00:00:00
Then there's uh Lake Superior. I always
00:00:02
would retort with that when people threw
00:00:04
me with Titty Kaka or ani tell us a
00:00:07
little bit what it was like to work with
00:00:08
Dana Carvey. You know, you're being by a
00:00:12
thorn, you know, and you're like, okay,
00:00:14
you know, and you're just like, what?
00:00:17
>> Okay, I'll I'll I'll add some spice to
00:00:19
that.
00:00:20
>> Give us a couple different versions of
00:00:21
that.
00:00:23
So, Lake Bell, the lovely and talented
00:00:26
Lake Bell, who uh Lake
00:00:29
>> starring right now in The Chair Company
00:00:31
with Tim Robinson, which is just an
00:00:33
absurd,
00:00:35
>> funny,
00:00:36
>> brilliantly offkilter abstract.
00:00:39
>> Right up my alley. Right up my alley.
00:00:41
>> Yeah. And uh yeah, we we talk about her
00:00:44
name. I mean, it it it is her name. It
00:00:46
is kind of the coolest name you could
00:00:48
have in show business when it's not made
00:00:49
up. Lake Bell. You definitely need a
00:00:51
hookie name that is a great
00:00:53
>> short.
00:00:55
>> Yeah, just
00:00:55
>> four letters. Four letters. There's just
00:00:57
something.
00:00:58
>> It's like a movie jury duty, you know,
00:01:00
just get like boom boom and it helps. Uh
00:01:03
she's also been in It's complicated.
00:01:05
She's in so many movies. She's sort of
00:01:07
woven in where
00:01:09
>> you just go, "Oh, right. She was in that
00:01:10
one. She was No strings attached.
00:01:12
There's old movies, new movies, um TV
00:01:15
shows
00:01:16
>> and a director." Oh, she was in Secret
00:01:20
Life.
00:01:20
>> Secret Life of Pets with Mwah. And uh we
00:01:24
talk all about that.
00:01:26
>> And she's uh what's interesting about
00:01:28
her, I think, is um she's got a whole
00:01:31
lane of getting hired to do things and
00:01:33
then she's just producing andor
00:01:35
directing things constantly. And that's
00:01:38
>> uh by design and very smart. Then you
00:01:41
can kind show business is less
00:01:43
emotionally violent when you're just
00:01:45
like doing your own work at the same
00:01:47
time. Yeah, any anytime it's just
00:01:49
waiting for the phone to ring is tough.
00:01:50
That's the hardest part about show
00:01:51
business. Um, anyway, here she is. Uh,
00:01:54
lovely person. Lake Bell.
00:01:58
>> Bell rang soon.
00:01:59
>> Is that her?
00:02:00
>> I am. Yeah, it's her.
00:02:02
>> I don't have any idea what she looks
00:02:04
like. Is that her?
00:02:05
>> Oh my god.
00:02:06
>> No one.
00:02:07
>> She looks uh like Well, it looks
00:02:10
gorgeous.
00:02:11
>> An AI almost.
00:02:12
>> Listen, I do what I can. I I can't
00:02:16
believe this. I'm just so glad that this
00:02:18
is working.
00:02:20
>> I I am too. It's amazing.
00:02:24
>> I know.
00:02:25
>> Soon as I heard
00:02:26
>> here, let me put this here.
00:02:28
>> I feel like there might be a compliment
00:02:29
coming. So, keep going.
00:02:31
>> Oh,
00:02:32
>> wait. Is this
00:02:36
>> Do I need to have these on?
00:02:38
>> Yes. Engineer.
00:02:41
>> I think so. I know that you hate it.
00:02:44
Everyone hates it, but I think it helps.
00:02:46
doesn't look cute.
00:02:48
>> We had this hockey player on and he
00:02:50
didn't have him and we and we we
00:02:52
couldn't talk over him because
00:02:53
everything stopped. We have to wait for
00:02:55
someone to talk, which you should do.
00:02:57
>> The hockey player's name was Wayne
00:02:59
Gretzky.
00:03:00
>> All right.
00:03:01
>> You know, I don't want
00:03:02
>> I didn't even say that.
00:03:03
>> I'm not trying to flex.
00:03:04
>> I don't want to get
00:03:06
>> I don't want to flex. I don't want to
00:03:08
get handsy. I don't want to have these
00:03:10
phrases exist. The latest one is slop. I
00:03:13
hear it a lot. It's slop. Slop means
00:03:16
just massive content that is just slop.
00:03:20
It's just people love to watch slop.
00:03:22
>> You know seven is done. Did you know?
00:03:24
Did you hear about that?
00:03:25
>> Who's done?
00:03:26
>> 67.
00:03:28
>> No. No. You know it's done. Oh, you
00:03:30
didn't even Were you not aware of 67?
00:03:32
>> I was, but I'm glad it's over.
00:03:34
>> I heard I heard the two numbers. But
00:03:36
what was it about again?
00:03:37
>> He's heard of the two numbers. I heard
00:03:40
the
00:03:41
>> he's heard of
00:03:42
>> when I was No, I remember something like
00:03:45
67 was a code or something. What was it?
00:03:47
I mean
00:03:47
>> like it was like a meme or something and
00:03:50
then somebody said it at a at a kind of
00:03:52
sporting event of some sort because I
00:03:55
also asked the question to my children
00:03:56
and I have teenytiny children that are
00:03:58
right in the 67.
00:04:00
>> Do they know about it?
00:04:01
>> They I hear about it all the damn time.
00:04:04
It was a hot
00:04:06
>> Christmas gift was a t-shirt that said
00:04:08
6.
00:04:09
>> Oh, no, no, no.
00:04:10
>> But apparently the adult
00:04:13
>> Thank god it's over. It's over, right?
00:04:15
>> It's over.
00:04:16
>> Okay. Uh I have Oh, I was going to say
00:04:19
like because you're also a director. Do
00:04:21
you feel
00:04:22
>> Wait a minute. She's an author. People
00:04:23
who don't know Lake Bell because I did
00:04:25
kind of look you up a little bit. You
00:04:26
know, preparation author, writer,
00:04:29
director, actor, and voice actor.
00:04:32
>> Yeah.
00:04:33
Uh, am I missing anything?
00:04:36
>> I mean, I'm a mother, which is my
00:04:38
>> Oh,
00:04:41
well, like as a director, is it too wide
00:04:43
on me? I feel like it's showing too much
00:04:46
of my whole body.
00:04:47
>> I do feel that we're getting a lot of
00:04:49
the wires in the backdrop. You could
00:04:52
punch in. I'd like
00:04:55
you over here.
00:04:57
>> Yeah,
00:04:58
>> I've never seen those in my life. And
00:04:59
you saw them in one set. Let's come
00:05:01
around if we can for a twoot and then
00:05:04
just pan.
00:05:05
>> Yeah, let's just cross cover. Cross
00:05:07
>> and um so what what's your happiest
00:05:10
place in your creative world is when
00:05:12
you're writing your book
00:05:14
>> start I guess we're doing it
00:05:16
>> well no we don't we'll start and not
00:05:17
start there's it's we don't really know
00:05:20
what we're doing yet but is that kitchen
00:05:22
real or is it like a backdrop
00:05:26
>> my I'm in my office and it has a
00:05:29
kitchenet so there's a
00:05:31
>> somebody invested well
00:05:34
>> the rich get rich
00:05:35
>> whoops
00:05:38
Can I have a
00:05:38
>> never seen anything like this? Who lives
00:05:40
there? Bezos.
00:05:42
>> Okay. Well, listen.
00:05:43
>> His muscles live in the other room and
00:05:45
he lives in that.
00:05:46
>> Guys, come on now. I The kitchenette is
00:05:50
great for making
00:05:52
>> If it has ETT on the end, that means
00:05:54
it's not
00:05:55
>> kitchenet makes me happy. The word makes
00:05:57
me happy. If you're checking in kind of
00:05:59
a B-level motel and there's that
00:06:01
kitchenette just seems relaxing. Well, I
00:06:04
feel I feel very relaxed and and welcome
00:06:08
if there's a kitchenet. You're in a
00:06:09
guest room has got a kitchenette. You're
00:06:10
like, I've made it because
00:06:12
>> Yeah,
00:06:13
>> it really gives you that access point
00:06:15
to, you know, the world is your oyster.
00:06:18
You could make a you could make a tea.
00:06:20
You could microwave a piece of toast.
00:06:24
>> Yes. If I'm on the road, I go for
00:06:27
residence in kitchenette. And then you
00:06:29
don't really leave as much because you
00:06:30
go, I can kind of handle [ __ ]
00:06:32
>> Yeah. right here
00:06:33
>> and you don't add advant Have you ever
00:06:35
made an omelet in the kitchenette and
00:06:37
just thought to yourself about the main
00:06:39
>> These are viewer questions
00:06:40
>> to about the main kitchen as you're
00:06:42
flipping the omelet you know what
00:06:44
>> [ __ ] the main kitchen
00:06:46
>> the you know what's fun about that is
00:06:48
that's where all the like funky mugs go.
00:06:50
So, I've got like a very s I love mugs
00:06:53
and I like a funky mug like you know a
00:06:56
don't mess with Texas or like you know
00:06:58
you go to like I have a a mug a dentist
00:07:01
gave me a mug once with like a a big
00:07:04
smile with braces on it like what a mug
00:07:06
you know
00:07:07
>> and it's like
00:07:08
>> I like a good like you know it's like
00:07:11
you travel somewhere and you get a mug
00:07:13
and I
00:07:14
>> Yeah. So all of the good funky mugs live
00:07:18
in the kitchenette. The main kitchen,
00:07:20
she's curated. She's got a real point of
00:07:24
view. There's a visual,
00:07:26
>> right? Is where the funk
00:07:28
>> and you also don't want to mess up the
00:07:29
main kitchen. So it's good to come do
00:07:31
some dirty work in here.
00:07:33
>> So I just want to make a quick note,
00:07:35
right? Rap song called Funky Mug. Okay.
00:07:38
>> Okay. Go.
00:07:39
>> Well, mugs. I have a great old You know
00:07:41
what my best mug is of all my goofy
00:07:43
ones? Larry Sanders. It's all faded.
00:07:46
>> I mean,
00:07:47
>> why we got that? Must have been like a
00:07:48
gift bag at the end. I don't know. I
00:07:50
love it. I love it
00:07:51
>> because Mark Marin, he he gives a mug.
00:07:53
I'm just saying you guys
00:07:54
>> Oh, smart. We don't have to give Jack.
00:07:56
>> I I was on a show. I don't remember
00:07:57
getting a mug.
00:07:59
>> Oh, they just to special mug. No, no,
00:08:01
no. Not a mug.
00:08:03
>> You have to You have to You have a bone
00:08:05
to pick then because those mugs are
00:08:07
excellent. I And I I do ceramics. So,
00:08:09
like I've got mugs.
00:08:11
>> I've got mugs. ceramics on top of
00:08:13
>> ceramics, too. And you write your
00:08:15
automotive thing. I can't. Your resume
00:08:18
made me tired. What are you doing?
00:08:20
>> What were you do you take a nap every
00:08:22
day? I mean, look,
00:08:23
>> I do like actually.
00:08:25
>> Oh, listen to this. Like, that's
00:08:27
>> uh when I was going through your uh
00:08:29
extenuous resume, is that a word? And um
00:08:32
>> it is now
00:08:34
>> golden arm. And guess who? Well, we
00:08:36
don't name drop on the show. John Ham
00:08:39
hit me out of the blue and I go, "John,
00:08:41
I'm looking at your goddamn name on this
00:08:44
stupid IMDb and he was so effusively
00:08:48
positive about you."
00:08:49
>> I am. Yeah, he's he's great. I think
00:08:54
that is nice. That makes me feel good. I
00:08:56
do think
00:08:58
>> I'm generally like nice.
00:09:02
>> Yeah.
00:09:03
>> As a person. I mean, would you
00:09:04
>> Yeah.
00:09:05
I've seen you out and about and you're
00:09:07
always very friendly and very light
00:09:09
>> and I think I like the word agreeable.
00:09:12
How is this person? They're they're
00:09:14
agreeable, you know? They're they're
00:09:16
easy.
00:09:17
>> Yeah.
00:09:17
>> Yeah. I would say that I would I would
00:09:19
say
00:09:19
>> and she's a laugher, I think, if I
00:09:21
remember. You like
00:09:22
>> Yeah, I can I will give a good laugh. I
00:09:25
I feel
00:09:28
like that is a a quality that especially
00:09:32
within comedy, it's nice to have people
00:09:34
around who also will give give it give a
00:09:37
laugh.
00:09:37
>> Right.
00:09:38
>> Right.
00:09:38
>> Yes.
00:09:39
>> Yeah. Because if if if you're stiff and
00:09:42
sometimes you just want to be the funny
00:09:43
one, it's always nice when other funny
00:09:45
people laugh.
00:09:47
>> Yeah. Because you know when you're
00:09:48
standing in like a a group of comedy
00:09:51
people and everyone's
00:09:54
each other
00:09:55
>> and they're being really fun and they've
00:09:57
got a little they've got a little um a
00:09:59
little turned up side grin because
00:10:02
they're thinking I'm going to say the
00:10:04
next funny thing. I'm sharpen what I I'm
00:10:06
gonna sharpen tool in my head. Oh, I'm
00:10:08
listening to what he said. Okay, I'm
00:10:10
gonna and everyone's thinking what am I
00:10:12
gonna say next? you know, and
00:10:15
>> it can be kind of like sweaty. I don't
00:10:19
know. You know,
00:10:20
>> I don't like group shows. I I I I do
00:10:22
some dates with David. I don't like it's
00:10:25
19 comics in a green room. What could go
00:10:28
wrong? You know,
00:10:29
>> it's like a comedy competition and I I
00:10:32
don't like it. The guy who the
00:10:35
>> man or woman on this podcast who laughed
00:10:37
the hardest is kind of interesting. It
00:10:39
was Larry David.
00:10:41
>> I think I heard that episode. Yes, I was
00:10:43
hearing that he was a great laugher and
00:10:46
I thought I love Larry even more for
00:10:48
that.
00:10:49
>> I know he's so brilliant and then he
00:10:51
sort of like he curled up on a little
00:10:54
ball and he was redfaced and he fell out
00:10:56
of his chair. Very interesting. But uh
00:10:59
but our guest today is Lake B Lake Bell
00:11:02
Lake.
00:11:03
>> Has any ever met another lake person
00:11:06
first name?
00:11:06
>> Yeah. So it's interesting because when I
00:11:08
was come when I was growing up it was so
00:11:10
bizarre. I mean, people were like the
00:11:13
amount
00:11:13
>> they can't get their head around it.
00:11:15
>> They could not they were like this is
00:11:17
not okay with me.
00:11:19
>> Whoa.
00:11:20
>> What? You know, and I had a story I
00:11:23
would tell people that my you know, my
00:11:25
parents were hippies and I was on a lake
00:11:29
and they thought, "Oh, let's do it."
00:11:32
>> And that was not at all the truth. I'm
00:11:34
from Manhattan. And my dad's like a Jew
00:11:36
who belt the fish and my mom was like,
00:11:39
you know, a kind of read war in peace
00:11:42
while working at Sabes and was a model.
00:11:44
You know,
00:11:44
>> the bees.
00:11:45
>> Yeah.
00:11:48
>> Lake is a cool one, but you have cool
00:11:50
names for your kids.
00:11:51
>> Well, it's like a movie star name. And
00:11:53
you know, I mean, it's it's very
00:11:55
memorable. It's really tight. And the
00:11:57
word the big L and the big B.
00:12:00
>> It's just it has a lot going on.
00:12:01
>> Four letters, four letters.
00:12:03
>> Yeah. four letters, four letters, two
00:12:04
nouns. And and then I think I saw it on
00:12:07
a lot of like um signage when I was a
00:12:10
kid. I always wanted to be an actor, but
00:12:11
I was like, "Oh, it's already up there."
00:12:13
So [ __ ] we're halfway there.
00:12:14
>> It works. It works up there in the big
00:12:16
time.
00:12:16
>> Yeah. Lake Titty Kaka Lake, you know,
00:12:19
that was
00:12:20
>> Now we're talking Lake Balls of Plenty.
00:12:23
Remember that one in Winnipeg?
00:12:25
>> Oh god. Really? I don't
00:12:26
>> Winnipeg. I just went off Titty Kaka.
00:12:28
You're right.
00:12:28
>> Yeah. Yeah. Tittaka. And um then there's
00:12:31
uh Lake Superior. I always would retort
00:12:33
with that when people threw me with
00:12:34
titty kaka or an area.
00:12:36
>> You know, the admin Fitzgerald took
00:12:39
place on a lake, I think.
00:12:41
>> Yeah. I mean, listen, lakes are of great
00:12:43
import. They're much more robust than a
00:12:46
pond.
00:12:48
>> No one's named Puddle, is it?
00:12:49
>> And they're rare in the western US
00:12:52
>> as a
00:12:52
>> You were called Puddle.
00:12:53
>> Yeah. My stepfather used to call me
00:12:55
Puddle because he's like, "One day maybe
00:12:56
it'll grow into a lake."
00:12:57
>> Oh, that's cute.
00:12:59
>> That's cute.
00:13:01
You know, David, um, you know, sometimes
00:13:03
you want a little pickme up, right? Oh,
00:13:05
yeah. Especially, right?
00:13:07
>> But you also want something that
00:13:09
actually tastes good. Do you know where
00:13:11
I'm going?
00:13:12
>> Yeah.
00:13:13
>> Comment.
00:13:14
>> You're going to talk about the new
00:13:15
Fruity Rainbow Shop.
00:13:16
>> That's exactly where I was going.
00:13:18
>> That's right.
00:13:19
>> Fruity Rainbow. What a great name and a
00:13:21
great taste. It's a great name. Great
00:13:23
taste.
00:13:24
>> That was your nickname in high school.
00:13:27
>> Yeah, that that's why I was captain of
00:13:29
the football team. These things are
00:13:31
straight up fruity candy vibes. They are
00:13:34
bright, bold, and honestly kind of
00:13:37
nostalgic, you know, but with a tasty
00:13:40
caffeine kick that gets you moving.
00:13:43
>> Oh, yeah, it does. Caffeine got a
00:13:45
serious flavor upgrade. Fiber Energies.
00:13:48
Shots now come in 17 flavors. Did you
00:13:51
hear me? 17.
00:13:52
>> Mhm. which is kind of wild when you
00:13:54
think about it, but the fruity rainbow
00:13:55
launch really leans into that sweet
00:13:57
candy flavored chaos in the best way
00:13:59
possible.
00:14:00
>> I love that.
00:14:01
>> It's all packed into that classic tiny 2
00:14:03
oz bottle.
00:14:04
>> Mhm.
00:14:04
>> Big seasonal flavor. Uh super portable,
00:14:07
easy to throw in your bag, car, sock,
00:14:10
gym pocket, whatever.
00:14:12
>> No giant cans, no sugar overload. It's
00:14:14
zero sugar.
00:14:15
>> Zero.
00:14:16
>> It's a treat that's totally sweet tooth
00:14:18
approved.
00:14:19
>> You get the fun. You don't get the
00:14:20
crash. If you're like me and love the
00:14:22
idea of your caffeine tasting as good as
00:14:24
it works, yeah,
00:14:25
>> this is your sign.
00:14:26
>> That's right.
00:14:27
>> Get candy flavored chaos with Fruity
00:14:29
Rainbow. 5hour energy shots available
00:14:32
online at 5hour energy.com or Amazon.
00:14:35
>> Should we talk about Secret Life of Pets
00:14:37
and what happened?
00:14:38
>> I mean,
00:14:39
>> for a second, we just we worked on
00:14:41
something together.
00:14:43
>> Yes, it was f I mean,
00:14:45
>> were you together?
00:14:46
>> No, we never recorded together. This
00:14:50
really blows it for people. I think
00:14:52
people want to know that all the minions
00:14:53
are friends and I think they want to
00:14:55
know that all the people hang out
00:14:57
because I did some and we did them in
00:14:59
different days and I was like, "Oh, no.
00:15:01
I kind of wanted to be together."
00:15:03
>> Yeah. There's no there's no it's it's a
00:15:06
lonely job in a way, but then you get
00:15:09
thrown together in promotion. So you're
00:15:11
recording these
00:15:13
>> huge like either TV TV shows or or
00:15:16
movies where they're these animate like
00:15:18
larger than life characters and oh my
00:15:20
god the the rapport must have been
00:15:22
terrific ask you on the junket they say
00:15:25
you know do was it so fun working
00:15:27
together
00:15:27
>> you guys have a blast the chemistry
00:15:30
>> that's a perfect junket voice what you
00:15:32
just did
00:15:33
>> tell us a little bit what it was like to
00:15:35
work with Dana Carvey
00:15:36
>> yeah Dana must be non-stop laughing like
00:15:39
well his booth was two doors down and
00:15:42
four months after my
00:15:43
>> I don't know.
00:15:45
>> I know. One time on on Hotel
00:15:47
Transennsylvania, we did it. Oh, a
00:15:49
couple people remember. I heard some
00:15:50
applause.
00:15:51
>> Um but we we did it all in the same
00:15:55
room. And
00:15:56
>> no, you didn't.
00:15:57
>> They quickly found out it was a horrible
00:15:59
idea. We were doing like scenes and
00:16:02
we're all talking. It was Kevin James
00:16:03
and Adam. We're like blah blah blah
00:16:04
blah. And we're just going through like
00:16:06
scene after scene and then we go we'll
00:16:09
do some pickups and we did everything
00:16:10
again by ourselves.
00:16:12
>> Well, by the way, then it goes back to
00:16:13
the like green room. A bunch of
00:16:15
comedians in a green room. You don't you
00:16:16
wouldn't want to record an an animated,
00:16:19
you know, show that way because
00:16:21
everyone's sitting there going, we're so
00:16:26
>> Did you understand, David? Because when
00:16:28
I was in the two, I wasn't quite sure
00:16:31
what my character was doing. Yeah, I
00:16:35
didn't connect it to any I would I
00:16:36
didn't even understand. I just knew that
00:16:38
was the line and they directed me, but I
00:16:41
you get kind of lost like what
00:16:43
>> you just came out of a cave and you're
00:16:44
all wet.
00:16:45
>> Yeah,
00:16:45
>> that's what that's what it's like. And
00:16:47
then when we did that one uh Emperor's
00:16:49
New Groove, it it went three years I did
00:16:51
it. And so at the end I'm like I don't
00:16:54
even know what's going. They go you can
00:16:55
ad liib. I go I don't know what the
00:16:57
scene is. I don't
00:16:58
>> You're like you're falling down yell
00:17:00
scream. I like when they go right before
00:17:02
you leave, let's get some ooze and o's.
00:17:04
>> That's the best.
00:17:05
>> Someone stepped on your tail.
00:17:08
>> The industry term is You ready? You
00:17:10
remember they're like, "Let's get some
00:17:12
efforts."
00:17:13
>> Oh, efforts. When you're falling down a
00:17:16
hole,
00:17:20
>> this is just for people. I I've probably
00:17:23
been spoke about before, but it's an
00:17:24
interesting thing about doing voiceover
00:17:26
work. You're behind a glass. You're in a
00:17:27
booth. You're seeing like 10 people in
00:17:30
front of you and they're straightfaced
00:17:32
and very serious and you go all out with
00:17:34
your take
00:17:36
and there's a delay. So you're still
00:17:38
looking at an oil painting and then they
00:17:40
then you see them like they're laughing
00:17:43
on Zoom from France.
00:17:44
>> Just you can't hear them.
00:17:47
>> They go silent laughing and and thumbs
00:17:50
up
00:17:51
>> and you like that one. They go one more
00:17:53
and you go
00:17:54
>> Yeah. It's so awkward.
00:17:56
>> I mean, I do I do uh Poison Ivy on
00:17:59
Harley Quinn for DC. It's like a
00:18:01
>> That's right.
00:18:02
>> Yeah. And they That is all kind of
00:18:05
improvis. Oh, look at him. He read um
00:18:08
the res. Oh, notes. Um
00:18:11
>> Oh, yeah. We got
00:18:12
>> if necessary. I didn't think we'd need
00:18:14
him much with you and it's working out
00:18:16
beautifully. So tell me about you're
00:18:18
that character on heart of
00:18:19
>> Well, I just was going to say like in
00:18:21
there they really like the
00:18:22
improvisational
00:18:24
>> vibes.
00:18:24
>> Oh, okay.
00:18:25
>> And of course you're alone. So you're
00:18:29
>> sometimes I have the director read with
00:18:30
me just so that I can I don't know. You
00:18:32
know, it's like you don't know how to
00:18:34
improvise with nothing even though I've
00:18:37
gotten really good at it where you just
00:18:39
are like I don't know. Can you give me
00:18:42
an idea of where we are? And they're
00:18:43
like, "Okay, so you're in Gotham and
00:18:46
it's kind of like
00:18:48
>> funny."
00:18:49
>> Kind of like a brothel, but like they're
00:18:52
all made of plants and like you're being
00:18:56
[ __ ] by a thorn, you know, and you're
00:18:57
like, "Okay." You know, and you're just
00:18:59
like, "What? Okay, I'll I'll I'll add
00:19:03
some spice to that."
00:19:04
>> Give us a couple different versions of
00:19:05
that.
00:19:07
>> Yeah, that's great.
00:19:08
>> It's fun.
00:19:09
>> Look at your sleeves, though. What's
00:19:10
going on?
00:19:11
>> Yeah. So, we've got
00:19:12
>> that's a bit of a
00:19:13
>> like don't worry about it.
00:19:14
>> It's like
00:19:15
>> Plymouth Rock. I mean, sort of a
00:19:17
>> It's called fashion and I'm not
00:19:19
>> It's kind of a pilgrim village that's
00:19:21
trying to make friends with Native
00:19:23
American look.
00:19:25
>> I don't know. It works.
00:19:27
>> Finesse.
00:19:28
>> What color is it if you had to guess?
00:19:30
>> What color?
00:19:31
>> Yeah,
00:19:32
>> I think it's dark green.
00:19:34
>> It's actually dark. It's navy with
00:19:36
black, which is my favorite combo.
00:19:38
>> God, more proof I'm color blind.
00:19:39
Everyone navy with black is your
00:19:42
favorite color.
00:19:44
>> Yeah, I love the tension.
00:19:46
>> Don't hate my jean jacket.
00:19:48
>> I I like what you got going on here. I
00:19:50
love
00:19:51
>> It's hard doing this, right? We're all
00:19:53
looking at ourselves. We're looking at
00:19:54
ourselves.
00:19:55
>> I don't like it. I'm gonna just How do I
00:19:58
go off my
00:19:59
>> It's impo possible not to
00:20:02
>> on Zoom I know how to just go and then I
00:20:04
get rid of my face and then the problem
00:20:06
is we're all actors. We're all looking
00:20:08
at oursel like what do I look at my
00:20:10
face? Do I
00:20:11
>> I'm only looking at me the whole time.
00:20:13
>> I know. I see you. I see you looking at
00:20:14
you.
00:20:15
>> I don't even know like on Spade has
00:20:17
never looked at me or you. I don't even
00:20:19
know what Dana looks like in real life.
00:20:20
>> He's not sure who our guest is today.
00:20:24
>> You've got a hair light. You've got a
00:20:26
backlight. That's
00:20:28
>> This is a new thing like that you should
00:20:30
incorporate into your movies you direct
00:20:32
because
00:20:32
>> Okay.
00:20:33
>> This was a happy accident. I like it. It
00:20:35
was a light behind me because it was so
00:20:36
black behind me and then it kind of
00:20:39
>> glows up the hair. So I said, "Hey,
00:20:41
>> they do that a lot with the ladies. They
00:20:44
do Yeah. Hair light they call it.
00:20:47
>> So that you do that. So it's just like a
00:20:48
little crest of like
00:20:50
>> It's not bad.
00:20:51
>> Yeah, it's pretty. It's It's quite
00:20:53
elegant.
00:20:54
>> Is mine poured on a little hard back
00:20:56
there? But I don't know. Maybe it could
00:20:57
go down.
00:20:57
>> It's a It's a It's a It's a little
00:20:59
celestial. It's a little uh angelic, but
00:21:03
I I like it. It feels like they could
00:21:06
kind of fly away. I mean, there's a
00:21:08
sense that
00:21:10
>> they're Yeah, some of these these are
00:21:12
>> very French. I think it's very French.
00:21:15
>> It's a one-way street. Once they jump
00:21:16
out, they're not coming back.
00:21:18
>> Yeah. Can you go
00:21:21
>> I've got a bit of a mully going on?
00:21:23
>> Do you like Do you have a team? If you
00:21:25
go to an award show or something, do you
00:21:27
have a team?
00:21:28
>> Talk about it.
00:21:29
>> Oh,
00:21:29
>> you have a good team.
00:21:31
>> Oh, honeys. Girls, girls. I
00:21:34
>> Oh, please.
00:21:35
>> Girls, you have no idea what kind of
00:21:37
team I have. Um, one of the greatest
00:21:40
teams. Um, no, I do.
00:21:41
>> That's good hair though. You have to
00:21:43
>> I did I did my hair today. I'll be
00:21:45
honest for you. For you, gentlemen.
00:21:47
>> It's great.
00:21:48
>> Thank you. Um, but no, I do. I do a
00:21:51
team. But I have to be honest with you.
00:21:52
Going to when someone goes, "Hey, can do
00:21:55
like for instance, Golden Globes are
00:21:56
coming up and
00:21:56
>> Yeah.
00:21:57
>> Oh, you know, are you gonna go to the
00:21:58
thing on Friday or whatever?" you know,
00:22:00
and I the amount of of
00:22:07
just pomp and circumstance that I need
00:22:09
to go go through just to get to the
00:22:11
freaking party.
00:22:12
>> I'm like, I don't even know if I can
00:22:14
afford to go to that party cuz hair and
00:22:17
makeup, styling,
00:22:19
>> car, you know, cuz can't just you
00:22:22
gentlemen can throw on a key.
00:22:24
>> Sometimes you're like, who do I bring?
00:22:25
Is it all by myself?
00:22:28
>> I go alone a lot. I actually go alone. I
00:22:30
kind of been enjoying rolling up
00:22:33
>> because you run around so much. Usually
00:22:34
just go to someone for bass. You're like
00:22:37
both talking to people. You come back,
00:22:38
say hi. Hey, what's going on? Blah blah.
00:22:40
Then you go because you both know
00:22:41
different people. Yeah. But if you
00:22:42
don't, it feels weird sometimes to be
00:22:45
constantly in motion.
00:22:47
>> Yeah.
00:22:47
>> Hey. Hey. Hey, Lake Bill. Nice to see
00:22:50
you. What's up? You have 10 seconds to
00:22:52
make a connection.
00:22:54
>> Hey, Lake Bill. How you doing, man?
00:22:56
>> Everyone calls her Lake Bell. Hey. Hey.
00:22:58
Hey. It's M. Bell. How are you?
00:23:01
>> I have three seconds. What's up? Let's
00:23:03
have a profound moment.
00:23:05
>> I mean, I've seen, you know, I recently
00:23:07
went to a thing at like the Chateau or
00:23:09
something and I saw a fellow person who
00:23:11
was going through an an I have an early
00:23:13
problem. So, I get places a way too
00:23:15
early.
00:23:16
>> Good.
00:23:17
>> And like I was early for this podcast
00:23:19
and
00:23:19
>> Yeah. And I have um an exboyfriend who
00:23:25
actually told me that, you know, um who
00:23:27
was like, "You're too hot to to show up
00:23:29
this early. Like, you have to be very
00:23:31
late. You have to like get it's not
00:23:33
okay." And I thought that was very
00:23:34
sweet. But um
00:23:36
>> that is true. But I do like people that
00:23:38
just get things going because it's so
00:23:40
hard to be cool and wait. It's so hard.
00:23:42
>> I don't guys I'm just It's like I I
00:23:46
don't know what it is. I don't know if
00:23:48
it's like cuz I don't have ADHD cuz my
00:23:50
daughter does and my son does, but I
00:23:52
just can't. I get there way too early
00:23:54
because I'm nervous I'm going to be
00:23:55
late. So, it's probably peopleleasy, I
00:23:57
guess. I don't know.
00:23:58
>> Um, it could be tactical. Like, I like
00:24:00
to get there early
00:24:02
>> so that I can leave early and go, "Hey,
00:24:04
I was
00:24:06
You know what?
00:24:07
>> Yes.
00:24:08
>> Well, you can kind of see people come in
00:24:10
and it's not as overwhelming as walking
00:24:11
to a packed
00:24:12
>> [ __ ] place. sits bumper to bumper and
00:24:14
you're like, I can't even get to the
00:24:16
point where I can't get.
00:24:18
>> But I will say I like this this Golden
00:24:20
Globes thing because first of all, if
00:24:22
you go to a party for let's say it's the
00:24:24
Golden Globes. Now,
00:24:26
>> a party is almost as bad as an effort as
00:24:29
a look for going to the Golden Globes.
00:24:31
It's pretty much around the same budget,
00:24:34
around the same everything. Now, if you
00:24:36
go to a party, you have to think, am I
00:24:38
going to go to a party Friday, a party
00:24:39
Saturday, and Sunday after the show?
00:24:43
>> So, three looks for if for a female,
00:24:46
right?
00:24:46
>> Whoa.
00:24:47
>> Do you do your hair three times?
00:24:49
>> Yes.
00:24:50
>> Is there anything you save on the
00:24:53
>> There's no saving. Okay. The only thing
00:24:54
I would say is that I style myself right
00:24:57
now. So, that has been kind of because
00:25:00
it's like an art form, right? Like,
00:25:02
yeah,
00:25:03
>> I like I'm a visual person. I enjoy this
00:25:06
[ __ ] So, like, I'll give it a go.
00:25:08
>> And so, I buy the only
00:25:11
>> the only the only thing I I splurge on
00:25:14
is like I you know, I get [ __ ] that's um
00:25:17
secondhand. So, I like buying
00:25:19
consignment.
00:25:20
>> Oh, cool. Yeah.
00:25:21
>> And vintage. I just It's like fun. It's
00:25:24
like finding Yeah. in a you know it's
00:25:26
like I watch those guys with the metal
00:25:28
detectors who like look in dirt and find
00:25:31
things like I I can watch this
00:25:32
>> find your dress.
00:25:33
>> Yeah. So that's similar. It's scratching
00:25:36
a similar
00:25:38
>> inside baseball but I've not been I
00:25:40
don't go to a lot of war shows but the
00:25:42
last time I was at the Oscars Whoops. Um
00:25:46
you walk out in the red carpet just for
00:25:48
people listening and then you stand
00:25:50
there and then there's a wall of people
00:25:52
screaming. I mean, they're waiting for
00:25:53
Timothy Shalame or, you know, Jodie
00:25:56
Foster or something and there's this
00:25:58
wall of people screaming at you. Do you
00:26:01
pivot and kind of smile and they're
00:26:03
going like like screaming like just a
00:26:06
hoorde
00:26:07
>> and you pivot? Do you have a face that
00:26:09
you put on? Can we see it?
00:26:11
>> I do. I do this.
00:26:12
>> Okay, good. Okay, here it is.
00:26:14
>> Off. Earphones off.
00:26:15
>> Lake Bell. Here, here. Here.
00:26:18
>> I like this pleated pants outfit. Oh,
00:26:21
>> here. Over here. Over here.
00:26:23
>> This part. You're not supposed to see
00:26:24
this part.
00:26:24
>> Are those purple? I'm not even going to
00:26:26
guess.
00:26:26
>> No. No. The They're They're another
00:26:28
shade of of blue.
00:26:31
>> You know what's cool about you is that
00:26:33
you don't you don't you you don't you're
00:26:35
not sweaty. You don't seem to try. You
00:26:37
don't seem to care about being a star.
00:26:39
>> I mean, you you're one of those
00:26:41
celebrities that just sort of there's a
00:26:43
coolness factor to that. You're not
00:26:45
needy, are you? I mean,
00:26:46
>> I'm not thirsty.
00:26:47
>> I just want to make I think I'm like a
00:26:50
working actor. Like I feel it like you
00:26:52
know what I mean? Like I don't I go on
00:26:53
the subway like I go to the grocery
00:26:55
store. So I don't feel
00:26:55
>> that's what how how I see you and also
00:26:57
you ride and direct and do all the other
00:26:58
things but a lot of people live or die
00:27:01
by this how their heat as a celebrity.
00:27:04
It's like a really huge deal. You don't
00:27:06
seem to
00:27:08
>> doesn't bother you.
00:27:09
>> It doesn't. And also I have two little
00:27:11
kids right? So
00:27:12
>> yeah,
00:27:12
>> a mom and I to boot I have kids that
00:27:17
have had
00:27:19
>> some heavy [ __ ] happen.
00:27:20
>> We we know about your book and I thought
00:27:23
it was I read some of the the quotes and
00:27:25
they they teared me up. I mean it's like
00:27:28
the way you couched
00:27:30
seizures was so beautiful. I mean you're
00:27:33
a great writer.
00:27:35
>> Thank you. I I think that the context of
00:27:38
that has always,
00:27:40
>> you know,
00:27:41
>> yeah,
00:27:41
>> I've had kids now for 10 years, so it's
00:27:43
like all of it, even when I'm directing
00:27:45
and they're like, "We lost a location.
00:27:48
Oh my god, we're freaking out. You know,
00:27:50
it's going to, you know, everyone's the
00:27:53
actor is going to be so upset. We can't
00:27:56
Oh my god, I don't know what to say."
00:27:57
And I'm just like,
00:27:59
>> "This is a cool job.
00:28:02
Like I've seen I've held my my ch both
00:28:06
of my children in different states of
00:28:08
>> are they dying or not, you know?
00:28:11
>> And so I think contextually I'm like
00:28:13
we're going to find another location.
00:28:14
>> Yeah, we're going to be fine.
00:28:16
>> It's a movie. You know,
00:28:18
>> it does put it in perspective when you
00:28:20
go there are a lot worse problems right
00:28:22
now. I wish everyone wouldn't freak out
00:28:23
so hard because we're wasting freak out.
00:28:26
>> Also, for all the time that we just
00:28:27
freaked out about that, we could have
00:28:28
been like, you know, like let's see
00:28:30
what's across the street. Let's see. Can
00:28:32
we talk to Let's talk.
00:28:33
>> And it's funny. They always figure it
00:28:34
out.
00:28:35
>> They all You always figure it out. So
00:28:37
I'm like,
00:28:37
>> you see the movie, you don't see a
00:28:38
[ __ ] blip.
00:28:39
>> No. And frankly, just if we're talking
00:28:42
inside baseball about directing for a
00:28:44
second, it's like often times there are
00:28:47
moments where, okay, you did lose that
00:28:48
location and then
00:28:50
>> whatever for or like we have to reshoot
00:28:52
this scene because of blah blah blah,
00:28:54
and you're going, "Oh my god, I I can't
00:28:56
think of a worse piece of information
00:28:58
for my editor right now." But whatever
00:28:59
it is, it always ends up kind of exactly
00:29:02
as it should be. It's it's always great,
00:29:05
you know, especially when you have to
00:29:06
revisit something
00:29:08
>> or you get a new location and then
00:29:11
>> you just make it work and then no one's
00:29:12
the wiser that sees the movie and they
00:29:14
go, I don't really care about that
00:29:15
stuff. Is is the movie working?
00:29:17
>> But also in life, like now with
00:29:19
parenting and [ __ ] like that, you're
00:29:20
just like, well, you know, a lot of the
00:29:22
times we come up against moments where
00:29:26
it's not as you planned. it's not how
00:29:29
you thought it was going to be. This
00:29:30
person kind of did this and you you
00:29:32
thought they were going to do that. All
00:29:33
of those expectations
00:29:35
>> are what get in the way of it. If you
00:29:36
could just kind of
00:29:38
>> sort of
00:29:39
>> adapt and adjust. I mean, that's the
00:29:41
that's what I'm always trying to, you
00:29:43
know, sort of teach to my children too.
00:29:45
The adapt is such a
00:29:46
>> roll with stuff. Okay, now we'll deal
00:29:49
with this and then this and really think
00:29:51
of life as a kind of a series of
00:29:53
problems in a sense. You know,
00:29:55
>> it's hard to watch kids get so much
00:29:56
anxiety also because you go, "God, this
00:29:59
is the your worst thing and it's really
00:30:01
nothing in the big picture." But to this
00:30:03
point in your life, like high school
00:30:04
especially, is very hard.
00:30:05
>> Yes.
00:30:06
>> And you go, "Fuck, I wish I could talk
00:30:07
you down and just to say
00:30:09
>> you won't really remember almost any of
00:30:11
this problems. Young
00:30:14
people are nostalgic for the analog
00:30:16
world. I I hear this a lot." And they'll
00:30:19
watch Grey's Anatomy like crazy because
00:30:21
they don't have iPhones. They don't have
00:30:24
Instagram. They don't have So, the
00:30:25
toxicity of that and now you raising
00:30:27
your young people through this is a
00:30:30
whole other set of challenges.
00:30:32
>> I have a It's funny. I went and got um
00:30:34
just talking about nostalgia. So, I
00:30:36
don't know if you guys go to Vidiots,
00:30:37
which is a really cool art house theater
00:30:39
in Los Angeles
00:30:40
>> and um also a nonprofit that does
00:30:44
>> um that kind of preserves DVDs and VHS
00:30:48
tapes. Mhm.
00:30:49
>> Um, I go and take my kids to go rent
00:30:53
DVDs and
00:30:55
>> Oh, cool.
00:30:56
>> of I then bought myself, you know, for
00:30:58
the house a little combo, a TV and DVD.
00:31:03
>> DVD player. Oh, wow. Okay.
00:31:05
>> Right. You plug it right in. You see
00:31:06
this is the device it's on. It goes
00:31:08
right.
00:31:09
>> I thought those are already gone. It's
00:31:10
crazy.
00:31:12
>> Yeah. And the idea of not scrolling.
00:31:14
What are we going to watch? I don't
00:31:15
know. I've already seen that.
00:31:16
>> Like this is it. This is what we're
00:31:18
watching.
00:31:19
>> We just rented it. We're putting it in.
00:31:21
And then
00:31:22
>> choice
00:31:22
>> called Deborah. Um, and so I'm like, you
00:31:25
have to be very delicate with Deborah.
00:31:27
>> And so you press the button on. You
00:31:29
wait.
00:31:31
>> Okay. Now wait. Now press eject and
00:31:35
wait. You know,
00:31:37
>> there's a lot of waiting. Put it in.
00:31:40
>> Press it. You know, it's like everything
00:31:42
is so consist.
00:31:44
>> Don't push it. It kind of pulls it from
00:31:45
your hand. And if you go really lightly,
00:31:47
it kind of sucks it in.
00:31:48
>> I think it's
00:31:50
>> it's great. We at one point only had a
00:31:51
Blu-ray player when we moved up to this
00:31:53
house and uh and we just quickly bought
00:31:56
10 Blu-rays and so I guess we're going
00:31:58
to watch The Godfather and and then
00:32:00
you're you're committed to the movie and
00:32:02
it really is when you're on live
00:32:04
streaming and watching all these shows,
00:32:05
you're like,
00:32:06
>> I don't know. You feeling this? Okay.
00:32:08
And then boom, you're gone.
00:32:10
>> You're out. Yeah. It's What is that? It
00:32:12
is actually feeding our short attention
00:32:15
span and it's just like
00:32:17
>> yes
00:32:17
>> I feel like it's like it's it's actually
00:32:20
flexing and and it's flexing a muscle
00:32:23
that we shouldn't
00:32:25
>> which is to just bail you know. Yeah.
00:32:28
Talk about adaptation and being
00:32:30
adaptive. It's like
00:32:31
>> let's talk about the chair company. A
00:32:32
perfect uh
00:32:35
>> introduction to that which my wife and I
00:32:37
watched the first two episodes last
00:32:39
night.
00:32:40
>> Oh, you did? She and she did not have to
00:32:42
watch the second episode unless she
00:32:44
wanted to.
00:32:45
>> And so we both fell in love with it.
00:32:47
It's so the reason we loved it and it
00:32:50
didn't make us wander is because it it's
00:32:52
full of so many surprises. It's Tim
00:32:54
Robinson in full quirk
00:32:56
>> and you and others and so it keeps going
00:32:59
places you don't expect.
00:33:01
>> So I think it's great and it's been
00:33:03
picked up for season two I heard.
00:33:05
>> So you're in a hit. Um, I will say that,
00:33:09
um, I'm not really in the first
00:33:12
episodes. I'm kind of like, you know, it
00:33:13
all unfurs. So,
00:33:15
>> that's what I shut up, Barb.
00:33:19
>> Exactly.
00:33:19
>> Yeah. He yells up the stairs like, "Oh
00:33:21
my god." Yeah.
00:33:23
>> Shut up, Barb. You know,
00:33:24
>> he's so bananas. Everyone acts like it's
00:33:27
normal. Okay, cool.
00:33:28
>> Yeah. That's the thing is I think being
00:33:31
a straight man, you know, straight woman
00:33:34
to his really just chaotic, wonderful,
00:33:38
misanthropic, koginly tornado of a
00:33:42
character.
00:33:43
>> So stressed at all.
00:33:44
>> So stressed and
00:33:47
like shooting with him. He's not like
00:33:49
that at all. I don't know if you know
00:33:51
him personally.
00:33:51
>> I don't know him at all.
00:33:53
>> Assume he's I assume he's not.
00:33:55
>> No, but you never know. He was on SNL
00:33:58
for a while and wrote
00:33:59
>> it's funny classically did not use him
00:34:01
right or something because look at all
00:34:03
the [ __ ] he's done. It's so
00:34:05
>> but the people's reaction to his
00:34:07
character and you being one of them is
00:34:08
you know the laugh is often on someone
00:34:11
processing madness that we don't get a
00:34:13
chance to as just viewers from home you
00:34:15
know like so you've you know I can see
00:34:17
how it's I don't know where it's going
00:34:19
but you know I'm going to
00:34:21
>> I'm so excited you know for you to to
00:34:25
unfurl the other ones that the fact that
00:34:28
you're on number two. Have you seen any
00:34:29
of
00:34:30
>> I finished number two.
00:34:31
>> You finished number two. Okay. It gets
00:34:34
it's goes not where you think ever. And
00:34:37
I think what I love about the show and
00:34:39
being a part of it is that it is unique
00:34:41
in its tone.
00:34:42
>> Yes. And it surprises you. There's a
00:34:44
piece in there which doesn't give away
00:34:46
the plot or anything where he's driving
00:34:48
with somebody and he does a satire
00:34:52
basically about live streaming or just
00:34:55
non-performative
00:34:57
people who make millions of dollars or
00:34:58
something. It's sort of X-rated rapping,
00:35:01
but it wasn't rapping. and they're just
00:35:02
talking. You know the moment I'm talking
00:35:04
about like that was really surprising.
00:35:06
It was just a great moment to put that
00:35:09
in there and it was just really laugh
00:35:11
out loud funny
00:35:12
>> the way the guy
00:35:14
>> Yeah. It's also like the the the camera
00:35:17
work is so excellent. Um Ashley
00:35:20
>> um the DP like has such a well also I
00:35:24
give credit to Andy D. young as well,
00:35:25
just the director who did Friendship.
00:35:28
Um, if people have seen that um
00:35:30
>> and it has such a um sometimes almost
00:35:34
like Lynchian like you'll see it's like
00:35:36
it gets
00:35:36
>> David Lynch is brought up Mohalland
00:35:39
Drive for some of the Reddit people
00:35:40
talking about it.
00:35:42
>> Yeah. Quirky quirky.
00:35:43
>> Yeah. And when you I don't know if it's
00:35:44
up for best comedy, but when you see a
00:35:46
comedy that you actually laugh at, which
00:35:48
is honestly rare.
00:35:50
>> Yeah. Well, we're all snobs, but when
00:35:53
you laugh because it's not predictable
00:35:55
and you're and there's something out of
00:35:57
the blue, you throw away lines right and
00:35:59
left where you're like,
00:36:00
>> "Oh my god,
00:36:01
>> these kids were getting drunk with their
00:36:03
teacher at the and you're like, what
00:36:04
their teacher?" Like they just throw
00:36:06
away stuff that's just so weird and and
00:36:07
no one mentions it. You go,
00:36:09
>> right? And it's tiny little throwaways
00:36:10
that you're like on my birthday, you
00:36:14
know, like like that was a per that's a
00:36:16
perfect example of like
00:36:18
>> what makes there's no reason what a
00:36:22
random laugh and then everyone just
00:36:23
keeps going and you go
00:36:24
>> because I I've worked with um uh HBO
00:36:29
before and I've obviously done a ton of
00:36:31
comedies and that usually I feel like
00:36:32
the the the
00:36:34
flavor and the general kind of movement
00:36:39
of the
00:36:41
>> uh music is like clean, keep it clean
00:36:44
and then bring it on back and then oh
00:36:46
you flood that line go again you know
00:36:48
it's like faster you know cleaner
00:36:50
tighter
00:36:51
>> and with this
00:36:54
>> I really felt like I was in a different
00:36:57
sheet of music like I I I I was not
00:37:01
Yeah, it was a different it was like
00:37:03
jazz riffing because there were moments
00:37:06
where you know he might flub and I was
00:37:09
like, "Oh, I see they they're gonna use
00:37:12
that take."
00:37:12
>> Yeah, they'll keep it because it's real.
00:37:14
>> Yeah. Because it felt And so the kind of
00:37:16
awkward the tension of that
00:37:19
>> and long pauses and weird things where
00:37:22
normally they go, "Can you just tighten
00:37:23
that up? We'll just got to keep it
00:37:24
moving." And you're like, "No,
00:37:28
>> looks like that. It's just
00:37:29
>> you could strangle that comedy in a
00:37:31
second with a different director. You
00:37:33
completely beat the [ __ ] out of it." And
00:37:36
so I I'm I'm envious because I I don't
00:37:38
think I've ever been in that situation,
00:37:39
but I know what you mean. And I think
00:37:41
that the the genius of Marlon Brando,
00:37:44
what a weird reference, is he tried he
00:37:46
tried to get it ad hoc. He tried
00:37:48
discover in the moment. He didn't want
00:37:50
to be locked in. He wanted to he'd have
00:37:52
it on a orange or he peel it and get his
00:37:54
line, whatever to deconstruct the idea
00:37:56
of it. And then obviously when you're
00:37:58
doing takes and you're discovering it
00:38:00
real time like you like are going
00:38:03
>> this is real for me right now. This is
00:38:05
not like I rehearsed it.
00:38:07
>> It does pop and I can feel that. That's
00:38:09
what I'm feeling when I'm watching the
00:38:11
show I guess.
00:38:11
>> Yeah. We don't rehearse at all. So only
00:38:13
if there was a stunt or something you
00:38:15
know with but but even I mean we'll
00:38:18
rehearse the stunt but we'll never
00:38:19
rehearse the lines like before you know
00:38:22
>> Clint Eastwood
00:38:23
>> or Woody Allen really you know.
00:38:25
>> Yeah. You just you'll be in the moment
00:38:26
and you'll say it for the first time
00:38:28
then and
00:38:29
>> and it makes people good because even on
00:38:31
those Clint Eastwood movies they say
00:38:32
when I come to the set you know I've had
00:38:34
guys that do 15 20 takes so you're
00:38:37
basically almost carrying your many
00:38:38
sides to the real shooting going well I
00:38:41
know we're not using the first eight
00:38:42
>> I know
00:38:43
>> and which is such a bummer because in
00:38:44
comedy you're like sometimes things just
00:38:47
happen and now I've got to recreate them
00:38:48
because of continuity and I'm like
00:38:50
>> if you can just get rehearsal even it's
00:38:52
half the time it's the funniest cuz
00:38:53
that's the first time it's real back and
00:38:55
forth.
00:38:56
>> Yeah.
00:38:56
>> Shoot the rehearsal. I was in a movie
00:38:58
once. Yeah. Always shoot the rehearsal,
00:39:00
right? So,
00:39:01
>> don't even tell them. It's just on
00:39:03
>> for you as a director and then you're
00:39:04
seeing this style or maybe you've seen
00:39:06
it before. Does it influence you? Do you
00:39:09
try to emulate it or do you do it
00:39:10
yourself? Anyway,
00:39:11
>> I'm really interested. I mean, I learned
00:39:12
how to direct by being in the [ __ ]
00:39:15
trenches of a
00:39:17
>> trillion different sets and
00:39:19
>> yeah,
00:39:19
>> how people are are operating, but not
00:39:22
just within, you know, the within the
00:39:26
director's brain, but, you know, how
00:39:27
they're relating to the rest of the
00:39:28
departments, you know, and how actors
00:39:31
are feeling, you know, with different
00:39:32
things. Oh, that performance I like I
00:39:34
can tell the way that act the way that
00:39:36
director just spoke to this actor really
00:39:39
got that great performance or actually
00:39:41
botched it like
00:39:42
>> Yeah.
00:39:43
>> And so we and also obviously as as
00:39:45
actors we're kind of like I know what I
00:39:47
like and what I don't like, you know.
00:39:49
>> Um
00:39:50
>> well if you're tuning into that which is
00:39:52
different because most people are just
00:39:54
worried about their lines and the actors
00:39:55
are just doing it. If you're adding, I'm
00:39:58
tuning into the director, not only
00:39:59
talking to me, but how he's dealing with
00:40:01
the DP, how he's dealing with the other
00:40:03
departments, that's when you start to
00:40:04
learn about directing because
00:40:06
>> all that stuff is like you're on
00:40:07
blinders if you're an actor. And then
00:40:08
you go, wait, what do you even do back
00:40:10
here? And there's so much so many things
00:40:12
happen. Someone comes up with two pieces
00:40:14
of carpet, this one or this one, he's
00:40:15
like that one. You're like, okay. And
00:40:16
you go, oh, this is for a scene in three
00:40:18
weeks they're working on. And
00:40:20
>> there's story boards. There's so many
00:40:22
things to go over.
00:40:23
>> Yeah.
00:40:24
>> A lot of work. I think that also, you
00:40:26
know, if you have access at all, um, for
00:40:28
instance, when they say, "Okay, you can
00:40:29
go to your trailer and we'll call you
00:40:30
when you're ready." You know, it's like
00:40:32
you have the access to be like, "Oh,
00:40:33
I'll um go ahead and just get a chair
00:40:35
and I'll sit here and just get a tea and
00:40:37
watch."
00:40:38
>> I want to watch them flip it over to the
00:40:39
other side and see how they do it, how
00:40:41
fast they do it, who does what.
00:40:43
>> It is quite a rush though, right? Like
00:40:45
when you have an idea about a scene and
00:40:48
then you get the first rough cut of it
00:40:49
or I felt good but you don't know and
00:40:51
you go, "Fuck, it's working." And This
00:40:54
is great. You're bringing people into
00:40:56
the edit bay. What do you think? They're
00:40:58
laughing or saying this is great. And so
00:41:00
that's the rush of the [ __ ] the hard
00:41:02
work of director. So hard. But you work
00:41:06
for that. That's the moment, right?
00:41:08
>> Well, yeah. It's been interesting like
00:41:09
having the kids on sets and stuff where
00:41:11
they're looking at it and they're going,
00:41:12
"Oh my god." You know, I have to explain
00:41:15
this is a scene that will be probably
00:41:18
five seconds. Mhm.
00:41:20
>> All of these hundreds of people are
00:41:23
here.
00:41:24
>> We're all work. There's all of this
00:41:26
work. All these trucks for these five,
00:41:29
>> you know,
00:41:29
>> right?
00:41:30
>> That's the funny thing about you got an
00:41:32
eighth of a page one day when you go in,
00:41:33
you go, it's still the same hair and
00:41:35
makeup. It's still the same everything.
00:41:38
>> Everyone's coming to work.
00:41:39
>> Everyone's coming.
00:41:40
>> It's just to get a look, a reaction
00:41:41
shot. An eighth of a page can also be
00:41:44
like, you know, you know, she comes in,
00:41:47
she takes her, you know, she she she
00:41:50
take she makes a tea, she sits down and
00:41:52
she calls her mother. Okay, fine. You
00:41:54
know, and there's like three lines or
00:41:56
something like that and you're like,
00:41:56
"Okay, I'm going to be in and out for
00:41:58
this one." But, you know, it's not true.
00:42:00
>> Hilariously true. Even I I remember
00:42:02
those superhero movies, they said, "We
00:42:04
do about a fourth of a page a day."
00:42:06
They're like the line is like, "The
00:42:07
Batmobile tears through Gotham." and
00:42:09
you're like, "Well, that's going to take
00:42:11
a while.
00:42:11
>> That's a week. That's a week."
00:42:13
>> Yeah. They go the whole city.
00:42:15
>> Yeah. So, that's why little things like
00:42:17
that. You're right. There's some where
00:42:18
they'll go in a twoot and you're out of
00:42:21
there and you don't even notice it.
00:42:22
You're like, "Oh my god, we're just
00:42:23
going to stay on a two shot." That's
00:42:24
great. And then some you're like, I had
00:42:27
no idea this would take four hours.
00:42:29
>> I know. I know. And I try to I mean, I
00:42:31
get people out. I move really quickly
00:42:33
because I do think that in general I do
00:42:36
favor uh people, you know, two shots and
00:42:40
shots and things like that and like
00:42:41
playing it in the wide and you know,
00:42:43
>> get two cameras running and see what
00:42:45
>> movie masters. Yeah,
00:42:48
>> they work. I mean, it's cool because it
00:42:50
makes you pay attention if you're the
00:42:51
audience. You're like,
00:42:51
>> "Oh, yeah." And the actors love it. The
00:42:53
actors love it. We love it when we can
00:42:55
come in and just be with each other and
00:42:57
exist in the space. Oh, it's I if you
00:43:00
ever have need someone in a movie that I
00:43:02
could do anybody. I'll do a Italian
00:43:05
waiter or something. But uh that you
00:43:07
know when you watch old timey films
00:43:09
there's a lot of moving masters. There's
00:43:11
a lot of two shots moving in and out. Of
00:43:13
course Woody Allen really adapted that.
00:43:15
But old timey films to edit was like
00:43:17
>> spooling 100,000 feet of footage to do
00:43:21
one little edit. So they really made
00:43:23
sure that now it's in the the last 20
00:43:25
years.
00:43:27
I know. You know,
00:43:28
>> I do like cross coverage for comedians,
00:43:29
though. Like, we love that. We like to
00:43:31
be able to play and
00:43:33
>> if there's a happy accident that happens
00:43:35
and someone says something [ __ ]
00:43:37
hilarious, we got it. And we have a
00:43:40
response to it, you know? It's like
00:43:41
>> a real reaction. Yeah.
00:43:43
>> Yeah. Yeah,
00:43:43
>> I had someone do uh on a movie kind of
00:43:46
sabotage because I did my side and then
00:43:51
when they did their side they changed
00:43:52
their lines and did all these things in
00:43:54
ad lib and I was like oh so I have no
00:43:56
reaction any of this. That's like a
00:43:59
little dastardly move. It it's really a
00:44:01
bummer to be on I mean like I've been
00:44:03
you know I did a sketch show recently
00:44:05
and the the budget was low and so it was
00:44:07
like they couldn't do two cameras
00:44:09
running you know and it was like we're
00:44:10
just doing a quick set and I was like ah
00:44:12
[ __ ] a because it's it's you're
00:44:14
really screwed kind of because
00:44:16
>> [ __ ] a
00:44:17
>> yeah [ __ ] a.
00:44:20
I say to people, get get a crew of
00:44:23
three. Get like three actors together,
00:44:25
do it on iPhones with maybe one sound
00:44:28
person and just give yourself 12 days to
00:44:31
shoot, you know? I mean, yeah,
00:44:33
>> sometimes these things are so
00:44:35
magnificently done and then but there's
00:44:37
no they're there and you're flipping off
00:44:39
immediately.
00:44:40
>> Yeah. the you know
00:44:42
>> I think that's why also you know with
00:44:43
chair company it's like you're
00:44:46
>> there is kind of an economy to how I
00:44:49
mean yes we had like a full rig and
00:44:51
everything
00:44:52
>> but there is an economy to the visual
00:44:55
storytelling too you know it's like
00:44:56
she's using zooms you know it's like
00:44:59
you're out here you're you're coming in
00:45:01
I mean that's just one shot but it's
00:45:03
doing a lot you know
00:45:05
>> I thought that show would be a little
00:45:08
more lowbudget
00:45:10
only because it's just a funny guy to
00:45:12
and he was also on what it was called I
00:45:14
think you should leave
00:45:15
>> and so you just go I don't know what
00:45:16
budget they're giving a guy who's just
00:45:18
funny because I don't know I mean
00:45:19
sometimes they would spend on a big
00:45:21
drama right
00:45:22
>> and so when you see these they're like
00:45:25
>> they'll come up with something but it
00:45:28
looks great and I I kept thinking wow
00:45:30
there's a lot happening here they're not
00:45:31
just
00:45:32
>> it's not a cheap
00:45:34
>> beautiful it's the first show too I was
00:45:36
going to say earlier that um it's the
00:45:38
first show where I'm I noticed that in
00:45:41
the scripts, like when we're reading the
00:45:42
scripts, I'm like, "Oh, this scene, this
00:45:45
whole scene, this like page and a half
00:45:47
is purely for a joke."
00:45:50
>> No. Or money for one joke.
00:45:53
>> Yeah. In a in a series, it's usually
00:45:55
like, "Yeah, but why is this paying off
00:45:58
for the plot and like for this character
00:46:01
to kind of like have an emotional arc
00:46:03
and response in order to say something
00:46:05
about the No,
00:46:06
>> it would be like,
00:46:07
>> oh, we're just like there was this one,
00:46:09
I don't know if you've seen the the
00:46:10
flashback Christmas, and this is not
00:46:12
giving away anything too much.
00:46:14
>> Um, if you haven't seen it, a lot of
00:46:16
hand work here I'm doing. Um, and the
00:46:21
there's a flashback to us at a Christmas
00:46:23
party. It's my my Christmas party. I
00:46:25
used to be a lawyer. And they cast
00:46:28
there's just a moment where like Ron's
00:46:30
talking a guy at the party, you know,
00:46:33
and he's going, you know, get me out of
00:46:36
here. and they cast um an impersonator
00:46:40
for Curly
00:46:42
like from the sto
00:46:45
>> and I don't think he's ever done
00:46:47
anything else except
00:46:50
>> like
00:46:51
>> yeah and you'll know you'll see it now
00:46:54
when you watch it. Okay. So,
00:46:55
>> it's funny.
00:46:56
>> And I remember coming to set and being
00:46:57
like, "Is he doing a" And they're like,
00:47:00
"Yeah, he's a curly impersonator."
00:47:05
>> Okay.
00:47:06
>> Like some PA. Yeah, he's
00:47:07
>> Yeah. Yeah. Yeah. Yeah. He just he does
00:47:09
Cly
00:47:09
>> just casual
00:47:10
>> casual. And um and then they would do on
00:47:14
set they would have him do this. He was
00:47:16
amazing. and him and Ron, him and and um
00:47:21
Tim are talking and it's basically him
00:47:23
doing this kind of speech of [ __ ]
00:47:26
Uh and he's chatting his ear off as
00:47:29
Curly and they would turn up the curly
00:47:32
and then turn he had this actor turn
00:47:34
down the curly and when they turned down
00:47:37
the curly it it was almost like he
00:47:39
couldn't even he like couldn't find his
00:47:42
line. You know what I mean? He was
00:47:44
always at this poor guy because he's
00:47:46
like I do curly. All right. That's like
00:47:50
>> Yeah. Don't just curly. I don't I don't
00:47:52
do shades of curly. Okay. I do
00:47:54
Shakespeare. I don't do depressed curly.
00:47:57
I don't do bored curly. I do curly.
00:48:00
>> He was terrific. And you'll see in it.
00:48:02
You really notice it's only for this.
00:48:04
It's tiniest lip. But boy is it good.
00:48:07
But those textured things, even on SNL,
00:48:09
they'll have they'll bring a donkey in
00:48:11
and it costs them five grand. And then
00:48:13
they'll go, "Just for a cutaway." And
00:48:14
you go, "Ah, do we need the donkey for
00:48:17
sure?" But Lauren doesn't even question
00:48:18
it. He goes, "No, I like it."
00:48:20
>> And then they're like, "Go find one."
00:48:22
>> And everyone's like, "Oh, fuck." Because
00:48:24
it's so easy to cut it. They go, "That
00:48:26
would save us so much."
00:48:27
>> $5,000. We should be in the donkey
00:48:29
business. You'll be watching a rerun 20
00:48:32
years from now and you'll see the donkey
00:48:34
and you'll like be really really happy
00:48:36
that
00:48:37
>> you know like when they show like the
00:48:39
cold opening and then Lauren comes out
00:48:40
and he's like talking backstage during
00:48:42
the monologue and behind him there's
00:48:43
like Roman emperors and three donkeys
00:48:46
and I never knew that they weren't in
00:48:47
the show. It was just like this is going
00:48:49
to be the show and you're like oh that's
00:48:51
going to be a funny sketch. But he goes,
00:48:53
"Uh, I need like an Egyptian backstage."
00:48:55
And then just all these weird things,
00:48:57
people dressed in feathers.
00:48:59
>> And then it's never a sketch.
00:49:01
>> Yeah.
00:49:03
>> It's texture.
00:49:04
>> Yeah. It's texture and it's so funny
00:49:06
>> and it's perfect. And it needs
00:49:07
>> When I figured it out when I was on SNL,
00:49:08
I go, "Oh, those aren't even in the
00:49:10
show. I'm so dumb."
00:49:13
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00:52:29
When you do SNL now, I don't know if I
00:52:31
told you that. Well, you were there
00:52:32
doing Hunter Biden that Lauren is now at
00:52:35
home base when the show starts and you
00:52:38
come out and kind of shake hands or hug
00:52:40
him or whatever, you know.
00:52:41
>> Let's get this one fist bump.
00:52:43
>> And normally you kind of would go behind
00:52:45
the slats and then but I was dressed as
00:52:47
Joe Biden. So I had the gray wig, I had
00:52:49
the whole thing on. I'd go out and I'd
00:52:51
shake hands with Lauren and then to make
00:52:54
myself laugh, I would do a side thing as
00:52:59
fast as I could with tons of energy like
00:53:01
jumping and skipping over to behind the
00:53:03
thing just to make myself laugh that
00:53:05
they're seeing Biden going like
00:53:08
>> act nuts before he comes out like this.
00:53:11
Come on. So people sad. But um anyway,
00:53:16
uh do that is
00:53:19
>> No. Oh, that's the po that's the poem.
00:53:21
And guess what? By the way, the fact of
00:53:24
the matter is I'm being serious right
00:53:26
now. I'm not getting around. Get your
00:53:28
facts straight, Jack.
00:53:31
That's it.
00:53:33
>> My cheeks are I'm really happy that you
00:53:36
>> like, tell us that you're cars or not.
00:53:38
>> We're easy wind up talls.
00:53:39
>> I know. We're winding up Lake because
00:53:41
she's a good laugher.
00:53:42
>> Well, that was really special. I feel
00:53:44
like I just got like a little
00:53:45
>> You just got a private show. Oh, good.
00:53:47
It's a fun song.
00:53:49
>> I know. That was a beautiful song.
00:53:50
You're a great Biden singer. And you
00:53:52
know, I was at the 50th and that was
00:53:56
special show, too. And I I had never,
00:53:58
you know, I hadn't been to the show in a
00:54:00
while. And it was like,
00:54:01
>> you know, I hadn't sat in the audience,
00:54:03
you know, and really tragic to to have a
00:54:06
little
00:54:08
>> It's wild.
00:54:09
>> Yeah. And guess who stole the show?
00:54:12
What?
00:54:13
>> Guess who stole the 50th? Well,
00:54:17
>> with David's line for the writers, it
00:54:19
was their favorite line of the night
00:54:21
when he was in the bleachers going,
00:54:23
>> "Oh, I got a feel for it.
00:54:24
>> I got a feel for it."
00:54:25
>> Oh, because I left the sketch during the
00:54:27
middle
00:54:27
>> during the big John Melany musical
00:54:31
>> and then I sat in the audience and they
00:54:33
go, "Where's SP?" That's funny that they
00:54:35
broke the fourth wall in the middle of a
00:54:36
sketch.
00:54:38
>> Yeah. And the way you did it, like you
00:54:39
truly were exhausted and kind of done
00:54:41
with it and they're up there dancing for
00:54:43
their donuts and you're just like, I got
00:54:46
it.
00:54:47
>> Dana, I saw that that 50th was
00:54:50
>> won something the other night.
00:54:52
>> It was Critics's Choice. I think it was
00:54:54
nominated. I think it won.
00:54:56
>> It was best 50th anniversary show.
00:55:00
>> That's a new category.
00:55:01
>> We were the only one up for it.
00:55:02
>> Yeah.
00:55:03
>> Are you Do you root for any movie at the
00:55:05
Golden Globes? Do you have any kind of I
00:55:07
think that person should win or I think
00:55:09
that movie are you a one battle after
00:55:11
another. Are you a Marty Supreme? Yeah.
00:55:14
What are
00:55:15
>> you?
00:55:15
>> No, I I I you know I don't get I award
00:55:17
season gets it gets me like hives. I
00:55:20
don't know. I I just
00:55:22
>> Here's Lake at the party. Did you think
00:55:24
that was good at the lead actor one? And
00:55:26
you go I I didn't see any. I don't know
00:55:28
who won.
00:55:29
>> Well, you know, sometimes you get
00:55:30
anxiety. They they say to you, you know,
00:55:32
who are you rooting for? What if you
00:55:34
>> Oh, good. I gave you the precursor. I
00:55:36
love them all.
00:55:37
>> Well, it's gotten pathetic. I grew up
00:55:39
with the Oscars and now there's like 25
00:55:42
award shows.
00:55:43
>> Award shows
00:55:44
>> and I feel like some of them I won't
00:55:46
name them, but that they've got their
00:55:47
acceptance speech and sometimes they can
00:55:49
peak at a at the SEG after awards or
00:55:52
something. Then by the time they get to
00:55:54
the Oscars,
00:55:56
>> they're exhausted with their acceptance
00:55:58
speech. You got to hold some
00:55:59
>> I saw that Sandler didn't win something
00:56:01
the other night and I'm like, I want to
00:56:02
hear Sandler's speech.
00:56:04
They should just call my Who's got a
00:56:05
good speech?
00:56:08
>> What are you going to do?
00:56:09
>> Cuz you know he he had a good one at the
00:56:11
Palm Springs.
00:56:15
We just do Adam from 25.
00:56:17
>> That's all he says and everyone goes
00:56:23
get out of here.
00:56:25
>> People would love it.
00:56:27
>> But you know anyway, it's a promotion
00:56:28
for the business. That's all it is. And
00:56:30
>> yeah,
00:56:31
>> and for fashion, I guess. I don't know.
00:56:33
Um I have to say for like if she the
00:56:37
fact that she's grinding it out and and
00:56:39
killing it uh the duration it's just
00:56:42
hard to stay
00:56:44
>> in showbiz for this long and you're
00:56:46
doing a great job.
00:56:47
>> Well, but you're doing she's very hard
00:56:48
to do. She's doing it all of show
00:56:51
businesses though. You're doing every
00:56:52
quadrant. You're not an actress waiting
00:56:54
for the phone. Did it ring?
00:56:55
>> That's Yeah, I that is I it would drive
00:56:58
me crazy. I think when I feel um
00:57:01
sedentary, like when I feel
00:57:03
>> too um quiet,
00:57:06
>> I like to I think I do like control. I
00:57:09
do like to creatively,
00:57:12
you know, kind of drum up and so I'm
00:57:14
always writing. I got like
00:57:16
>> Yeah. I mean, you I I think this audio
00:57:17
book was very cool. I just looked it up
00:57:19
and listening to it.
00:57:20
>> Inside voices. It was very interesting
00:57:22
just about she was interviewing people
00:57:24
and talking about do you like your voice
00:57:27
and how important the voice is and what
00:57:29
Yeah.
00:57:29
>> Well, because I think in extension of my
00:57:31
work with in a world, I've just always
00:57:34
been really
00:57:35
>> um interested and curious about our
00:57:38
speaking voice as this kind of calling
00:57:41
card
00:57:42
>> for all the histories we've ever
00:57:43
endured, you know, and
00:57:45
>> yeah,
00:57:45
>> kind of, you know, we carry a lot. I
00:57:47
mean whether you uh realize it or not
00:57:50
obviously accents and dialects and a
00:57:52
little like how your vowels come out you
00:57:54
know might cue that you grew up in
00:57:56
Philadelphia or you know things like
00:57:58
that but then how we kind of puff out or
00:58:02
peacock a little bit when we're you know
00:58:04
in different scenarios like I'm
00:58:06
articulating a little more than I
00:58:07
normally do you know right now I think
00:58:09
I'm also a little bit lower in my
00:58:11
register in this moment talking about
00:58:13
this because I'm speaking more
00:58:15
>> serious yeah Yeah, voices are
00:58:18
fingerprints.
00:58:19
>> Voice I mean you know someone from their
00:58:21
voice your whole life and even if they
00:58:24
age or get the voice always sort of
00:58:26
recognizable.
00:58:27
>> Yeah. And and also it can be really like
00:58:30
it can make me crawl too, you know. I
00:58:33
have certain one,
00:58:34
>> you know, if if someone comes in
00:58:37
>> um for a job interview, you know, or
00:58:40
something like that. I mean to be a
00:58:42
babysitter or whatever, you know, or or
00:58:44
an assistant. And if their voice, I'm
00:58:47
very sensitive to it. So, it's like
00:58:50
>> we're we're out on that job. Dana,
00:58:53
>> David has a cool voice. You know, I
00:58:55
don't have a voice. I don't have a face
00:58:56
or a voice. I'm just neutral. I could go
00:58:59
You could make me a character or make my
00:59:01
voice go. Lately, I've been doing Carrie
00:59:03
Grant, leaving messages for a friend
00:59:06
just every day. Every day that you get
00:59:08
the call. I hope you're having a good
00:59:09
day. Did you see one battle after
00:59:12
another that the Caprio kids very good?
00:59:15
See, but you're chameleon. So that is in
00:59:18
itself your vocal dexterity is like I'm
00:59:20
in awe of that. You know,
00:59:22
>> in two seconds it changes completely.
00:59:26
>> I It's fun. I don't really practice it
00:59:28
or anything, but I'm working on Billy
00:59:30
Bob Thordon in in his land man
00:59:32
character, you know.
00:59:33
>> Okay. I don't I didn't see that so I
00:59:35
can't
00:59:35
>> Yeah, it's another one that's I couldn't
00:59:38
describe it, but it's it goes surprising
00:59:40
places. I have to say
00:59:42
>> it's it's totally different than than
00:59:46
your your show, but it it goes
00:59:48
surprising places and he's just great
00:59:51
>> in inside voice. You know, I talked to
00:59:53
like the likes of iconic voices like um
00:59:56
like Jeff Goldblum and like where did
00:59:58
that start, you know, and like
01:00:01
Barrymore, you know, people who have
01:00:02
been very
01:00:05
>> imitated, you know, very impersonated
01:00:07
for sure voices. Yeah.
01:00:10
>> Yes. I do Billy Bob in his T-Mobile
01:00:12
commercial. Land Man.
01:00:14
>> I'm kidding.
01:00:15
>> Okay.
01:00:16
>> He does a T-Mobile commercial where he's
01:00:18
like from Land Man, right Dana? Have you
01:00:20
seen it?
01:00:20
>> Basically. Yeah.
01:00:21
>> He's walking out in the desert. Come on
01:00:23
now. Whatever he's talking about.
01:00:24
>> Yeah. You know, T-Mobile's got more. You
01:00:28
know what the [ __ ] going on here?
01:00:31
Godamn it. No, he's they have the
01:00:33
f-word, too. I mean, that's the same
01:00:35
your your show. It just those fly
01:00:37
whenever they fly. or they fly
01:00:39
>> and they do whatever you you know. Do
01:00:41
>> you find Dana that like to get into an
01:00:44
accent or diale Sorry, now we're getting
01:00:46
into like my obsession, but like do you
01:00:48
find that you you have a bridge uh
01:00:51
phrase um because I find with accents
01:00:53
dialects I have like a a bridge or a
01:00:55
phrase to get
01:00:56
>> Oh yeah,
01:00:57
>> a thousand%.
01:00:58
>> Yeah.
01:00:58
>> Yeah. Thousand%.
01:01:00
>> You don't just jump in. You you got
01:01:01
>> a hook. Yeah. Yeah. You need a you need
01:01:03
a little hook. And for Biden it was
01:01:05
that. Guess what? Yeah. And by the way,
01:01:08
the fact of the matter is, come on. And
01:01:10
so that got me into it and then I could
01:01:12
kind of talk like him. But that was a
01:01:14
challenge. But anyway, it's always
01:01:15
things are coming at me. I mean, know
01:01:17
Trump's been done forever. You know, I
01:01:18
don't know if you guys are aware of
01:01:19
that. How many people doing an
01:01:21
impression? So
01:01:23
>> there's there's I think Pierce Morgan
01:01:25
has a very interesting voice.
01:01:27
>> Uhhuh.
01:01:27
>> And I think that Senator Kennedy has a
01:01:30
you know, obviously Bobby Kennedy Jr. I
01:01:32
do, but yeah, there's a lot of people
01:01:34
out there. And there's regular movie
01:01:36
stars. Anyway, it's fun. But um shall we
01:01:39
wrap it up? I don't know. I don't know
01:01:41
if you have any other questions because
01:01:42
we think you you're a
01:01:44
>> she mother with two children.
01:01:47
>> Thank you for doing your hair.
01:01:48
>> She writes, she directs. She does.
01:01:51
>> It's not quite the golden gloves. Now,
01:01:52
when you do a podcast, we had heard that
01:01:55
when we have an actress on, they might
01:01:57
not want to come on video because it's
01:02:01
they have to doll up. And I said, I
01:02:02
think in podcast you catch a little bit
01:02:04
of a break.
01:02:05
>> You You do. And you know somewhere in
01:02:08
the middle
01:02:08
>> want glam. And I was like,
01:02:11
>> I mean, I think I can do the glam. I can
01:02:14
glam in my bathroom, you know, with my
01:02:18
curling iron and
01:02:19
>> with a banana clip and a scrunchie and
01:02:23
>> you know, but I don't know.
01:02:24
>> Well, you're photogenic. I mean, I'll
01:02:26
just just saying it kind of casually.
01:02:28
You really have great features. Yeah.
01:02:30
Um it's it just you I'm sure directors
01:02:34
say you don't have a bad angle probably
01:02:36
you know um
01:02:38
>> but uh yeah it's fine and I do think
01:02:40
we're all used to this and you know I
01:02:42
have a couple ring lights in a window
01:02:43
and I mean we're all kind of a little
01:02:45
more than the early days where it was
01:02:46
pitch black and no one we were doing now
01:02:49
you see people it looks like a studio.
01:02:52
>> Well I hope I get to see you guys at
01:02:54
these parties. Yeah,
01:02:55
>> I I do. I've quoted you often throughout
01:02:58
the years because when we did the press
01:03:00
junket, you know, it's the awkward
01:03:02
goodbye because we've been hanging out
01:03:04
all day with Bobby Moyahan and laughing
01:03:06
and stuff and then it's like, hey, and
01:03:08
then you just said see you around
01:03:10
campus.
01:03:11
>> I Yeah, I did say that.
01:03:12
>> And so I use that a lot.
01:03:14
>> Well, because it's kind of like
01:03:16
>> it's fun,
01:03:17
>> right? So, let's say a lot.
01:03:18
>> We're all at college basically. We're
01:03:20
going to run into each other. We're in
01:03:21
show business, which is weirdly such a
01:03:24
tiny group of people in the big picture.
01:03:26
You know, there's not that many parties
01:03:28
or that many comedians or whatever.
01:03:30
>> It's like a party and you see someone
01:03:32
who you don't you haven't met before,
01:03:34
but you both are actors and you both
01:03:36
know that other are actors and you do
01:03:39
the kind of like hi,
01:03:42
>> you know,
01:03:42
>> that's how I'm going to say hi to you.
01:03:44
>> Like I know, you know, we both know that
01:03:47
we know each other. Here's Lake. When I
01:03:51
see her at the Golden Globe, I go, "Hi,
01:03:52
Lake." And you go, "Hi, I know you from
01:03:54
somewhere." And I go,
01:03:55
>> "Wait, where did we
01:03:56
>> Yeah, we just
01:03:57
>> Well, the go, it's so nice to see you.
01:04:01
When you don't know if you've met them
01:04:02
or not.
01:04:03
>> Yep.
01:04:04
>> We have when they give you a soft hug
01:04:07
and you see that they're looking over at
01:04:09
a bigger celebrity,
01:04:12
>> they're going, I got to get
01:04:13
>> I've never had anyone even look at me at
01:04:15
those parts. They just go like this.
01:04:18
>> Oh, come on. Usually they say, "Um,
01:04:20
could I can I get a freshen up?"
01:04:23
>> They go to give me a hug by the
01:04:24
shoulders and then they move me.
01:04:26
>> They move you over to the side.
01:04:28
>> Bonitio.
01:04:30
>> Benitio.
01:04:31
>> One time we went to a party, David got
01:04:33
on my shoulders and I was like, you
01:04:36
couldn't see me and then he was dancing
01:04:38
around with a marach thing going on.
01:04:39
>> Look at me.
01:04:41
>> Yeah.
01:04:44
>> Well, like why is like so popular? Like
01:04:46
even I hear even more on every show and
01:04:49
with just like No, you don't say it
01:04:51
hardly at all. You said like maybe
01:04:53
twice.
01:04:54
>> But like is really good. It was like
01:04:56
really hard and I was like very scared
01:04:58
and I was like
01:04:59
>> really hard. It's like really hard to
01:05:02
>> I like when they don't finish it. They
01:05:03
go it's kind of like
01:05:06
>> Yeah. they don't finish the sentence
01:05:07
>> and you're like you just got to like
01:05:09
that's all you got to
01:05:09
>> but that's been around since the 80s or
01:05:12
70s sort of called the valley girl but
01:05:14
it's even still this back with people
01:05:16
from everywhere I don't
01:05:17
>> it's still here it's I mean
01:05:20
>> it's better than the like I said it
01:05:22
>> oh
01:05:24
>> because we're kind of we're kind of
01:05:25
teasing it a little bit
01:05:26
>> I'm gonna if I hear myself say I'm gonna
01:05:28
substitute lake for like it's like it's
01:05:31
lake
01:05:32
>> it's like
01:05:32
>> it's like I didn't even know but it's
01:05:34
lake
01:05:35
>> see if we can start a thing.
01:05:36
>> Well, sometimes you're allowed to
01:05:38
utilize it as a a version of as if. It
01:05:42
is like,
01:05:43
>> right. No, it's it it has utility as a
01:05:46
word.
01:05:47
>> Utility.
01:05:48
>> Yeah. It's not completely, you know. All
01:05:50
right. Uh, thank you, Dana. I made you
01:05:53
lunch. Come in the kitchen.
01:05:55
>> Um,
01:05:55
>> the the chair company on HBO, which
01:05:58
makes quality products, I have to say,
01:06:00
you know, HBO is a big
01:06:02
>> HBO doesn't [ __ ] around.
01:06:04
They don't they don't make shitty ones.
01:06:05
And so this is uh HBO Max Jim Downey,
01:06:08
our friends on it. Timar
01:06:11
>> Tell them
01:06:12
>> Oh, tell him hello.
01:06:14
>> You want me to I
01:06:16
>> He was my head writer when I was there.
01:06:17
I had to report to him.
01:06:19
>> Okay.
01:06:20
>> Crazy. We all We all kind of did.
01:06:23
>> If you if you run into Downey, just go,
01:06:25
"What was it like to be a regular
01:06:26
infantryman in George Washington's army
01:06:29
in the latter part of the war?" and
01:06:32
he'll give you two hours. The guy goes
01:06:34
into libraries and colleges. He's from
01:06:37
Harvard or Yale. I don't know. He's the
01:06:38
brainiac of all time in terms of
01:06:40
American history.
01:06:42
>> Really?
01:06:42
>> He's fascinating to listen to. Yeah.
01:06:44
>> I I don't with him.
01:06:45
>> I can't believe I ignore him so much.
01:06:47
>> Oh, you haven't. Yeah. You don't
01:06:48
interact with him. You're at home.
01:06:50
>> Barb is
01:06:52
>> Barb is over there.
01:06:54
>> All right.
01:06:55
>> Shut up, Barb. Barb.
01:06:57
>> Shut up, Barb.
01:06:58
>> Trosper. Trosper.
01:07:00
>> Yeah, Trosper. Barb. Prosper. Ron,
01:07:02
>> I'm Barbrosper.
01:07:03
>> Even stupider.
01:07:05
>> I'm Barb Trosper.
01:07:06
>> I remember I was like even the words
01:07:08
like Fisher Rob
01:07:11
>> is the name of the mall company.
01:07:14
>> Yeah, that's so dumb. Someone's working
01:07:16
overtime on these dumb names.
01:07:18
>> Oh, it's so
01:07:18
>> a chair company. Quick walking around
01:07:21
the mall. There's something about a
01:07:23
mall. Walking around a mall. It's really
01:07:25
funny.
01:07:26
>> Makes sense. But it's like a robot. I
01:07:28
just kept being like I'm dyslexic. I was
01:07:30
like pretty sure that like I couldn't
01:07:33
>> blind
01:07:36
um Oh, there was something else like I
01:07:38
kept saying a name wrong. Oh, this is
01:07:40
really fun. Sorry, last thing. But they
01:07:42
would say like there's um the the the
01:07:46
girlfriend like the fiance of our
01:07:47
daughter is named Tara,
01:07:50
>> but we intentionally say it wrong. So
01:07:52
sometimes it's Tara
01:07:54
>> and Tara. And I was like, "Is it Tara or
01:07:56
Tara?" And they're like, "It's fine.
01:07:57
Don't worry about it." And I was like,
01:07:59
"But is it?" They're like,
01:08:00
>> "Because that happens in real life.
01:08:02
People say
01:08:03
>> and it's just because we don't like her,
01:08:05
you know,
01:08:06
>> I love people like that are in charge of
01:08:08
this that are not control freaks and are
01:08:11
open to the mistakes and the weirdness
01:08:13
and the quirky
01:08:15
>> and we don't it's terror. Terror terror
01:08:19
t
01:08:19
>> All right, Lake, thank you. I have to go
01:08:21
microwave.
01:08:22
>> I appreciate you coming on.
01:08:24
>> Nice to see you, Lake. See you around
01:08:26
campus.
01:08:31
Hey guys, if you're loving this podcast,
01:08:33
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We're on video now. Fly on the Wall is
01:08:48
presented by Odyssey, an executive
01:08:50
produced by Dana Carvey and David Spade,
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01:08:57
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01:09:01
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01:09:04
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01:09:06
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01:09:09
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