Fred Armisen

Summary

Podcast Summary: "Where Everybody Knows Your Name with Ted Danson and Woody Harrelson (sometimes)"

Episode: Fred Armisen
Release Date: June 25, 2025
Guests: Fred Armisen
Hosts: Ted Danson & Woody Harrelson (occasionally)

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Introduction

In this engaging episode of "Where Everybody Knows Your Name," hosts Ted Danson and Fred Armisen reconnect to delve into Fred's multifaceted career and personal journey. The conversation seamlessly transitions from Fred's early passions in music to his successful foray into comedy, providing listeners with an intimate look behind the scenes of his creative endeavors.

Early Life and Musical Beginnings

Fred Armisen opens up about his childhood influences and the genesis of his love for drumming. Growing up in a culturally diverse household, Fred's Venezuelan and German heritage, coupled with time spent in Brazil, ignited his fascination with percussion.

Fred Armisen [16:37]: "Brazil is where I first saw drums. They had these samba parades, all percussion, surdos and panderas. I was hypnotized by it."

Fred recounts his early days practicing drums in his room, supported by his parents who are commended for nurturing his passion despite the challenges.

Fred Armisen [22:08]: "They bought me drums and I kept going. I took lessons and really learned."

Transition to Performing and Early Career

Fred describes forming bands during his youth, highlighting the organic and unstructured beginnings that eventually led to more serious musical pursuits in his teenage years. His stint with the Blue Man Group marked his first significant paycheck in the entertainment industry.

Fred Armisen [29:16]: "Blue Man Group... that changed my life. It was my first showbiz paycheck."

Ted Danson humorously reflects on his own early career challenges, drawing parallels to Fred's experiences.

Discovering Comedy and the Shift to Entertainment

The conversation takes a pivotal turn as Fred explains how his introduction to British comedy, influenced by his then-wife, steered him toward performing comedy. This transition was catalyzed by a serendipitous event—creating comedic interview sketches at a music festival, which caught the attention of a Warner Brothers Records executive.

Fred Armisen [35:10]: "That video is what set me off to doing comedy. It's been nonstop."

Joining Saturday Night Live (SNL) was a significant milestone in Fred's career. He shares anecdotes about his early days on the show alongside Will Forte, Tina Fey, and other notable comedians, emphasizing the camaraderie and collaborative spirit that defined his tenure.

Fred Armisen [40:04]: "When I first got there, I joined with Will Forte. We were the two new guys, and the existing cast made us feel very welcome."

Collaborations and Creative Ventures

Fred discusses his successful collaboration with Carrie Brownstein in creating Portlandia, highlighting the seamless fusion of their creative visions. He also mentions his role in the second season of Wednesday, which was filmed in Ireland, showcasing his versatility as an actor and creator.

Fred Armisen [44:36]: "Portlandia with Carrie and SNL with all those people. I love it."

Ted Danson praises Fred's ability to seamlessly jump from one creative project to another, attributing it to Fred's genuine kindness and collaborative nature.

Ted Danson [47:08]: "You're just kind of this isolated drummer in your room... you jump from one big thing to the next."

Personal Reflections and Insights

The hosts delve into personal topics, including parenting, with Fred sharing heartwarming stories about his three-year-old child. He reflects on how fatherhood has brought a new sense of relaxation and joy into his life.

Fred Armisen [53:34]: "It's pretty great. It really makes you relaxed about time... It's all about him goofing around."

Ted Danson and Fred also discuss the challenges of memorizing lines, drawing humorous parallels between their experiences on Cheers and SNL.

Ted Danson [50:27]: "Do you ever get tripped up on one word over and over?"

Fred Armisen [51:05]: "And lo and behold, that's the hard scene."

Philosophies on Creativity and Purpose

The conversation culminates with a discussion about creative purpose and the importance of meaningful work. Fred emphasizes the influence of his idols, such as David Byrne and Steve Martin, and how they inspire him to continuously create for the betterment of others.

Fred Armisen [57:34]: "I think the basic North Star is becoming more and more like people. Like my heroes who are still my heroes."

Ted Danson echoes this sentiment, expressing his desire to align his work with purposeful and impactful themes.

Ted Danson [60:15]: "I want to be around people and it can be silly, it can be stupid, it doesn't have to be this serious thing. But I want it to be purposeful."

Conclusion

The episode wraps up with heartfelt mutual appreciation between Ted Danson and Fred Armisen. They reflect on their enduring friendships and the joy of collaborating with talented individuals in the comedy and entertainment industry.

Ted Danson [64:44]: "I really love the tradition of comedy that you come from and you're so great, good at it."

Fred Armisen [64:50]: "I appreciate it and I feel the same about you. Everyone does."

Notable Quotes

• Fred Armisen [02:19]: "I don't have anxiety with social things and performance and stuff like that."
• Ted Danson [04:37]: "I feel like I really didn't have to attempt it anymore."
• Fred Armisen [07:58]: "I was like, hey, I'm a quarter Japanese. It wasn't the case at all."
• Ted Danson [21:19]: "I love Roxanne."
• Fred Armisen [35:18]: "There was no online, but there was a gentleman... who edited it."

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Final Thoughts:
This episode offers a comprehensive look into Fred Armisen's journey from a passionate drummer to a celebrated comedian and actor. Through candid conversations and shared anecdotes, listeners gain valuable insights into the creative processes, personal growth, and the importance of meaningful collaborations in the entertainment industry.

Transcript

[Ted Danson]

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[Fred Armisen]

In my mind you jump from one big thing to the next.

[Ted Danson]

Let's. Let's just go with that. Welcome back to Everybody knows your name. Today we're going to be talking with Fred Armisen. There are people who both write and perform, but it's rare to be equally great at both. And that's what Fred Armisen is. He's great at both time and time again. I've so enjoyed watching him over the years from his amazing 11 season run on SNL to CO creating hilarious shows like Portlandia Documentary now and Moon Base 8. He is a multi talented guy with a really interesting family background that you'll hear about in a minute. So let's get to it. Here's Fred Armisen.

[Fred Armisen]

I'm happy to see you again. Thanks for asking me to do this.

[Ted Danson]

You too. Thank you for the nicety. You just took the time because I'm nervous. But I'll talk.

[Fred Armisen]

I don't know you as nervous at all. I know this is you. Every time I see you in public at these events you have really good posture and you're just friendly to everyone. Everyone seems to know you. Oh yeah. Or everybody knows your name but like there's like you always never do you seem like you have anxiety or like to me you seem to be saying this is where I'm meant to be.

[Ted Danson]

Nice.

[Fred Armisen]

Yeah, that's what it feels like.

[Ted Danson]

I'm gonna keep that phrase in my head the next time I go in public. Are you an anxious person?

[Fred Armisen]

No.

[Ted Danson]

No. That's funny.

[Fred Armisen]

Yeah.

[Ted Danson]

You look like you should be an anxious person and you're Not.

[Fred Armisen]

No. I don't have anxiety with social things and performance and stuff like that.

[Ted Danson]

Your life?

[Fred Armisen]

My life, yeah.

[Ted Danson]

Yeah.

[Fred Armisen]

I kind of. Although, I mean, I'm a little bit of a loner. Like, I do, like, alone time. I do, like, you know, I don't really go out. Like, I don't seek out parties and stuff like that. I'm not, like, that social, but. So it's like a mix of, like, I don't have anxiety, but also like to sort of. I like a nice night at home.

[Ted Danson]

I think that's why I like this so much, doing a podcast, because I am not the guy who would go, oh, let's go have a beer. You know, I will always say, that sounds fantastic. I will catch up with you. Yep. And don't, you know, same. So now I have an excuse. As if we sat down in the corner of some party and talked for an hour.

[Fred Armisen]

Yep.

[Ted Danson]

It is a privilege. It's pretty cool.

[Fred Armisen]

Yeah. Whenever there's a. Whenever there's, like, we're going to this other thing after. I'm always done. I'm like, no, this was our dinner. This was our. Yeah, I don't need a second.

[Ted Danson]

I was kind of famous on Cheers for saying, oh, I'll catch up. Absolutely.

[Fred Armisen]

Really?

[Ted Danson]

Sounds great. And Woody would roll his eyes. Cause I would never, never show up.

[Fred Armisen]

You guys like that. Everyone from that show went, why am I retelling your career? But everyone on that show, what a strange thing that everyone really turned out to have. They did great careers. And I don't think every TV show is like that, where that's the sort of peak of it for them. But you guys, it's like good writing.

[Ted Danson]

I think if you have really, really, really good writing and it isn't just a pop fad, the moment you stand a better chance, at least, of going on. Woody's gone on so much and makes so many wonderful movies that I've taken to just watching his films on my cell phone because I feel like it is my way of controlling his fame.

[Fred Armisen]

Yeah. He really just eases into all these incredible movies, and, yeah, he's really good on stuff. We love you, Woody, wherever you are.

[Ted Danson]

Sometimes.

[Fred Armisen]

Sometimes.

[Ted Danson]

That's the key word there. Sometimes. Okay, so this morning with Mary, I watched Skip Gates.

[Fred Armisen]

Okay. Yes.

[Ted Danson]

Following your. Finding your roots.

[Fred Armisen]

Yeah.

[Ted Danson]

And Mary and I both did it at different times.

[Fred Armisen]

That's right.

[Ted Danson]

And it is an amazing experience because you can hear about. Somebody can tell you about your ancestors or you can read something or whatever, but when somebody places you there with Photographs and letters and documents. Wasn't it for you? Extraordinary. I know you can tell that story of learning something you didn't know about.

[Fred Armisen]

Your heritage, but still, that moment, I think also, by the way, we might have been on. On the same season.

[Ted Danson]

I think so.

[Fred Armisen]

I have, like, a vague recollection of, like, as they were rolling out, the people who are on the show, you guys being, I think, but following your root.

[Ted Danson]

Finding your roots. Sorry, is Skip Gates and Harvard, bless their hearts. Harvard, you know, smart people looking up every research, documentary. If there's a paper trail for your ancestry, they will find it. Then they create a book for you to open and read on camera. And he talks to you about your.

[Fred Armisen]

Life and the session. You know, the show is only an hour or whatever, but, like, the session is, like four hours of them unfolding these things in front of you. And, you know, they do, like, a year's worth of research, and they really research. And I asked them, I was like, how do you guys do it? How it can't just be, you know, Internet sleuthing. And one of the keys, they said, was church records that religious organizations keep good records on, but it was incredible.

[Ted Danson]

Real estate, any kind of deed, anything.

[Fred Armisen]

And school records is how they figured out that my grandfather wasn't Japanese. He is Korean.

[Ted Danson]

And this was total news to you.

[Fred Armisen]

Total news to you.

[Ted Danson]

I mean, I saw it on your face.

[Fred Armisen]

I was like, to the point where I had gone through my life saying, hey, I'm a quarter Japanese. And I adopted some of the personality traits of what I thought Japanese was like, well, I like my food this way. And, you know, I have this sense of design, which in my mind, I was like, I think it's because I'm part Japanese, and it wasn't the case at all. And the reason my grandfather, I guess, faked being Japanese is that they had racism. Living in Japan, Living in Japan, educated in Japan, but Koreans would educate their kids or rich Koreans in Japan, but there was racism against Koreans, so.

[Ted Danson]

And. And it became horrendously violent.

[Fred Armisen]

Yeah.

[Ted Danson]

Which made him switch.

[Fred Armisen]

Oh, yeah. As a sense of survival.

[Ted Danson]

Yeah.

[Fred Armisen]

I'm Japanese. This is my name.

[Ted Danson]

And you knew that he went on to become a famous dancer.

[Fred Armisen]

Yeah.

[Ted Danson]

You knew all about Ponzi, all that stuff.

[Fred Armisen]

We knew.

[Ted Danson]

Yeah.

[Fred Armisen]

Choreographer, dancer, and avant garde dancing, which is like, for the time, I keep thinking avant garde is invented in the 70s or 60s. But it's incredible that way back then, that's what he was doing in the.

[Ted Danson]

20S or 30s, was that.

[Fred Armisen]

Yeah, well, he was doing it in the 40s, 30s and 40s.

[Ted Danson]

And then came here to teach at Cal State Fullerton. Yeah, Somewhere.

[Fred Armisen]

Yeah. But then was here for a while and traveled all over. He had kids all over Europe, including my dad, and, you know, traveled all over the place.

[Ted Danson]

So your dad was German?

[Fred Armisen]

So he was raised German.

[Ted Danson]

Raised German. Knew his father, though.

[Fred Armisen]

Barely.

[Ted Danson]

Barely.

[Fred Armisen]

Yeah.

[Ted Danson]

Oh, I see.

[Fred Armisen]

Had a chance, moved on. Yep. Yeah.

[Ted Danson]

Gotcha.

[Fred Armisen]

Yeah. So he was raised by his mother, but he didn't really know his dad. He kind of knew who he was, but didn't get to know him.

[Ted Danson]

So did that. Did anything change once you went, oh, wait, my history's a little different than I thought it was for you.

[Fred Armisen]

The things that changed for me were, like I said, the fake sense of being something just because you've got it in your head that you're genetically something. But also, as far as education and knowing history, it didn't occur to me that there was racism against Koreans in Japan. And I know it's documented. I know it's in history books, but, like, I was like, there's so much I don't know. For all I know, I would have thought that everything was just peaceful and wonderful between the two countries and just that, you know, I feel like sometimes things like that seem so specific to, like, Europe and America. And I'm like, of course that happens all over the world. So there was that, too. It was like a little bit of an awakening of that also of Korea. I think I didn't think enough about, oh, I've got to get out there, and I want to travel there and get to know him.

[Ted Danson]

Did you? Have you.

[Fred Armisen]

I haven't yet, no. But I want to.

[Ted Danson]

That's the neat thing, I think, of what Skip does. History can be very dry, and you go, it's intellectual or something. But when you place a relative in a historical setting, all of a sudden you are really interested in that period and what was going on.

[Fred Armisen]

I found that's exactly. That's so well said that I wish I had said it that way.

[Ted Danson]

Go ahead. We can edit.

[Fred Armisen]

But it's true. That's exactly it. Where you read. I think you read history and it kind of goes through you now. Oh, I understand. That was a hard time. That sounds like a terrible, terrible war. But you're right. As soon as it's, like, part of your own history, you're like, wait, explain again what that was. What was it about your history?

[Ted Danson]

Well, I have a family. My nephew is. His life is about his heritage and where he came from and and he literally knew everything that Skip Gates and all of the researchers came up with. I have always gone yemma, yama, yama when he's talking. I'm sorry, sorry, Eric, but it's not my fascination. So I heard things through Skip viscerally and differently, but he kind of knew it. So I knew a great deal about it. But the thing that really landed and now I'm going to blank on her name, but she was Ann Hutchinson. Anne. Very good Hutchinson. She, you know, he did not look that up.

[Fred Armisen]

I think he just said it.

[Ted Danson]

He's fascinated by my past. Oh my God, that was good, man. That was good. But she, you know, Puritan early days in America colonies. She started preaching within her house. Women were not allowed to do anything touch religion in any way other than, you know, yes, sir, no sir, kind of thing. She would teach to a small group of people. Her interpretation which was, you don't need a church or a priest. God is available. Your relationship is with God. You don't need an intermediary. Well, that got into a lot of trouble. And the reason why I we could trace our heritage back that far was because the governor of Massachusetts was the served as the judge for her trial. And once you trial, she went to school for this. Yes. And was. And her mistake was she started eviscerating all the people who were trying her. Rightfully so, but nevertheless not a great.

[Fred Armisen]

Idea, but not playing the game of like.

[Ted Danson]

Right. So she was exiled to kind of the outskirts of civilization as we knew it back then and was in what state? He was the governor of Massachusetts. I don't know where she ended up. But west, where there were tribes that were still very actively trying to get rid of us. And at some point a tribe that she had befriended, or they befriended her, said, you need to leave right now. There is going to be an uprising and you will not be safe. And she said, oh, nonsense, I'll be fine. And she wasn't. So there was hubris there. But she was this remarkable woman that I kind of see in a little bit in my mother, you know, and my sister. Maybe my, you know, sense of what it's like to be a woman or my willingness to learn that I don't know what it's like to be a woman or whatever. I feel like that kind of trickled down.

[Fred Armisen]

So she is in your lineage?

[Ted Danson]

Yeah, my mom's side. Wow. No, my father's side. Forgive me.

[Fred Armisen]

Yeah, yeah, naturally.

[Ted Danson]

It's my father's side.

[Fred Armisen]

Yeah.

[Ted Danson]

Not my mother. Sorry.

[Fred Armisen]

Wow. They were like, yeah, hey, something's going to go down. You should take off. And she was like, I shouldn't.

[Ted Danson]

I'm rambling. And it's. This is your time.

[Fred Armisen]

But anyway. Okay, but.

[Ted Danson]

But you are on tv while you. I didn't mean to.

[Fred Armisen]

I feel bad that I diverted a lot, but I was just interested in. We've had the same experience, so.

[Ted Danson]

Yes.

[Fred Armisen]

Yeah.

[Ted Danson]

I won't. I'll let Mary tell you.

[Fred Armisen]

Okay.

[Ted Danson]

Someday. Her story. But. All right. That's. You kind of.

[Fred Armisen]

Yeah.

[Ted Danson]

And you had this kind of. Maybe exotics, the wrong word, but you were exposed to a lot of different cultures, or at least the possibility of coming from different cultures. That's informed you, I'm assuming. And then along comes drums. And. Tell me how that happens, because that seems to be your. Was that your first. Oh, I'm gonna be a creative soul.

[Fred Armisen]

Oh, immediately. And, I mean, it could be my mom's Venezuelan and my dad's German, but we lived in Brazil for a little while, and Brazil is where I first saw drums. They had. They had these sort of samba parades, or they call them samba schools. And I was a kid, but I remember being drawn to seeing it's all percussion. The whole parade is percussion, surdos and panderas. And even as a kid, was really hypnotized by it. And then, you know, we're an American family. We also would go to, like, Disneyland on trips. And then even there. There'd be some, you know, little jazz combo or something. And then I would age, what, eight? And then I'd be, you know, I'd see whatever, a little ragtime band. And the drummer, I would just. My eyes would always focus on that. So somewhere in there, that's.

[Ted Danson]

And you asked, can I have a drum set?

[Fred Armisen]

Yes. I remember they also bought me Beatles albums. And I remember hearing I Am the Walrus, and there's a drum intro to it that I just was like, that is what I want to do. And I still feel that way. That hasn't left me. Like, I still hear drums and go, oh, that's what I want to do. I love it. I love it. They look great. They sound great. There's something about the way people look when they're playing drums that I like for the most part.

[Ted Danson]

And you really are controlling a great deal of the rest of the music that comes out of all the other instruments. I mean.

[Fred Armisen]

Yeah.

[Ted Danson]

Right. I mean, you are literally setting the beat.

[Fred Armisen]

Yeah. And at the same time, you're sort of behind the rest of the group. Like, you're seated. So it's just like, distant. There's like a distant. You know, you're sort of controlling everything, but, you know, you're not the lead singer. So there's something about that that I like as well. So it's not showy in the same way, right? I guess it is showy that there's, like, symbols and stuff, but, you know, it's not like. It's just like. Not like being at the front.

[Ted Danson]

Did you have heroes or people you looked up to? Who were drummers? Oh, who were the earliest?

[Fred Armisen]

Still. Still. I mean, I first loved Keith Moon and Ringo, of course. Ringo loved Ringo. And then from there it went on to, as I got older, the drummer for Devo, Alan Myers, drummer for Blondie, Talking Heads, all those bands. I sort of, like, I started to gravitate towards that. But my first. The first drummer that I was like, oh, I want to be like him, was Keith Moon. And I still look at pictures of Keith Moon, and I'm like, you know, I. I want to disappear into the picture, like, what's going on there? Because he was so just theatrical and funny. He seemed like a funny person.

[Ted Danson]

How's your body as a result of being a drummer for so long? Because it does, in some cases, take it out of you.

[Fred Armisen]

Yeah. It affects your hearing because cymbals are, like, right here. And when you're in your 20s, you bang away at them so much, and it doesn't occur to you or to me. Wear earplugs. You're just like, what? I'm 20, you know, and they are such a shrill sound that they really cut into your hearing. And then now, sometimes when I'm going to sleep, I'll hear, like, a little tinnitus and then carrying drums around, I think, really does your backup.

[Ted Danson]

The whole kit, you mean?

[Fred Armisen]

Yeah, because there's hardware for it. And, you know, in your 20s, okay, you're lifting stuff up and down the stairs, but then your 30s, still kind of doing it. And it just. It's one of those things that, like, I think it affects your. It doesn't make you stronger. Like, I get good at lifting cases. It just actually makes your back resent it. So now anything I've got to pick up, like, suitcases, my back's like, we did that already. We're done. Don't attempt it. So that's where I feel it the most, is back and ears. Ears killed me. Really, really got me.

[Ted Danson]

I remember one of the first times I. Music. I have this bizarre relationship, meaning I thoroughly enjoy it when I'm listening to it. And it can be as diverse, pretty much. And I cannot tell you a lyric because what happens to me is I immediately go into some fantasy land. I go into some place, which is great. I mean, how wonderful for music. But I cannot tell you who played what and saying what words until Mary came along. Now I'm starting to listen to lyrics because she's a songwriter now. But back then, I think one of the first drum solos that I went, oh, wait a minute. Was Seal? A little. Gotta get a little crazy. There's a drum thing after that. After about the third chorus, it just.

[Fred Armisen]

Was like, whoa, I haven't thought about that. Yeah, that's a good one to pick. Most people pick, like, some classic stuff, and I'm like, oh, yeah, Seal. But Seal is great. He has great intros to everything. Wow. Seal. Now I want to go listen to that again.

[Ted Danson]

Phil Collins, who's now slightly related because Mary's son is married to Phil's daughter Lily.

[Fred Armisen]

I didn't know that.

[Ted Danson]

Yeah. So we have a drum in our family. Yes.

[Fred Armisen]

Yeah, that's your family now. But about lyrics, I'm pretty much the same where I also go off into fantasy land and I just, you know, my imagination goes. And the reason I notice it is because other people will tell me about how much they love a lyric, and I'm like, oh, I never even thought about what they were saying. The only lyrics that work on me is anything that's repeated. If something's repeated over and over, then I'm like, oh, I love that.

[Ted Danson]

I love Roxanne.

[Fred Armisen]

Yeah, yeah, great. Keep it going. But then otherwise, it just kind of like. It's almost like an instrument, and I don't hear the specifics of it. And then someone has to explain it to me. I don't know why that is. Some people really hook onto it.

[Ted Danson]

So now you're 8, 9, 10, and you're drumming.

[Fred Armisen]

Yeah. My parents, you know, God bless them.

[Ted Danson]

God bless them. Because that's a tough. Yes, you can have a drum, kid.

[Fred Armisen]

That's a tough one. It's loud.

[Ted Danson]

Yeah. Where did you play in your room?

[Fred Armisen]

Up in my room.

[Ted Danson]

Yeah.

[Fred Armisen]

In a little suburban house. But for the purposes of this podcast, I want to make it seem like I lived in a. In a mansion.

[Ted Danson]

We'll throw up some.

[Fred Armisen]

Yeah. Just something like.

[Ted Danson]

Yeah.

[Fred Armisen]

So we had our own recording studio. It's not the truth, but we had multiple studios that they had built for me. Because I'm so ashamed. I'm so ashamed of being middle class. Like, that's so humiliating. But.

[Ted Danson]

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[Fred Armisen]

So, yeah, they got me drums and I kept going. I took lessons and really learned and.

[Ted Danson]

But you're just kind of this isolated drummer in your room.

[Fred Armisen]

Yeah.

[Ted Danson]

When did it break out to, oh, let me be part of a group or.

[Fred Armisen]

Oh, early on, like, because I had friends, you know, by luck. One friend who played guitar, another friend who played guitar, and it's this. You're. It's just. It's so funny being so young and you don't even have ambition. You're not like, hey, we gotta form a band. It's just they come over with their amp. And as much as it sounds like a joke, like, I think our amps are from, like, the Sears catalog. Like a Sears guitar, which weren't bad. They were fine for kids. And then we'd all get together and play. I don't even know what we played. But it was just. We didn't have a name or anything. Just all of us just. But then turning into a teenager, that's when you're like, okay, now, here's another friend. And we're gonna. We're gonna. Here's a bass player. That's when it got. Gets different.

[Ted Danson]

And you see other people roughly your age actually start.

[Fred Armisen]

Yeah.

[Ted Danson]

Get out in the world.

[Fred Armisen]

Yep.

[Ted Danson]

So let's do it.

[Fred Armisen]

Let's do it. And then there's also those friends who are like, that's not cool. This is cool. So you start to have like. Like. Like a. You start to have sort of like your own lane. That's really strict. So, like, we're not a heavy metal band. We're this band. And then you're. You know. I think all friends do that anyway, like, that's cool. That's not cool. And then other friends introducing me to new kinds of records and stuff. So it was very exciting. I loved it.

[Ted Danson]

And is funny Fred showing up yet or. No, this is not.

[Fred Armisen]

Yes. Amongst friends. Like, we all made each other laugh. Always a part of our lives. Loved watching snl. Loved watching sctv. We were into all the sketch shows Fridays, I remember we watched. And then. But not as a career. It was just. It was just like, let's be a band. Although a lot of the bands I liked had a sort of comedic quality. Like Devo and Talking Heads had a sort of, you know, not comedy comedy, but something quirky and observational about it that I liked. Yeah.

[Ted Danson]

And then you moved, right, to be part of the band, or is that.

[Fred Armisen]

Yeah, well, I went to college.

[Ted Danson]

Still not standing up and being funny.

[Fred Armisen]

Oh, no, no, no, no. Like, went to college and then moved to Chicago. And then I was in my 20s and then I was in a band with good friends.

[Ted Danson]

The Real Deal.

[Fred Armisen]

The real Deal. That's like, now we're going to go on tour. Now let's really try our best. And reviews.

[Ted Danson]

All of the above or just packing.

[Fred Armisen]

Was it pre reviews or it was just very like. We toured all the time in punk rock circles. And it depends on how I look at it. Some days I go, oh, we didn't. Not enough people came to our shows. But then I'm like, well, we toured. We did okay. So not enough to make a living, but enough that we'd stay on the road for a while. We met some great people. So that was the first sort of professional, like, okay, now this is what I'm trying to do. And then that band broke up and I auditioned for Blue Man Group. Blue Man Group was in Chicago and.

[Ted Danson]

I Is this pre their New York?

[Fred Armisen]

Oh, first they were in New York and then they opened a franchise, like a version in Chicago. I auditioned for that and then I was one of the drummers. They had a rotating band. And then that was my first paycheck. I would say that's my first showbiz paycheck was being and playing for Blue Man Group.

[Ted Danson]

And you just answered an ad.

[Fred Armisen]

Yep. How funny I was. I was almost. That sounded antiquated. And then I'm like, no, that is what happened. For some reason in my head, I was like, no, it must have been something online. There was no online. It's 1997 or something. Or there was no online. Wasn't in my life. But yeah, answered nad audition and there I was and it changed my life. That was like. That was my first version of seeing that entertainment can actually be something you.

[Ted Danson]

Can be in business and you're watching very unique and funny skits or whatever you call it, performances. Blue Man Group, right? So you're getting a dash of funny while you're the drummer. When you say back, backup drummer. They would do these things where they would hit the drums. The one I saw, and they had liquid coming up or something and they'd send it and the lights were amazing. And you'd. Were you backing them when you say backup? Were you?

[Fred Armisen]

So, yeah, in a sense, like above the stage, lit by blacklight would be a band, a trio drummer, zither player, and something called a stick, a chapman stick. Bass like version, like a bass like instrument. And we were above the stage playing along with the Blue Man. So that's what that was. And when I say rotating is. There were different fill in musicians per show. So I would play like two shows a week. And I remember I made $100 a show. And $100 was like a million dollars to me.

[Ted Danson]

My first was 125, and it was.

[Fred Armisen]

Right. You couldn't believe it. You looked at it like, I just got a paycheck. All I was used to was like, restaurant, you know, tips or whatever to see something for playing the drums was. And like you said, the Blue Men, you know, they're kind of avant garde. You know, that's like experimental theater in a way, but it was still popular. So I learned a lot from that.

[Ted Danson]

I took my first $125 check, went to a bank to get a credit card.

[Fred Armisen]

Wait, wait.

[Ted Danson]

Laughed out of there. Laughed out.

[Fred Armisen]

You were like. So you deposited it?

[Ted Danson]

No, I just said, I have it. I was no longer the out of work actor. I'm now a hired working actor.

[Fred Armisen]

So can I get a credit card?

[Ted Danson]

And I would like a credit card, please. No.

[Fred Armisen]

And they said, no, no.

[Ted Danson]

Yes. All right, full disclosure. My cousin was a vice president two floors up. This was Manufacturer's Hanover Trust. And he used to get so upset that I would show up in my out of work actor's clothes, and he had to dress in a suit and all of that. And he'd say, please, please don't come up and visit me. Please, please don't. But I turned to the guy who said, no credit card. Said, oh, by the way, my cousin Danny is the vice president upstairs.

[Fred Armisen]

And then you got one credit card. Yeah, because I was gonna say, like, now I feel like credit card companies are want.

[Ted Danson]

Yes.

[Fred Armisen]

They really are. Like, yes, I need.

[Ted Danson]

You're gonna go into debt here.

[Fred Armisen]

Yeah, yeah. But, yeah, those early checks. God.

[Ted Danson]

Okay, take me from music to. Oh, wait, I'm funny.

[Fred Armisen]

Well, it was a strange thing. I was in this band. We broke up. I was in Blue Man Group. And I felt a little. I wasn't like the rock star I wanted to be. I was like. I set out to really, you know, to be in a famous band. So I felt a little disappointed. And my wife at the time, who's from England, introduced me to, like, British comedy. You know, she's. All these shows that we had on VHS and stuff. And there was something about it I really like. I know it's such a cool thing to say, like, hey, only British. She's from England. And I did this thing where I just bought a video camera and I went to this Music Festival in 1998. And I interviewed bands as different characters. Who knows why? As an exercise, you know. And something about the tape that I made made the rounds.

[Ted Danson]

It was like, did you edit it?

[Fred Armisen]

A friend of mine edited it. In fact, a friend of mine who I didn't know very well, just this guy was like, hey, I'll edit it. So wherever you are, thank you for doing that.

[Ted Danson]

Were we analog?

[Fred Armisen]

Oh yeah, yeah. Analog, you know, videotape. Or is it like high eight?

[Ted Danson]

Right.

[Fred Armisen]

But I made VHS copies and I sort of gave them out as a sort of here's, you know, here's something.

[Ted Danson]

Was it in Austin? Where was it?

[Fred Armisen]

No, Austin was the festival, but I was living in Chicago.

[Ted Danson]

But. So you went down and this festival.

[Fred Armisen]

Is like, that's bold.

[Ted Danson]

That costs money to go try your crowd.

[Fred Armisen]

I was already going to play with other bands. I was a fill in drummer for a couple bands and they were like, you know, I was like, okay, I'll go down and play. There are some conferences and some talks that they're doing. Why don't I go in and just sort of, you know, interview, just as a joke. And that video made the rounds. And that video is what set me off to doing comedy. It's been non stop.

[Ted Danson]

Who saw it? That it gave you feedback or did it go on? Did it.

[Fred Armisen]

Oh no, no, Online.

[Ted Danson]

There was no online, but. What?

[Fred Armisen]

There was no online, but there was a gentleman named Will Tanis at Warner Brothers Records who was a co producer of a music show on HBO called Reverb. And he's like, oh, you'd be perfect to do little interstitials on that. And then it just. I got. I did that as a gig, so same kind of paycheck thing where I was like, wow, they're paying me to do this thing, I'll do it. And it just kept going.

[Ted Danson]

And were you deadpan kind of.

[Fred Armisen]

Yeah, yeah.

[Ted Danson]

You have to figure out that this was.

[Fred Armisen]

Yes, yes. Me doing characters.

[Ted Danson]

And you didn't offend the band you were interviewing or the whoever?

[Fred Armisen]

No, no, I pretended to be German or deaf. You know, I just pretended to be different or blind. I remember once just like. But the questions were. Yeah, were never really, from what I remember, really making fun of the band. It wasn't that kind of thing. It was more like I try to get their sympathy in a way.

[Ted Danson]

Right.

[Fred Armisen]

And it just.

[Ted Danson]

Is that still be had? Can you find it somewhere?

[Fred Armisen]

Oh yeah, yeah, I think it's out there. Fred Armeson's Guide to Music and south by southwest, 1998. And from there from that HBO thing, I moved to la. I was in Chicago, and then I started doing standup at Largo. And from there.

[Ted Danson]

Wait, now there's still a difference between having a kind of funny character and doing interviews. Did you sit in a room and just start writing your standup?

[Fred Armisen]

It was more that I wanted to do it. So I was like, well, what can I do? I could do a character on stage. It was more like. And Largo was perfect because there'd be all these comedians. And I thought, where do I fit? How can I do something that's a little different? Because I don't have the gift of telling those kinds of jokes. So I was like, I could be a character and fool people for a little while, and that'll be part of the show. This is around 2000. And Bob Odenkirk was there, and I became friendly with him, and he put me on a pilot of a sketch show he was doing called Next. And that became more of an official entryway where I had things that I could send out as clips. Clips for, like, auditioning for snl. So very quickly, with people, with people's help, is how I got to snl. So I was doing comedy, but.

[Ted Danson]

And was it a just pure light bulb? This is it. Oh, I want to be there.

[Fred Armisen]

It was such a fast light bulb that I didn't even have time to observe it. Before I knew it, that's all I was doing. I was just, like, saying yes to gigs. And I was on Bob's. I mean, Bob really. He plucked me from Largo and put me on tv.

[Ted Danson]

I forget that he was stand up. I always think of him in these incredibly dramatic.

[Fred Armisen]

Oh, my God. He was like, him and David, you know, doing Mr. Show was like. That was like the show. That was like the sketch show to, you know, rise up to. They were like, yeah, the centerpiece, in a way, at the time. Yeah.

[Ted Danson]

And then comes Saturday Night Live.

[Fred Armisen]

Yep. And then I had enough tape to send us Saturday Night Live and auditioned for them. And Marcy Klein showed my tape to Lauren. And, you know, all the way through was just like, quick doors opening. And my first TV show that I was on was Conan o' Brien.

[Ted Danson]

So we're all here.

[Fred Armisen]

We're all here.

[Ted Danson]

We're all here.

[Fred Armisen]

Here we are. Conan and Paula Davis, who's in the other room. She's the one who saw me at a comedy festival and put me on.

[Ted Danson]

Conan's show much later, after.

[Fred Armisen]

No, no, this is during the same time.

[Ted Danson]

During the same time. Oh, wow. So that's you know, were we on Conan the same? No, I think. Was he doing in the year? Da da da da da.

[Fred Armisen]

Yeah, yeah, yeah, it was that.

[Ted Danson]

Yeah, I did a couple of those.

[Fred Armisen]

Yeah.

[Ted Danson]

Felt honored.

[Fred Armisen]

Yeah, yeah, it was great. I mean, I love that show, but yeah, Paula Davis, Same all these, you know.

[Ted Danson]

Thank you, Paula Davis.

[Fred Armisen]

Thank you, Paula. Oh, but she knows it. I've talked to her so much about it. I think she's tired of me saying to her like, you put me, she put me on tv. She really. That was my first network, you know, and the light bulb moment, like I really, when I was doing it, I remember thinking, oh, I love this. You know, when the cameras were on and stuff, I loved it. I really did.

[Ted Danson]

Who was there when you first arrived in Saturday Night Live?

[Fred Armisen]

When I first got there, I joined with Will Forte. So we were the two like new guys, just the two of us. So we got to experience that together. And then we were like low on the totem pole where the stars, as it were, were Maya Rudolph, Tina Fey, Jimmy Fallon, Chris Kattan, and I think Chris and Tracy Morgan were just finishing. I think they were finishing. I think Jimmy was finishing too.

[Ted Danson]

Yeah.

[Fred Armisen]

And so they made us feel very welcome. But they were like, they were sort of like onto their careers. And then as we stayed, the cast changed, but God, it was great. I mean, those are all still friends of mine.

[Ted Danson]

Will Forte. Will Forte, one of my favorite people.

[Fred Armisen]

He's incredible.

[Ted Danson]

Yeah. Never thought he would get married and have children. And he is so happily married and so happily a dad.

[Fred Armisen]

But he's organized in a way that I could see him being thorough.

[Ted Danson]

Well, isn't that kind of a nice way to say totally 100% compulsive?

[Fred Armisen]

Oh, yeah, yeah. Like people have said to me, you know, I think he's got to shake hands with everyone before it's something he hasn't ritual. And I thought that's not real. I noticed that he's, you know, but then sure enough, as I was watching, I was like, oh, I think he does. But it's nice though, because sometimes it is nice.

[Ted Danson]

They make you feel good. Rituals always.

[Fred Armisen]

And when it's that attention comes my way, I'm like, that's great. That Will's like, I'll, I'll be, I'll see you tomorrow.

[Ted Danson]

You know, I think he early on found out that Mary has the sense of humor of a nine year old boy. So he would. One of his rituals was to come up and fart in the morning audibly so that she could have this Wonderful. Pretend shock, horrified reaction.

[Fred Armisen]

And where on set or on set.

[Ted Danson]

This is while he was doing Last man on Earth.

[Fred Armisen]

God, that was such a great show altogether.

[Ted Danson]

You were on it playing a cannibal and. Yeah. And you were setting up. Grooming my wife Mary to be your next meal. Yep, basically.

[Fred Armisen]

Yeah.

[Ted Danson]

And you were pretending to be an artist, a painter.

[Fred Armisen]

Yes, pretending to be. Because then the art itself was terrible.

[Ted Danson]

Right. But Will decided to paint for you the picture of Mary that you were supposedly painting. And it's horrifying. And it's in our little mini gym that we have at home hanging on the wall. Cause we couldn't get rid of it, but we couldn't really allow it in the house. It was so horrifying.

[Fred Armisen]

It looked like a potato person or.

[Ted Danson]

Something with shocking red short hair.

[Fred Armisen]

Just so terrible. No, I'm so glad I got to experience that with him. Yeah, it's great. And then also I love that like he just. We just pop up in each other's lives still. But.

[Ted Danson]

And Bill Hader too.

[Fred Armisen]

Yep.

[Ted Danson]

Who I had the pleasure of talking with here and John Mullaney, who we recently talked to here. My guys are great buddies.

[Fred Armisen]

Oh yeah. We see each other frequently. It's the best. It's a nice surprise in life, you know that like you work with people and you think, oh well, hopefully we'll stay in touch. And then, you know, we really, really stayed in touch. It's the best.

[Ted Danson]

That's so cool.

[Fred Armisen]

And it's.

[Ted Danson]

You're, you're. You're not all the same either. You're all incredibly bright and love funny and know how to do it, but you're. It's all a little bit different slice. It's funny that you're not.

[Fred Armisen]

Yeah. Now that you're saying it, I was just picturing everyone's personality and you're, you're, you're right about that. But there's gotta. I mean, but there is that shared when someone wants to do a bit or you know, a joke or whatever that we're totally in line with.

[Ted Danson]

Yeah. That's your kind of.

[Fred Armisen]

Never have we been like, now's not the time to joke or like what. It's always fine tuned. I know when one of them, you know, is joking and is. And that's the best.

[Ted Danson]

How did Portlandia come to be? How did that.

[Fred Armisen]

Well, Portland, because that was.

[Ted Danson]

That's full fledged write scripts.

[Fred Armisen]

Yeah. Yeah. That's its own thing.

[Ted Danson]

Writer's room. Did you have a writer's room?

[Fred Armisen]

Yeah, we showed the whole deal.

[Ted Danson]

Is that Coming from your brain. Did you do this?

[Fred Armisen]

Oh, no, it was. It was me. Well, in combination with other people, but it was me and Carrie Brownstein.

[Ted Danson]

Carrie, who's magnificent.

[Fred Armisen]

Genius.

[Ted Danson]

Yeah.

[Fred Armisen]

She's like, so good. She's so great. And she was or is in a band, my favorite band, Sleet or Kinney. And we were friends. We had some mutual friends in the 90s, but, like, in the early 2000s, we became friends to the point where, like, we should work on something. And instead of doing a band, we decided, let's try making videos. And that's what we did. Started making these videos in Portland. And that turned into the show. But no, she thought of so many of those sketches.

[Ted Danson]

Opening number, musical number.

[Fred Armisen]

Yes. The dream of the 90s is alive. Important was that that's Jonathan Krisel, our director, co creator. Because that's what it felt like in Portland, you know, the. The dream of the 90s. And coming from the 90s, in a way, I understand. I feel like sometimes I feel like now, even still, like, the dream of the 90s.

[Ted Danson]

That's funny. I'm trying to go away.

[Fred Armisen]

Dream of the 90s is like, do the right thing. Come on, recycle. Even though we all recycle. Come on.

[Ted Danson]

And this will work.

[Fred Armisen]

And this hope. There's. There's a hope that's like. Yeah, exactly.

[Ted Danson]

Yeah. Like, I don't know.

[Fred Armisen]

Tattoos, piercings, feels. I know they're not from the 90s, but to me, that's what it. You know, my recollection of the 90s is a lot of bands had stickers. I don't think bands do stickers as much anymore, but you'd see it everywhere. Just band stickers in the bathroom and bumpers. Bumpers and, you know, toll booths. You'd see a band sticker. That, to me, is the most 90s thing is stickers, in my opinion, trying.

[Ted Danson]

To think what I was doing. Clearly didn't stick. Cheers was over and I was making my way and discovering that not every time you do something, it turns out to be Cheers. You can have to slog your way through.

[Fred Armisen]

But what's funny is when I think of your career.

[Ted Danson]

Please do. Thank you.

[Fred Armisen]

I always think you're just one of those guys where it always works out. In my mind, you jump from one big thing to the next.

[Ted Danson]

Let's just go with that.

[Fred Armisen]

I can't help it. It's just like. Yeah. To dance and just this and then that and then this and then that and then Billboard and then, you know, I mean it as a compliment.

[Ted Danson]

I'm not that talented, but I'm really nice. I'm a really nice guy to have around.

[Fred Armisen]

Really.

[Ted Danson]

And really nice goes a long way just for you budding actors just being nice.

[Fred Armisen]

I remember you on talk shows.

[Ted Danson]

In.

[Fred Armisen]

The 80s and the 90s. I remember you on talk shows and you always seemed nice.

[Ted Danson]

Yeah, see?

[Fred Armisen]

Always seemed nice. You were a really good talk show guest.

[Ted Danson]

I'm nice?

[Fred Armisen]

Yeah, you're nice.

[Ted Danson]

Don't be afraid of bland. Ever.

[Fred Armisen]

Bland and nice just gets you everywhere. We should, we should all wish for that Volvo. Your character on Cheers. I don't think that was, that wasn't bland.

[Ted Danson]

I'm not. But by the way, this false humility thing I do.

[Fred Armisen]

No, I know, I know.

[Ted Danson]

It's because I know I'm magnificent.

[Fred Armisen]

Yes, yes.

[Ted Danson]

Magnificent. Yes, yes.

[Fred Armisen]

And very different from all your characters. This person. I think you even have a different accent when I'm talking to you now. I'm like, oh, speaking differently.

[Ted Danson]

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[Fred Armisen]

Are you good at memorizing lines?

[Ted Danson]

Well, that's. That's Yes, I am. I am good at it. You have to work at it smidge more the older I get. And for some reason, this is just mean. Cheers was Sam Malone was the slow, dumb joke. Now the older I get, it's the speedy long paragraph joke. And that's not right.

[Fred Armisen]

No, no, no. Do you ever get tripped up on one word over and over? You're like, why is that word not settling into my head? I'll never understand the dynamics of why that happens with that.

[Ted Danson]

It's a little bit self fulfilling too, because I will say, oh, this is my hard scene.

[Fred Armisen]

And lo and behold, that's the hard scene.

[Ted Danson]

It's the hard scene because I said so.

[Fred Armisen]

Yeah. Guaranteed.

[Ted Danson]

Yeah.

[Fred Armisen]

Oh, this is a tough one. Not that many lines, but this is a tough one. And that line's gonna be hard. And boom. That's the one that's hard.

[Ted Danson]

This must have happened to you all at Saturday Night Live, where all week long on Cheers, we would rehearse and there was something that we could barely get through. We would be rolling on the ground. It was so funny. Audience comes, here comes the moment. And you could hear a pin drop. And it's like instead of being horrified, it's the funniest thing because your body is all of a sudden plummeting to earth.

[Fred Armisen]

You feel it in your stomach. You're like, oh. No one thought that this was funny. There were times where a moment like that would happen. Total death, total silence. And then we would blame the audience a little. Ah, well, yeah, yeah.

[Ted Danson]

Or the mics.

[Fred Armisen]

Yeah, the mics turned on. You know, must be the audience is off or something like that. And then later during snl, there'd be a sketch that kills. So they. They were fine. They were present.

[Ted Danson]

Yeah.

[Fred Armisen]

It was just that sketch, though.

[Ted Danson]

Yeah.

[Fred Armisen]

They were not interested in. It's pretty wild.

[Ted Danson]

Do you know Jimmy Burroughs ever been? He directed all of the Cheers and Friends and, you know. But he was our director and one time a joke died and he turned and looked to the audience, said, can you hear it? The mic's on. And they went, no, no. And we turned it on and the joke killed. And it was a week later that I decided to go, wait a minute, can you hear us? Yeah, we can.

[Fred Armisen]

That's the only literal time that it was that the mics were off that they couldn't hear.

[Ted Danson]

When he called it, when I called it was, oh, no, we hear you loud and clear.

[Fred Armisen]

We're fine. Wow. God, you guys had. That's right, you had an audience every single Time. Yeah, yeah, yeah. Mostly I have to work on lines a little bit. It takes me a couple nights to really get it down.

[Ted Danson]

Me too. Yeah, me too.

[Fred Armisen]

But that's. I guess that's the job.

[Ted Danson]

Yep, yep.

[Fred Armisen]

Yeah.

[Ted Danson]

And do what you have to do.

[Fred Armisen]

Yeah.

[Ted Danson]

Okay. Now you have a baby.

[Fred Armisen]

Yeah.

[Ted Danson]

A two year old. Three year old.

[Fred Armisen]

Three year old.

[Ted Danson]

3 year old. What is that like Mr. Tour with your band anytime you feel like it.

[Fred Armisen]

It's pretty great. Yeah, it's. It really makes you relaxed about time. So like yesterday I had a moment where I had a good hour of really having to occupy his time. And it was the best because what I had to do, the things that I had on my docket didn't matter. And they kind of don't. They'll just be sitting there anyway. So it's almost like time stands still for a moment and it's all about him goofing around. And it's the best. It's actually relaxing and actually everything is just like. Just like. Okay. Is he having a good time right now? He's laughing, he's enjoying himself. We're good. It's the best.

[Ted Danson]

Yeah.

[Fred Armisen]

And it's the best seeing him figure out new jokes, new ways of doing jokes.

[Ted Danson]

Because he knows you like to laugh. Because.

[Fred Armisen]

Because some things will make him laugh. So if I make this thing talk.

[Ted Danson]

Yes.

[Fred Armisen]

I mean to us and. Oh, they're going to laugh really hard. Thank you very much. Thank you.

[Ted Danson]

You have to follow through now. Please make a talk.

[Fred Armisen]

But I'm saying. So if you make something talk, you know, whatever voice you do. So that concept.

[Ted Danson]

We paid our money.

[Fred Armisen]

Ah, damn it. I got to make the lid open. Oh, we could. I guess we could do some CGI or AI to make the mouth open.

[Ted Danson]

Yes. Because unlimited budget.

[Fred Armisen]

Yeah. If you don't mind. Just. So when I did this before, just add a little. But. So that concept. He laughed at it. But today I saw him do. He did it for the first time. So that him transferring. That is the best. It's great.

[Ted Danson]

And he's getting the gift. Funny.

[Fred Armisen]

Yeah.

[Ted Danson]

You're giving them funny.

[Fred Armisen]

Yeah.

[Ted Danson]

That is a gift.

[Fred Armisen]

It's also a good time occupier, you know, to joke around.

[Ted Danson]

There will be a time. Well, maybe not for you because you're a professional. I watch some of my stick. It does not travel well past six.

[Fred Armisen]

Oh, I bet you're right.

[Ted Danson]

And then they start to go. They're sweet. And you'll get a chortle and eyes darting for someone else in the room to go Talk to. But it's different.

[Fred Armisen]

I've heard this and I've heard worse. Meaning, like eyes rolling. A friend of mine described walking into a room and his kids are teenagers.

[Ted Danson]

Oh.

[Fred Armisen]

And he said him walking into the room made his son make a face. He didn't do anything. And his son like made a face. He was so like, oh, my God. All I did was enter.

[Ted Danson]

Yes. We had that experience with one of our grandkids recently. We come to visit at school with our arms open wide and it was the worst thing that had ever happened to her, ever.

[Fred Armisen]

It's shocking. But I'm going to be now prepared.

[Ted Danson]

You're going to bring food or candy. How are you preparing?

[Fred Armisen]

I'm going to come in disguise. So I'm going to show up at the school totally as some other creature and that'll be, I'm seeing completely disguised, like they do in Disneyland or whatever.

[Ted Danson]

If you had. Let's pretend you do and you do anyway. Have a mission, a goal in life that's bigger than just yourself. But if you had a North Star that kind of guides you and you go, oops. Or ah, I'm on track.

[Fred Armisen]

Oh, you mean something that's bigger than career.

[Ted Danson]

Yep. Or something you do with. You want to accomplish with your career for the good of or for other people or.

[Fred Armisen]

All I really do. Whenever something like that comes up, I think of people I admire. So I think, okay, David Byrne is still making new versions of entertainment and I feel like Steve Martin, the way he's mixed music in his life and performing, I'm like, that's a good way to go. I just look to what those people and I know this sounds very career centric, but I also mean it as, as far as like making things. I love making things. So that's kind of like a basic North Star is becoming more and more like people. Like my heroes who are still my heroes.

[Ted Danson]

Because of the work they do.

[Fred Armisen]

Yes. And the way that they approach it.

[Ted Danson]

Right.

[Fred Armisen]

Which seems. Something about it seems to come from a place of like, I want to keep making things great and it is for other people.

[Ted Danson]

I want to do that. I don't see you have a different niche. Niche. You are a producer, writer, director. You can quibble over if you want, but you're a producer, writer. You are self starting. You can sit in a room and go, I'm going to create this and out comes a film or a TV show or something.

[Fred Armisen]

Hopefully. KNOCK ON MICROPHONE Yeah.

[Ted Danson]

So mine is much more what I can do with other people's work. Do you know what I mean? Meaning I'm an actor. Actor, actor.

[Fred Armisen]

Oh, yeah. Yeah. Period.

[Ted Danson]

Full stop. So I depend on really good writing or somebody who. And what I'm discovering. Recent. Do you know Mike Shore?

[Fred Armisen]

Of course. Yeah.

[Ted Danson]

Right. Saturday Night Live. Right. I find him very purposeful.

[Fred Armisen]

Yes.

[Ted Danson]

In what he puts out into the world. And he wants it to. He wants it to make it a better place.

[Fred Armisen]

Yes.

[Ted Danson]

You know, or a thoughtful place. Or. Let's have a conversation about what I just did with them. A man on the inside. Let's have a conversation about an uncomfortable topic. Aging, death, grief, memory loss. Let's have it. And be able to laugh and be honest and real. I love that sense of purpose. So that's what I want to kind of hitch my wagon to. That purposeful.

[Fred Armisen]

You mean his purposefulness. Yes.

[Ted Danson]

Because I'm not writing it. I like to be around people and it can be silly, it can be stupid, it can be whatever. It doesn't have to be this serious woo woo thing. But I want it to be purposeful. I want it to make some sort of difference, no matter how modest.

[Fred Armisen]

His specifically has a real theme to it. His book, his recent book. Was it how to Be Perfect? What was it called then? We might have to look that up. But his book is all about that.

[Ted Danson]

I wrote the Ford, but I didn't read it.

[Fred Armisen]

Okay. It's great. How to Be Perfect. He's not just like, hey, I'm going to write comedy and hope that it's all a hit. He's more like. He has a theme. And. Yeah, I love that.

[Ted Danson]

Would you rather work for yourself and your writing than someone else's or do you care?

[Fred Armisen]

I like both. Yeah, both is great. Because when it's someone else, then it really, like, it expands how you think of things. That's what I like about it.

[Ted Danson]

I love. So I'm interrupting. Pardon me.

[Fred Armisen]

No, but I'm gonna interrupt.

[Ted Danson]

No, no, I have final edit. I don't actually. They do. I look at you. First off, you're a really good actor. I've seen you really good actors. You always were, whether you're being funny or not. You're a really good actor. I would love to see you. And this is sounding old and everything, but I would love to see you do leading man because you're so interesting and we're used to you being silly or making us laugh or doing characters. Do you ever think about, yeah, I should write something for myself or be part of something that is.

[Fred Armisen]

Well, that's very nice of you to say. What a.

[Ted Danson]

Or do you have. No. If it's not funny, you don't have a desire or.

[Fred Armisen]

It's not that. It's that, like, I. Whenever I've put myself in something, I always picture it alongside other people. But not.

[Ted Danson]

That's fine.

[Fred Armisen]

Not dead center, but, you know, featured.

[Ted Danson]

Enough, you can be dead center and still be part of.

[Fred Armisen]

Yeah, I guess.

[Ted Danson]

I mean, I always used to think I was the tall guy in Cheers because the stories went every direction and everybody was brilliant.

[Fred Armisen]

Yeah, everybody was. I laughed just now because I just thought of just the idea of Cheers. I remember, like, watching it and laughing. So, you know, I've thought about it a little bit, but there's one idea that I had that I pitched to Tina and that's Tina Fey that she liked. So somewhere in there that might work. But it's almost like. It's almost like being pretend. Having pretend humility. Where.

[Ted Danson]

That's my bailiwig. Can I be in it?

[Fred Armisen]

Yeah. Yes, of course. You're too busy, but. Yes, but it's almost like, oh, I don't know. I don't know. But. But then I think when I sit down and start writing stuff, like, yeah, of course it's fun to be in stuff, but I do like being alongside other people.

[Ted Danson]

Me too. I love ensemble. I wanted to be a basketball player and it was all about team.

[Fred Armisen]

Yeah, it's the best.

[Ted Danson]

I love team.

[Fred Armisen]

Love it. Portlandia with, you know, with Carrie and SNL with all those people. I love it.

[Ted Danson]

Portlandia was hysterical.

[Fred Armisen]

Oh, thanks. Yeah, thank you. I loved it. Love getting to do it in eight seasons.

[Ted Danson]

Do you got something else coming up?

[Fred Armisen]

The second season of Wednesday is coming out soon.

[Ted Danson]

God, I love that.

[Fred Armisen]

Yeah, so do.

[Ted Danson]

I forgot. Sorry, I should have mentioned that.

[Fred Armisen]

No, no, it's okay.

[Ted Danson]

No, it's great.

[Fred Armisen]

I think over the next couple months we're going to start doing some more press stuff for it. So I'm like, oh, I may as well.

[Ted Danson]

You've shot it.

[Fred Armisen]

Oh, yeah.

[Ted Danson]

Where? Where did you shoot it?

[Fred Armisen]

Ireland.

[Ted Danson]

Oh, my God. But how wonderful. Yeah, it's perfect, right?

[Fred Armisen]

What a life. Like to get moody.

[Ted Danson]

Magical place.

[Fred Armisen]

Ah, fantastic. I loved it. And yeah, it was in Ireland and it's all ready to go. I don't know the exact date of it. I think they purposefully. Don't tell me. This year on Wednesday, Netflix.

[Ted Danson]

God bless Netflix.

[Fred Armisen]

God bless them.

[Ted Danson]

Thank you, man. I really love the tradition of comedy that you come from and you're so great, good at it.

[Fred Armisen]

I appreciate it and I feel the same about you. Everyone does.

[Ted Danson]

I am a natural sycophant. Kiss ass. But I actually do mean this.

[Fred Armisen]

That's what you are.

[Ted Danson]

See, I don't think I do mean this.

[Fred Armisen]

I could tell when people are, and I don't think that's what you are. Yeah, I think that in my experience, this version of Ted that you're getting, I think this is like the same experience I have when I see you out in the world. So FYI, that's the real thing.

[Ted Danson]

Much, much respect. Thanks, Fred Armisen, everyone. That's it for our show this week. Special thanks to our friends at Team Coco. If you enjoyed this episode, please send it to someone you love. Find us on YouTube where you can watch full length episodes. As always, subscribe on your favorite podcast app and give us a great rating and a review on Apple Podcasts if you have a second. And if you're in the mood, more for you next time. Where everybody KNOWS your name.

[Fred Armisen]

You've been listening to where everybody knows your name with Ted Danson and Woody Harrelson Sometimes. The show is produced by me, Nick Liao. Our executive producers are Adam Sachs, Jeff Ross, and myself. Sarah Fedorovich is our supervising producer. Engineering and mixing by Joanna Samuel with support from Eduardo Perez, research by Alyssa Grohl, talent booking by Paula Davis and Gina Bautista. Our theme music is by Woody Harrelson, Anthony Yen, Mary Steenbergen and John Osborne. When it comes to preventing pregnancy, it's your choice how you take control of your body. And when it comes to a backup plan, there's Plan B. One step Plan B is safe, effective emergency contraception you take within 72 hours after unprotected sex. The sooner you take it, the better it works. Plan B helps prevent pregnancy before it starts by temporarily delaying ovulation. No egg, no fertilization, no pregnancy. Get it in all 50 US states at all major retailers. Visit planb1step.com to learn more. Look, if you've got prescriptions, the Walmart app is your place to manage them. Transfer your scripts, refill them, and have them delivered straight to you. Migraines, Managed allergies Alleviated dermatology Derma delivered.

[Ted Danson]

Ding dong.

[Fred Armisen]

Is that your pizza? Nope. Walmart Pharmacy Delivery with a refill. Switch to Walmart and manage your prescriptions in the app. The Walmart you thought you knew is now new delivery not available for all prescriptions. Exclusions apply.