddy.

[Keith Powell]

I like this so much. I would actually want to put it on a cassette tape on a mixtape for myself for. Because the van only has cassettes. It really is an awesome shout out to the right thing.

[Jorma Taccone]

Hey, Ma.

[Seth Meyers]

If you can see me now,

[Keith Powell]

Like

[Seth Meyers]

Kevin Garnett, anything is possible. Yep. I never thought I'd be on a boat. Let's go.

[Andy Samberg]

I know.

[Seth Meyers]

Never thought I'd see the day.

[Keith Powell]

When I.

[Seth Meyers]

Say it,

[Jorma Taccone]

then he curses.

[Andy Samberg]

Yeah.

[Keith Powell]

And there's a mermaid prop, too. Everybody looks at him judgmentally.

[Jorma Taccone]

Yeah. Honestly, that might be the performance I'm the most proud of. That is great because it's super clean from start to finish.

[Keith Powell]

It's so good. It's so wild to be like we performed with them at all. And again, I'm not even. You know, I got to do yolo with them. Didn't get to do this exactly.

[Jorma Taccone]

But, you know, every comment's about you. Yorm's commitment to making faces at the camera for 2 1/2 minutes is everything. Quaid army for life. Another one. I can feel Yorm looking into my soul and begging for help. Yorm reading the Joy of Land because he was not invited on the boat. Good to see he's working on acceptance. I'd love that for him.

[Keith Powell]

This is great. I'm so glad I get credit for doing zero. Absolutely zero. By the way, it's always fun for me. And I do like that at the end of our concerts, at least I get to join you guys because it is a joyful song. I'm still jealous I'm not on it. Still mad at you, both of you, deep down.

[Seth Meyers]

Very, very.

[Jorma Taccone]

You're a much bigger part of it than I am if I just had sex. So.

[Keith Powell]

So sure. Yeah. Yeah. Well, that's entirely because of you guys, like, wanting to, you know, add a visual joke. So. Appreciate you, Doug.

[Jorma Taccone]

All right, well, I guess that's it for this Q and A. You know, I wish Andy was around, but I get it. He flew in just yesterday, so I'm going to give afford him a little bit of grace to get reacquainted with his children and his wife.

[Keith Powell]

Yeah. But I do want a voice note to knowing about his spelling bee adventures this week, so I hope we can at least get.

[Jorma Taccone]

I just saw that I missed a voice call from him 11 minutes ago.

[Keith Powell]

Okay, well, I'm assuming it was about spelling bee. So, Andy, how'd you do on spelling bee?

[Doug Benson]

Yeah, Two hints, and frankly, I haven't gotten it clean since last Tuesday, so bit of a cold streak. And it doesn't feel good. It doesn't feel good, but you got to admit it when it's bad so that people know how much it means to you when it's good and they believe you, you know, know. Unless I'm lying about the whole thing, and I've never once, ever done it, which would truly be the most psychotic thing in the history of time, which kind of makes me now interested in that as an idea. All right, I love you guys.

[Seth Meyers]

Later, Arnold.

[Keith Powell]

Good job, Andy. I assume you cleaned it or whatever your thing is. And for everyone that's curious, I got solid.

[Jorma Taccone]

Solid. Pretty good. All right. All right, well. Love you, Yoen.

[Keith Powell]

Love you, Keev. Love you, Seth.

[Seth Meyers]

Love you guys.

[Keith Powell]

Later, Arnold.

[Andy Samberg]

Later, Quaides.

[Keith Powell]

Later, Jon Hamm.

[Doug Benson]

Later, Quaides.

[Jorma Taccone]

Later, Don Draper. You want me to say later, Quaides?

[Doug Benson]

Stop acting like children.

[Keith Powell]

Later, Ghostface. Later, Quaides.

[Jorma Taccone]

Later, Jack doing Ghostface.

[Seth Meyers]

Later, Quaides.

[Jorma Taccone]

Later, o'. Brien.

[Seth Meyers]

Oh, now you remember me.