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RE-RELEASE - Paul Rudd

February 12, 2026 / 01:07:10

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Paul Rudd.

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>> Paul Rudd who's who's kind of the

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ageless uh movie star of our times. Um

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>> yeah, there is something weird about

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that. He's so fantastic.

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>> He's a good-looking

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youthful glow.

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>> Yes. And he's funny.

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>> He gets to do both. He gets to do drama

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and funny. And uh I think he's a

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fivetime over there at SNL hosting. And

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um

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>> obviously he was Ant-Man, but he's in

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the Marvel verse or whatever it's

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called. And uh

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>> he does a lot of stuff. He was in

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Friendship, a movie that just came out.

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>> Um what a good time. He comes, he likes

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to come and have some laughs.

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>> Mhm.

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>> And he's excited to meet you.

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>> Yeah. We, you know, I calmed him down. I

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go, "Look, I'm just a person."

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Anyway, he uh we talk about his career.

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I remember asking him this question.

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When when did you feel rich or what was

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your first big paycheck? you know, and

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that was he had an interesting answer

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for that. Takes a long time to build up

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to something that's substantial, even

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though you ah big movie star, you know,

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it's hard to negotiate that.

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>> Spoiler alert, it was the Queen Mary.

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>> And

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he has uh a really cool Paul McCartney

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story.

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>> Oh, that's right.

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>> Which you know me, I can talk about

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anything beetley

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>> forever. All right, let's let him tell

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it. Here he is. Paul Rod,

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>> fivetime.

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>> Yeah.

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>> Remember the fivetime hosting club?

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>> Yeah.

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>> We're going to go over Clueless. He

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launched pretty fast.

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>> Yeah.

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>> Halloween. Halloween 6. I was in

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Halloween 2. Stacy Dash was in Moving. I

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was in Moving. So, Six Degrees of

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>> I read for moving for real.

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>> And you're moving. Yes. You move a lot.

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No, I read for the movie Moving and they

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said, "We're trying to get Dana." And I

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said, "Oh, fuck."

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>> For the schizophrenic guy who who takes

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who does goes crazy and takes Prior's

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car across the country.

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>> Okay. Paul, did you read for that part?

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>> No, I didn't. You know, I was still in

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college. I remember when it came out and

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um

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>> it was very exciting, but I never got,

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you know, I was just still in school. I

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never It was It was a little bit before

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my uh my time in the industry.

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>> He turns down movies right now. That's

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all you do is turn down movie.

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>> Oh yeah. Yeah. Oh my gosh. It's a It's a

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a daily occurrence. All the stuff I'm

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turning down.

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>> They used to call Kevin Klein Kevin

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Dline.

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>> I don't know. That was Ca. I don't know.

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They call Paul Rudd, but what I got

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exhausted. This is quite a resume.

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>> I know. It's like where do you start?

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>> It seems like a dream. If I had a kid

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come out of college, I would probably

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>> There's no declining there. It's Yeah,

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I'll do it. Sure. Great. All quality

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work.

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>> Where do I sign?

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>> You know, you you produce, you co-write,

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you co-wrote the sequel to Ant-Man. Is

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that right?

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>> Yeah. Yeah. The the the first one and

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the second one.

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>> No. Come out. Now, I didn't uh write

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that one, but I did. I

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>> So, they come to you as an actor and

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then they say and then you say, "Well,

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I'd like to co-write or they offer it or

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how does that happen?"

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>> No, it just kind of happened. Uh it h it

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you know the when Ant-Man first started

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I was cast in that movie by Edgar Wright

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who was the original director and uh

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there was a script and then they wanted

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to do something else and then there was

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another script that they had hired from

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uh they had written another person or

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another two people I don't know had

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written another script. Edgar left the

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project. there was another uh script

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that came along and it just seemed like

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uh it was a little all over the place

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and when we were looking at other

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directors, Adam McKay came in and then

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he and I were talking. We were talking

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about what we could kind of do with the

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movie and then they hired us uh to write

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it, the two of us. So Oh, cool. So, Adam

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and I kind of holed up in a uh in a

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hotel room for a couple months and then

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just really tried to cruise through

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that. But he's such a great I mean, you

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know, May I would say the two of you in

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a room writing and making your choices,

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no wonder it was a hit. I mean, Adam is

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brilliant. You're I don't think I was

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not aware, but now I look at all the the

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hits you've had. I'm assuming you had a

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hand in all of it. you sometimes you're

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a hired actor, but you seem like you'd

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say to Jud Appatile, you know, how about

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if I do this?

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>> I don't know.

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>> Well, I think you guys know, yeah, the

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way I think we've worked with a lot of

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the same people. There does seem to be

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uh a lot of improvisation or every, you

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know, kind of a collective effort on,

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you know, certainly with the way Jud

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works, we're all kind of working on

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things together. and um

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>> do your judgment

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if you want to come down.

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>> It always sounds like he's got a little

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bit of a he needs to blow his nose.

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>> Oh, this is great. I love your idea.

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This is a bookmark impression I haven't

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worked on. I really love your idea.

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>> Is that Regis?

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>> Uh it's Regis.

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>> It's Jud doing Reges.

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>> All my impressions start from Regisling.

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Anyway,

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are you ready for this? Did you say

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what's with the Shanley?

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>> My was that was that was my Jud

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as Regious.

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>> Oh, as

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just looking at the Diaries of

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Chandling.

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>> I don't do that's my

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>> That's so great. I love that. That's

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like my Biden always ends with Pirates

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of the Caribbean. Just makes me happy

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people. It's not inflation pirates.

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Pirates of the Caribbean. So the the

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idea that you're Regis always ends with

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Shanley

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doing is great. That's the kind of Yeah,

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I'm a bigger fan.

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>> Well, Paul, I know Dana's kind of

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screwing around, but I'm doing an

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interview here. Um Oh, Paul. Okay. You

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did

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>> Walter Kronite.

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>> Yes. Uh, I'm actually when I saw

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Ant-Man, I I don't see all the Marvel

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ones because uh part of me is, you know,

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obviously a little jealous, but some of

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it is like when you when you have well,

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when you have to I can't help it, but

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when you have to please the whole world,

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it's a little different than doing an

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artsy movie or like, you know, maybe

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even Anchorman or movies that are just

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to like this is fun for just comedy fans

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that kind of like the joke on the jokes

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kind of stuff. And then when you do

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something that's for the world, uh, it's

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probably gets a little watered down

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because, you know, it's got to be for

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everybody and that's just the way it is

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and they do well. But when I saw

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Ant-Man, I was surprised that it was had

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so many clever moves to it that by the

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time it ended, I thought during it, I

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thought, "Oh, might this might be a

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phase." But then it held all the way

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through and it made me go see the second

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one and the same thing happened. And I

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thought, "Oh, that's cool." cuz this

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Ant-Man wasn't probably one of the ones

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that was the biggest ever that they were

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going to make, but turns out to be one

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of the funniest and best ones.

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>> Oh, well, thanks, man. For real. For

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real. For real. It did. It did seem like

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it was a little Those ones were a little

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different than the than the rest. I

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mean, they were they kind of existed

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even though they were part of that

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Marvel universe. They existed in their

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own space and they were a little smaller

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and um uh you know, it that the whole

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thing really is run by Kevin Feige, the

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guy who does you know, who orchestrates

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kind of most of that Marvel universe.

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And Kevin Feige is actually a he's a

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pretty big comedy fan and a lot of the

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stuff that he likes. Uh, and I, you

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know, I got to know him while we were

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making these is really kind of abstract,

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funny, not, you know, particularly

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crowd-pleasing stuff.

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>> Mhm. And uh I remember we were in

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Atlanta filming I think it was this it

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was either the first or second Ant-Man I

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don't remember

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but no it would have been the first one

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and Tim and Eric were on tour and we

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went I went to go see him and Kevin went

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went with me and we went backstage

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afterward and he had never met Tim

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Hideker

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>> and he and here's like the head of

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Marvel kind of

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>> you know fanboying out on Tim Hideker

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because he just loved all the crazy

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stuff he was doing. And he's actually in

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the second Ant-Man. And in the first

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one, um, Greg Turkington, who plays Neil

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Hamburger for those real deep comedy

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fans and does on cinema, at the cinema,

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>> uh, with Tim H Highdecker, he's in the

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first Ant-Man. So, you know, there's a

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big, uh, contingency of On Cinema at the

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cinema, uh, fans, Kevin being one of

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them. It's it it the the layers of the

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onion go through.

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>> That's nice though because also those

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days when you know someone's come to the

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set that you kind of know or something

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that's always a fun day on the set.

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>> Yeah.

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>> Did you and Adam McKay ever write

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something and you said, "Let's just put

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it in. They're never going to go for

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this." And then they were maybe

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surprised.

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>> I remember

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I don't know of anything that they went

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they went with. I remember we thought,

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"Oh, this would be cool." Like in the

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first one, we thought, oh, you know,

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it's we were also kind of trying to

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retain or or go with what we read in

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Edgar's version that he wrote with a guy

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named Joe Cornish that we thought was

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great. And there's this heist movie, but

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we put in this idea that like what if he

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does a test run and actually

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accidentally fights an Avenger? That

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would be really cool. And we were

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laughing about it and we put it in and

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we did wind up shooting it. But I think

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in the second one we talked about the um

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villain being kind of uh this thing that

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went from person to person. We loved the

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idea of having Nathan Fielder be the bad

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guy because it just seemed like a really

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weird choice and funny.

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>> Yeah.

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>> But then when you're and and then it

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would hop from person to person and I

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guess when your villain is an invisible

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gas,

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>> it doesn't they don't really feel like

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they're going to make that movie.

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>> I remember we liked that idea. I think

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most of the ideas we had that we really

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liked didn't get made.

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>> Oh, okay. Well, we sound a little bit

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bitter.

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No way.

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>> No, not at all. Not at all. I do still

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want to see Nathan Fielder as a villain

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in a movie.

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>> Oh, yeah. He That's That's a perfect

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choice.

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>> Nathan for you. That's the name of a

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show, right? Or

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>> Yeah.

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>> Yeah.

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>> Yeah. That was, by the way, I think one

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of the funniest shows of the last two

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decades. Yeah.

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>> Uh, yes. I totally concur. So, you do

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you do Ant-Man and you're how big? So,

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you're already a superstar. I'll just

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say it. Or big star. Then you're in a

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Marvel thing and how does that what's

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that like? It's like your fame went to

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this other idea, right? I mean,

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>> the whole thing was is was and is

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strange because it's not really I never

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saw that coming. Uh I certainly didn't

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imagine that um you know years later I

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would still be kind of doing something

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like this. I was never a comic book

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reader. I was that was not my world

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really. Um, and while it's been, you

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know, an amazing thing to be a part of,

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for sure, uh, the whole thing kind of

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over time

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>> just it became so much bigger and a

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bigger thing in my life where I would go

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outside and people would just yell

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Ant-Man and that, you know, and it's

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such a global thing. marble.

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>> You know, when you go to the airport, I

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just had this when I went to Wisconsin.

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>> The people that aren't fans, but they

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have pictures and all these, you know,

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Funko Pops to sign on. Yeah.

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>> And they literally like hate me, but

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they want me to sign everything. And

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then the second I stop signing, they

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hate me worse. It's just the weirdest

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thing that's turned into, oh my god, I

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have fans. And then, oh, it took me a

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while to figure out these aren't fans at

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all. They just sign out. Just Yeah,

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that's that that's it. That's true.

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That's

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>> They're like trading baseball cards

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>> and they all hang out at the airport.

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It's a weird thing.

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>> Yeah. And I go I go they were at the

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gate, Dana, in Wisconsin. I go I go I I

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go I'll sign one each of these things,

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but what then they hate me immediately.

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But then I go, "Just how do you know

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what my flight is? How do you know

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anything?" And they're like, "No, no,

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it's all cool." I go, "No, but you're at

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the gate." And then they, no matter how

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many times I say no, they walk all the

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way down to baggage

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>> and then they still hold them out and I

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go, "Did I change my mind last five

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seconds?" And then they go all the way

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to my car and then I get mad. And it's

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always weird because I'm I'm not in a

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Marvel movie. I'm just like I just I

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don't get it. And then you're not You

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don't even like me. What are we doing?

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>> They manipulate me by saying you're

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nicer than Spade.

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>> Yeah.

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>> So then I just keep going. I am.

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>> No, I'm nice to other people. Not that.

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>> No,

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>> I'm nice. I'm nice to

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>> I would imagine there you get No, there

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are fans there. They want you like a Joe

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Dirt poster or uh

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>> don't you rack your brain for another

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one

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>> like all that stuff you Yeah. You get

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>> Emperor's New Groove. Yes.

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>> What's that?

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>> Emperor's New Groove. It's a David

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animated hit.

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>> Yeah.

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>> Oh, Paul, I don't want to over talk

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about it, but you know when we started

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the Oh,

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>> what was it like on Groove?

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>> Groove. You know who was on it at first

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with me? Hey, how's it going? Owen

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Wilson. Uh,

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>> you know, we could we could go to

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Argentina and go surfing if you want to.

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>> All right.

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>> Yeah, there you go. Now,

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>> I used you know what I worked I love

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Owen Wilson. There was a moment when you

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when you're around him, you kind of

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can't help but fall into an Owen Wilson

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voice.

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>> He's so different. He reminds me of

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Well, there's there's Woody Harelson,

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Billy Bob Thornton, and Owen Wilson. It

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just just seem to have this different

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frequency the way they're navigating

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life.

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>> They talk weird. They say things

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different, but they're so charming, you

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know?

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>> They say everything at kind of their own

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speed, their own vibration.

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>> And Owen is a really I mean like he's

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brilliant. He's a really smart guy.

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Yeah.

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>> Uh, and you know, we worked on this

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movie together and there was this scene

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that um, uh, we were talking about what

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the definition of love was to us, our

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characters. It was and and we kept doing

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it over and over again. And um and and

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then the next day he said, "You know, I

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remember this article I read in the New

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Yorker and it was it was from like 10

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years ago or something and he had found

00:14:28

a copy of it and printed it out." I

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thought, "Who remembers an article they

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read from the New Yorker that was

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somehow applied to the scene that we

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were talking about?"

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>> Yeah.

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>> I'm shocked he has a printer.

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>> Did he have a definition of love? I'm

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trying to Someone asked me that. I'm not

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sure.

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>> Yeah. I don't think uh

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>> I think the Owen is a It's Owen and then

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a door opening.

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>> Yeah.

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>> Yeah. What does Owen turning into um

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Regis Filin sound like?

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>> You know, are you ready for this?

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>> We could go surfing in Argentina, you

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know, but I sent him a with my phone a

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little painting that I did. He goes, "We

00:15:12

got another Basot on our hands."

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>> He's a big art collector and extremely

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well read.

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>> Yeah.

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>> And Billy Bob Thornton is his own other

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lane. You know, he talked about the 2016

00:15:25

election. All he said to me was, "We got

00:15:27

some John Wayne [ __ ] going on." Just

00:15:30

stuff like that. Just taking the whole

00:15:33

election and distilling it.

00:15:40

But back to Paul for sure,

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>> who is uh obviously like almost a cast

00:15:46

member of Saturday Night Live. And now

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you're working with Steve Martin and

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Martin Short on Murders in the Building.

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Are they fun or are they kind of

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>> Oh, they're amazing. Yeah, they're

00:15:57

they're the greatest.

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>> I know. That's that's like a dream job

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to be on a set with those two guys,

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right? I mean, just

00:16:04

>> It is. Yeah. I mean, you know those guys

00:16:06

and it's just so it's so fun to be in

00:16:10

the room with them. Um, and to see them

00:16:12

just kind of interacting with each other

00:16:14

because obviously they are best friends.

00:16:16

They love each other and it's a series

00:16:18

of non-stop insults. Um, but you know,

00:16:25

for someone like me, I mean, I can't

00:16:28

think of anybody I I'd be more kind of

00:16:31

knocked out by Steve Martin from, you

00:16:33

know, since the

00:16:35

>> Sure.

00:16:35

>> I think the moment I ever realized

00:16:36

people could make a living talking, I

00:16:38

was so obsessed with him.

00:16:41

>> I saw him in the 70s. I saw him at the

00:16:43

boarding house in the 70s and he was

00:16:45

just magic

00:16:46

>> right away. His stand up when

00:16:48

>> Yeah. And he recorded some of those

00:16:49

albums at the boarding house. Yeah. 300

00:16:52

seats kind of old and weird.

00:16:53

>> I can recite those albums. I don't know

00:16:54

why he was same thing, Paul. I was one

00:16:56

of the first ones I locked into and I

00:16:58

just couldn't

00:17:00

>> get enough.

00:17:01

>> Yeah. And I know and you are the same.

00:17:03

It's like as soon as as soon as uh you

00:17:05

start hearing one of those routines, I

00:17:07

still remember every intonation, every

00:17:09

line. And I found that to be kind of

00:17:12

true with a lot of people um kind of in

00:17:15

our generation, you know, that that uh

00:17:17

and I've talked about it with Jud or

00:17:19

some of these other comedians that those

00:17:22

records that he put out and and Steve

00:17:25

Martin standup and were so kind of

00:17:29

instrumental in uh forming senses of

00:17:33

humor and and everything else. I I can't

00:17:35

imagine anybody else in my life that had

00:17:37

probably more of an impact. So now on

00:17:40

me. So now to be like sitting in the

00:17:44

room with him.

00:17:44

>> Sure.

00:17:45

>> And talking with him is it's amazing.

00:17:47

And Martin Short, I mean,

00:17:49

>> I don't think there's a

00:17:50

>> We've had that. We all We all give it up

00:17:53

to Martin Short.

00:17:54

>> I know. Everyone does

00:17:56

>> far as just funny.

00:17:57

>> No one's anti Martin Short. The

00:18:00

>> But you got Selena. You got also I saw a

00:18:02

photo yesterday. Very photogenic.

00:18:04

Beautiful Merryill Street. Um, so it's

00:18:07

her too.

00:18:09

So, it's Merryill Street.

00:18:12

>> Yeah.

00:18:12

>> Yeah,

00:18:14

>> it really is.

00:18:15

>> I know. It's I I still can't uh quite

00:18:18

wrap my brain around it.

00:18:20

>> Yesterday was the first day we filmed

00:18:22

and it was kind of a big scene and it

00:18:24

was the first day that we were all there

00:18:26

and I and um I was just panicked.

00:18:29

>> Mhm.

00:18:29

>> I mean, I I'm like, "Oh, don't forget

00:18:31

any of my lines. Don't uh I was

00:18:35

>> have fun. Don't try too hard. Don't

00:18:37

Yeah. Um, right. It's just the pressure

00:18:39

>> and then and then and then and then when

00:18:41

I was leaving Meryill Street, who I I'd

00:18:43

met before, but I don't know really. And

00:18:45

I mean, I'm so kind of

00:18:47

>> uh I mean, I'm freak in a good way.

00:18:51

>> She's a freak.

00:18:53

>> She was like saying goodbye. She kissed

00:18:54

me on the cheek and I kissed her on both

00:18:58

cheeks like we were in Paris.

00:19:01

Um, and it was so weird. She didn't say

00:19:04

anything, but I was so uh I didn't know

00:19:06

how to behave because I was so literally

00:19:09

>> so starruck started a little bit and and

00:19:12

I was like driving home and I thought I

00:19:14

kissed both of her cheeks. She I feel

00:19:17

like an idiot. Yeah.

00:19:20

>> What do I say? Well, maybe it's cuz all

00:19:22

the classic kissing sketches, which I

00:19:25

don't know how many you've done,

00:19:26

>> but they were like electrically funny.

00:19:29

And I think you were in the very first

00:19:30

one and maybe you did it other times you

00:19:33

hosted.

00:19:33

>> The kissing family, the vocal checks.

00:19:36

>> Yes,

00:19:36

>> it was the I was in the very first one

00:19:38

and I came back. I did a few of them.

00:19:39

Yeah.

00:19:40

>> Do you kiss at rehearsal or not?

00:19:42

>> Yeah.

00:19:43

>> You do?

00:19:44

>> We we we did. Yeah. I mean, you really

00:19:47

go for it in the um

00:19:48

>> in front of people. Yeah.

00:19:50

>> Live show.

00:19:51

>> Um

00:19:52

>> but I think

00:19:53

>> I think so. I think I think one time I

00:19:56

even did it when

00:19:57

>> uh Jason Seagull was hosting and I came

00:20:00

back and just did the sketch

00:20:02

>> and I think he I think he kissed me and

00:20:04

threw this might have been during dress

00:20:05

he threw me so hard against the wall the

00:20:08

whole set almost fell like the wall.

00:20:11

>> And he's a pretty big guy, right? It's

00:20:13

like

00:20:13

>> he's a very big guy and a very forceful

00:20:15

kisser.

00:20:16

>> It's such there's a little bit of

00:20:17

tension around it. It's irresistible not

00:20:20

to not laugh because it's like the

00:20:22

characters are doing it and also Paul

00:20:24

Rudd is French kissing Fred Armerson.

00:20:27

>> Yeah. Yeah, it's just

00:20:29

>> the thing that would always and this is

00:20:32

this is what I remember the most from it

00:20:34

and it was and I remembered it in the

00:20:35

very first one was Fred uh always saying

00:20:41

uh we're we're vocal checks and he was

00:20:45

like it's not we're we're just we're

00:20:47

family we're

00:20:48

>> we're just vocal checks

00:20:49

>> vocal check

00:20:50

>> and it was always such an earnest

00:20:52

reading that uh

00:20:53

>> we were rehearsing I started laughing

00:20:55

and it was it was the one it wasn't the

00:20:57

kissing that made I think us laugh. It

00:21:00

It was funny. It was Fred going jacks.

00:21:03

>> Fred has an earnest gear in his comedy

00:21:06

when he would do the Californians and

00:21:08

the way he sincerely, no, we took the

00:21:11

101. Just the whole attitude is so

00:21:14

earnest. But I I get that gear that he

00:21:16

has. It's so original and funny. You

00:21:19

know,

00:21:19

>> one time um this must have been I don't

00:21:23

know like 15 years ago maybe. Uh I was

00:21:27

at a it was Bill her was having a

00:21:30

birthday dinner and this and it was at a

00:21:33

restaurant and we're sitting around

00:21:34

across from and across the table might

00:21:37

have been more than 15 years ago but

00:21:39

Bill uh Fred was talking about the

00:21:42

Beatles and uh and you know his love for

00:21:45

the Beatles and he just kept talking

00:21:46

about the Beatles and at one point I

00:21:49

said so all right so now if I want to

00:21:52

listen the Beatles like what album

00:21:53

should I start with or start asking a

00:21:56

question like I've never heard of the

00:21:57

bandw

00:21:58

>> and then he started saying like they're

00:22:00

just these four lads they're kind of mop

00:22:02

tops there's an album and he would start

00:22:04

talking to me cuz the guy is the master

00:22:07

bit and he'll stick with it

00:22:09

>> and um I won't talk to Fred for months

00:22:12

and months and then all of a sudden I'll

00:22:14

get an email and it'll be something

00:22:15

about the Beatles and like this is the

00:22:17

band that I was talking about and this

00:22:19

has now gone on forever. I still get

00:22:21

messages every once in a while from Fred

00:22:23

updating me on some new things or some

00:22:25

things about the Beatles, the band he

00:22:26

was talking about that night.

00:22:28

>> He's such a musical comic and his

00:22:31

rhythms and we he we had him on it once

00:22:33

you get going on the Beatles. He knows,

00:22:36

you know, the two time to the eighth

00:22:37

time in the middle 80s. It's just he's a

00:22:41

musicologist, you know.

00:22:42

>> You ever did you ever see his that DVD

00:22:45

put out drumming complicated drumming

00:22:48

techniques with Yens Henman? Yes. Well,

00:22:50

I did see his special where he goes

00:22:52

around all the different drum kits and

00:22:54

plays different.

00:22:55

>> Yeah. Yeah. They had that standup

00:22:56

special, a comedy just for drummers. But

00:22:58

yeah, he put out like a drumming.

00:23:00

>> Oh god. Was that Yeah, it was

00:23:02

complicated drumming techniques with

00:23:04

Yans Henman. I remember when my son was

00:23:06

really little, he was obsessed with it.

00:23:08

>> He loved drums, but I don't think he got

00:23:10

the

00:23:13

>> drums are fun though.

00:23:14

>> Yeah. Yeah. But it's such a specific

00:23:17

kind of thing that he's doing and I just

00:23:20

god I thought it was the funniest thing

00:23:21

ever.

00:23:21

>> Well, when I first saw him at the uh do

00:23:24

the the accent pick at a bit at the

00:23:26

Largo, so he's going around and he's

00:23:28

doing new New Hampshire whatever and

00:23:30

he's the accents are really good and

00:23:32

then he's getting I didn't realize in

00:23:34

real time he's getting very specific

00:23:35

like Bakersfield. I'm from Bay has feel

00:23:38

like he's making up accents really and

00:23:40

it slowly slowly burn, you know, burns

00:23:44

the audience down. When I saw you with

00:23:46

Bill her and Fred and some of the

00:23:49

sketches, I thought, "Wow, that's just

00:23:51

that's so much fun to be with those two

00:23:53

guys." Oh, man.

00:23:55

>> First time. Was that sort of the the

00:23:57

group was Kristen Wig and those guys?

00:24:00

>> And then when you come back, is it

00:24:01

different every time or would it sort of

00:24:03

overlap?

00:24:03

>> The first couple times they were still

00:24:05

there. I mean, it actually made it a lot

00:24:07

easier uh because I had a couple of

00:24:09

friends on the show and a couple friends

00:24:11

who were writers, so I, you know,

00:24:13

obviously had always wanted to

00:24:16

host the show or somehow be involved.

00:24:18

And um so the first time I got to

00:24:20

>> host the show, it it was a little easier

00:24:23

cuz my friends were a few of my friends

00:24:24

were there, Bill being one of them. Um,

00:24:27

and then yeah, it's now I it's it's been

00:24:30

an interesting thing to host over the

00:24:31

course of several years where yeah, I

00:24:34

think maybe the fourth time or so I went

00:24:36

back and was like, "Oh my gosh, it does

00:24:37

feel really different because it's new

00:24:39

people."

00:24:40

>> Maybe it was 2013 you did by 2013 had

00:24:43

Fred and Bill left because you that's

00:24:45

that was your next hosting 2008 2010 the

00:24:48

third time was 2013 and then maybe Kate

00:24:51

McInnon had come in. I don't know if

00:24:52

Kristen Wig had left and you had Kate

00:24:54

McInnon.

00:24:55

>> Yeah, I don't know whether or not it was

00:24:56

the third time, the fourth time. Kate

00:24:58

was there. Um,

00:25:00

>> yeah, it might have been. I think maybe

00:25:02

I don't I don't remember exactly.

00:25:03

>> Was Kenan Thompson there?

00:25:06

>> Kenan Keenan was there. Keenan was there

00:25:07

when you were there. I think

00:25:10

>> Kenan is the greatest.

00:25:11

>> He was a child actor on the show and

00:25:13

then he just stayed on.

00:25:15

>> Oh,

00:25:16

>> that guy is an MVP, man.

00:25:17

>> He never stumbles a line.

00:25:19

>> He just doesn't miss a moment. I mean,

00:25:21

every single time the camera will just

00:25:24

like cut to him. He's got the perfect

00:25:26

still expression. He's just so good.

00:25:29

>> Takes a while to get that way on that

00:25:30

show because you're waiting for a camera

00:25:32

to cut to you like you're in a Jeopardy

00:25:34

sketch.

00:25:34

>> Has to cut to you and you know when too

00:25:36

early you're kind of waiting and then

00:25:37

you do your face. It's

00:25:39

>> it's it's hard.

00:25:40

>> It's really true because there are so

00:25:41

many little technical things that um it

00:25:44

just takes time to learn such as when

00:25:46

that camera is cutting to you. you know,

00:25:48

you're those those uh

00:25:50

>> those pauses are unnatural. So, um you

00:25:53

just have to learn those kinds of

00:25:54

things. That's something I I think I

00:25:56

over

00:25:57

>> the course of hosting a few times

00:26:00

started to pick up because I never

00:26:02

nobody ever tells you, oh, this is how

00:26:04

you should really read the Q cards. This

00:26:06

is how you really need to wait for that

00:26:08

camera. And I was unaware having not

00:26:11

worked on shows really like, oh yeah,

00:26:13

when that light goes on over the camera,

00:26:14

wait till you see that in your

00:26:15

peripheral vision. There's another thing

00:26:17

when you do a sketch, Dana, you know

00:26:19

this. You get a big laugh at at uh you

00:26:22

know dress and then you pause on air and

00:26:25

it doesn't get a laugh and you look

00:26:27

crazy or because there's nothing there

00:26:29

but you're waiting or you run over it

00:26:30

cuz it didn't get a laugh at dress and

00:26:32

you run over

00:26:34

>> your laugh cuz you get it. You're like,

00:26:36

"Oh, [ __ ] I stepped on it."

00:26:37

>> It's horrible. And if you think you're

00:26:38

on camera for whatever reason and then

00:26:41

your line just doesn't do anything and

00:26:43

you realize later you weren't on camera

00:26:45

but at the moment it kind of deflates

00:26:47

you for a moment.

00:26:48

>> You know you think oh what did I do

00:26:50

different than the dress show? It is it

00:26:52

is like trying to catch the wind. I mean

00:26:54

there there's but but did you get to a

00:26:56

point it took me 80 shows as a cast

00:26:58

member I think to get comfortable enough

00:27:01

to say I'm consistently having fun

00:27:04

>> but as a host you know what was it like

00:27:06

just the second time compared to the

00:27:08

first time and the third time I mean you

00:27:10

feel you seem incredibly comfortable

00:27:13

>> I'm not

00:27:13

>> all the way through but you're you're

00:27:14

acting okay

00:27:16

>> I'm not comfortable I you know the the

00:27:18

first time I was on total adrenaline and

00:27:22

it was so

00:27:24

>> crazy. I remember feeling so uh

00:27:27

exhausted when we finished the dress

00:27:29

rehearsal and then I thought, "Oh my

00:27:30

god, I have to do this again." Now, the

00:27:33

the first time I remember that first

00:27:35

time feeling that um it was also really

00:27:38

weird for me because uh not to bring

00:27:41

things down, but the first time I hosted

00:27:43

was I think two weeks or so, almost 3

00:27:47

weeks after my father had died. So I was

00:27:50

in this state of uh

00:27:53

>> complete kind of was I was in I was

00:27:57

grieving but I was also yeah I was also

00:28:00

kind of half there but I was so excited

00:28:02

to host SNL. Um, and so it was the the

00:28:06

entire experience was just kind of uh

00:28:09

out of body. And I remember when it

00:28:12

finished, I thought, how do these people

00:28:14

do this every week? Because it it was

00:28:16

such a, you know, it it's such a sprint

00:28:20

and all of the quick changes and running

00:28:24

around. Um, and then the pressure and

00:28:27

the stress and all of it. Uh, it the

00:28:30

whole thing was was wild. I was I had a

00:28:32

great time, but it was such a an

00:28:34

emotional experience.

00:28:35

>> Kind of a beating, too.

00:28:37

>> Yeah. Yeah. You wake up with bruises and

00:28:38

things. You don't know what's going on.

00:28:40

Everything's moving so fast.

00:28:41

>> You're sprinting. You're banging your

00:28:42

head. And then they want you to get to a

00:28:44

party at 2:00 a.m. You've already done

00:28:46

an 18 hour day. Uh Paul over here, what

00:28:50

would you like, you think? And then it's

00:28:53

it's like ridiculous. You go through all

00:28:54

these walls of fatigue. But David and I

00:28:56

could tell you that being host is

00:28:59

generally speaking so much harder to be

00:29:01

a cast member.

00:29:02

>> Yeah.

00:29:03

>> You're in everything.

00:29:04

>> Yeah. You're in everything. And you can

00:29:05

be an update. You could be in the cold

00:29:06

opening. You do a pre-tape.

00:29:08

>> Yeah. Well, it was very exciting. And

00:29:10

then the second time I went back, I

00:29:12

think I think it was the second time

00:29:14

Paul McCartney was my Yes. was the

00:29:16

musical guest. So I I mean

00:29:18

>> Holy [ __ ]

00:29:19

>> It was incredible. By the way, the first

00:29:21

musical guest I had was Beyonce.

00:29:23

>> The second one was McCartney. And I've

00:29:25

had amazing musical acts.

00:29:27

>> So you you get to go, ladies and

00:29:29

gentlemen, Paul McCartney. You know, so

00:29:31

all these dream dream state fever.

00:29:33

>> I have a I still have the Q card. He

00:29:34

signed it for me.

00:29:37

[ __ ]

00:29:38

>> What would you like me to say on it,

00:29:39

Paul?

00:29:40

>> I got a call. Actually, it was about

00:29:41

1:00 in the morning and Bill her called

00:29:43

me. I was he says, "You want to know

00:29:45

who?" He goes, "Sorry I'm calling so

00:29:46

late, but I have to tell you, you want

00:29:48

to know who your musical guest is?" And

00:29:50

really said, he said, "Paul McCartney."

00:29:53

And I couldn't go back to sleep.

00:29:55

>> God damn. Well, out of out here's your

00:29:58

>> I think this is the guy Fred Armison was

00:29:59

talking about.

00:30:01

>> It sounds familiar.

00:30:03

>> You had One Direction, you had DJ

00:30:05

Khaled.

00:30:06

>> Out of those musical guests.

00:30:08

>> Yeah.

00:30:08

>> Do you have anyone's number?

00:30:12

>> Um I You know what? I think I had NY

00:30:17

from One Direction.

00:30:19

>> He works at Urban Outfitters now.

00:30:21

>> No, I'm kidding. That's the old spade, I

00:30:23

would assume.

00:30:23

>> That's that's that's the Hollywood men.

00:30:26

I don't do that.

00:30:27

>> And we emailed each other a few times.

00:30:28

They were great.

00:30:29

>> Yeah.

00:30:30

>> They were super

00:30:32

>> They're awesome.

00:30:33

>> Cool. And it was so crazy because it was

00:30:35

like the height of One Direction. Oh my

00:30:36

god. How crazy.

00:30:37

>> Were sleeping outside and Yeah, it was.

00:30:40

>> And they're mad. You're the one walking

00:30:41

out. They're like, "Where the [ __ ] is

00:30:43

Harry Styles?"

00:30:45

So,

00:30:46

>> by the way, totally.

00:30:48

>> Yeah. No [ __ ]

00:30:55

It's hard to get to know like we were

00:30:57

told sort of uh between the lines don't

00:31:00

talk to the host a lot like don't you

00:31:02

know you don't want to get in their face

00:31:03

when you're a cast member other than cuz

00:31:05

it's like when do you get to know each

00:31:07

other during a week because you know you

00:31:10

do read through and you leave and you're

00:31:11

sort of separate and you leave and then

00:31:14

in rehearsals you're sitting around for

00:31:16

a little bit so you can kind of [ __ ]

00:31:18

about it while you're in between. We're

00:31:20

going to fix something. Give us a

00:31:21

minute. Fixing a light. And then you

00:31:24

kind of get to know the host a little

00:31:25

just cuz you're right next to them. And

00:31:27

then you do this, do this. There's the

00:31:29

show, but everything's moving a million

00:31:31

miles an hour. Then there's a rap party.

00:31:33

And then you feel like this kinship,

00:31:35

>> but you didn't know any anyone that

00:31:37

well, but it's sort of a good feeling

00:31:39

because you went through this. So the

00:31:40

next time you host might be more fun

00:31:42

because you feel like you've got a base

00:31:44

now with everybody,

00:31:45

>> right?

00:31:45

>> And you sort of know. I imagine it's

00:31:46

different with, you know, with every

00:31:48

host

00:31:49

>> is there because the first time I did it

00:31:52

and and subsequently second, third time,

00:31:53

I mean, I've I've known people on the

00:31:55

show and have been friends with people

00:31:57

on the show.

00:31:58

>> And you do guest spots, too. You know,

00:32:00

>> I had done guest spots. Yeah. But there

00:32:01

the um the uh the idea it's like, okay,

00:32:05

well, that first day they were coming

00:32:07

around giving a pitch

00:32:09

>> and then I thought, okay, well, I can at

00:32:10

least go hang out with my friends and

00:32:12

talk about sketches. So, you know, you

00:32:14

guys know how that week works. And then

00:32:16

if Tuesday comes around, you and you go

00:32:18

out to dinner with Lauren and a few

00:32:20

other people from the show.

00:32:21

>> Mhm.

00:32:22

>> Some hosts will then just go back to

00:32:24

their hotel after that dinner.

00:32:27

>> Yeah.

00:32:27

>> I live in New York, but it so it's like

00:32:29

I just have to go home, but also after

00:32:31

the dinner, well, I'm going to go back

00:32:33

to 30 Rock and

00:32:34

>> help them write,

00:32:35

>> sit with the writers and hang out with

00:32:36

my friends and maybe try and come up

00:32:38

with ideas. And so I was I have always

00:32:41

been um every time I posted in those

00:32:44

rooms and trying to you know pitch

00:32:47

things or or help with if people are

00:32:49

writing things to kind of go around and

00:32:52

>> that is the fun. You know you sit on

00:32:54

some filthy couch and you

00:32:56

shoot around ideas and you're like this

00:32:58

could be on national TV in three days

00:33:01

and uh it's just you guys are laughing

00:33:03

saying the stupidest [ __ ] going what if

00:33:04

we put that in there? What if we say

00:33:06

like it a juice? I mean those sketches

00:33:08

writing them and you hear in the hallway

00:33:10

and you go this sounds funny

00:33:11

>> massive procrastination with anxiety

00:33:15

it's getting oh it's two okay it's three

00:33:19

at some point we got to make its

00:33:21

decision and then it's a fury of like

00:33:23

we'll do this we'll do this we'll do

00:33:24

this you know

00:33:25

>> but whenever I see people with talent

00:33:27

I'm always in awe of them when I see

00:33:29

them start to do their thing like

00:33:31

Kristen Wig was kind of shy and just

00:33:33

like hey what's up and then she just all

00:33:35

of a sudden like monster character or

00:33:38

something super talent. Did you

00:33:39

experience that in a way with different

00:33:41

cast members where you're like like Bill

00:33:43

her is so shy and Fred Armer said

00:33:45

they're so sweet and shy and soft-spoken

00:33:47

when you first meet them and then they

00:33:49

go out there what THE [ __ ] GOING ON

00:33:51

YOU KNOW THEY'RE JUST

00:33:52

>> and you think how can you be talented

00:33:54

you're quiet and polite

00:33:56

>> there are well there those guys are

00:33:57

comedy sants I mean I I don't know how

00:34:00

and Kristen I mean they're like genius

00:34:03

really incredible what they do and

00:34:07

>> you know um I'm always amazed and I'm

00:34:10

I'm such a fan such a fan of funny

00:34:13

people and comedy and people that have

00:34:16

been on that show, fans of you guys and

00:34:18

and so

00:34:19

>> like to to you know see to see all of

00:34:22

this stuff kind of

00:34:24

>> you know in person and then get to do it

00:34:26

with them uh it it's it's pretty

00:34:29

mindboggling. Yeah. And to see Kristen

00:34:31

Wig is uh she can kind of she can do

00:34:34

everything.

00:34:36

>> Yeah. to see them in their natural

00:34:37

habitat when they get into a character

00:34:39

and they're in a sketch and they're

00:34:40

cooking.

00:34:41

>> It's really fun to watch everybody

00:34:43

killing it.

00:34:44

>> Yeah.

00:34:44

>> It's also fun, like you said, when

00:34:45

you're when you're kind of in rehearsing

00:34:48

a sketch or they're figuring stuff out

00:34:50

and you're standing around with

00:34:51

everybody.

00:34:52

>> It's fun to see cast members who are

00:34:54

obviously really close with one another

00:34:57

uh start to do

00:34:58

>> bits. I mean, the king of it and so

00:35:02

>> hanging out is

00:35:04

hilarious.

00:35:06

Yeah, we would do that, too. I would try

00:35:08

to write people into sketches I just

00:35:10

wanted to hang out with.

00:35:11

>> Like, you know what I mean? Just put

00:35:12

everyone in because I know rehearsal is

00:35:14

kind of boring.

00:35:15

>> They just have the tape on the floor.

00:35:17

You don't know where this this [ __ ]

00:35:18

set isn't even made yet. And then you're

00:35:20

just blah. They're like, "Okay, hold on.

00:35:22

We got a lighting thing." And then

00:35:23

you're just making fun of each other and

00:35:25

someone's eating in the corner. And the

00:35:27

pressure is off at that point. It's not

00:35:29

pressure. You're just trying to get the

00:35:30

blocking down and it gets harder

00:35:32

throughout the week. But it's definitely

00:35:33

>> well you do you do Wednesday and you

00:35:36

hopefully it lands right that's the read

00:35:38

through and by Thursday you run it for

00:35:40

the crew and they kind of giggle there's

00:35:42

no sets first time second time

00:35:44

>> but you get a feel for it you get a feel

00:35:46

with the crew you get a feel laughs

00:35:48

>> by the time the dress show came around

00:35:50

on Saturday I was thinking we got

00:35:52

nothing you know I it'd been beat down

00:35:55

all the rehearsals and all the

00:35:57

walkthrough everyone

00:35:58

>> did you feel that like this thing peaked

00:36:00

on Thursday

00:36:01

>> oh yeah no one's laughing anymore. We we

00:36:03

we depend on the crew. They've already

00:36:05

heard it five times. You're like and

00:36:07

then hopefully sometimes at dress you're

00:36:09

like, "Damn, this is killing. It's

00:36:11

really fun." But then you have to not

00:36:13

peek at dress. How did you manage that?

00:36:15

>> Well, I just I just want to try and make

00:36:16

my way through it. Imagine peeking at

00:36:19

dress and not and not. But um that has

00:36:22

happened. I mean, there was one sketch

00:36:23

that I I think like repeatedly kept

00:36:25

coming back that I always liked and it

00:36:27

never made the show. And I think the

00:36:29

second or third time I said, "Look, can

00:36:30

we try it again?" But we never got one

00:36:32

time.

00:36:33

>> If it goes through read through and

00:36:35

doesn't get on, it's got a stink on it.

00:36:37

>> Even if there's no if there's no other

00:36:38

reason other than someone just read it

00:36:40

wrong or they forgot to do the accent

00:36:41

and you go, "No, no, it's just go."

00:36:43

Nope. The second time read, everyone

00:36:44

just leans back and you're like, "Don't

00:36:46

you [ __ ] take a dive on this one.

00:36:48

It's good."

00:36:49

>> And it's hard to resuscitate it. Or if

00:36:52

it got undress and goes away,

00:36:55

>> there's always that, well, there's a

00:36:56

reason it didn't get on air, so it's

00:36:58

hard to resuscitate.

00:36:59

>> And I've had that. It went undressed and

00:37:00

then it didn't go and but I always loved

00:37:03

it.

00:37:03

>> Give it a chance.

00:37:04

>> Do you want to share with us maybe

00:37:06

>> it was about the giving tree. I remember

00:37:08

it was a dad reading giving tree to his

00:37:11

kids not realizing that it's so sad and

00:37:14

he starts to spiral out and and and then

00:37:18

you know winds up

00:37:20

>> crying and you know uh drinking and the

00:37:23

cops come to the house. I mean it it you

00:37:25

know it just devolves into this uh

00:37:28

even now as I describe it I'm thinking

00:37:30

no I see why this

00:37:32

>> what was the what was the kid's name

00:37:35

>> in the sketch

00:37:36

>> I don't remember the kids names

00:37:38

>> I'm just trying to do an impression of

00:37:39

Lauren not thinking the sketch is going

00:37:41

well at read

00:37:41

>> I think maybe Bobby Moahan might have

00:37:43

been one of the kids but I think maybe a

00:37:45

girl was one of the girls might have

00:37:47

been named Susie

00:37:50

>> um Susie's sad uh Bobby Bobby sits back

00:37:53

uh Bobby Bobby Bobby uh has a tear. Uh

00:37:56

and that's

00:37:57

>> this is at reading stage direction,

00:38:00

>> right? Yep.

00:38:00

>> Yeah. Sorry. Yeah. To

00:38:02

>> and it's starting, you know, like this

00:38:04

one's not going to make it.

00:38:05

>> Yeah. Sense memory.

00:38:06

>> Is has there ever been like for you

00:38:08

guys, did you ever do a sketch that like

00:38:12

was the biggest surprise that it was the

00:38:14

sketch killed so hard and you really

00:38:17

didn't see that one coming? Is there one

00:38:19

that sticks out for either one of you

00:38:20

that

00:38:21

>> Well, I would say for you want to go

00:38:24

David from my very first SNL I'd never

00:38:28

done sketch and the church lady sketch

00:38:30

with Sigourney Weaver and Phil Hartman

00:38:32

and stuff moved up to the first sketch

00:38:36

and and then it really killed and it

00:38:39

really it's shocked me. I'd never had a

00:38:42

dress on. I'd done a little bit of the

00:38:44

character in my standup so that was that

00:38:46

was a big surprise.

00:38:48

Yeah, I just did one where it wasn't

00:38:50

that big of a sketch, but where I was a

00:38:52

receptionist and I kept condescendingly

00:38:54

talk to people and go and you are like I

00:38:56

it was like a Hollywood person didn't

00:38:57

really made people explain their credits

00:39:00

and then uh it was last in the show and

00:39:02

got put to first in the live show and it

00:39:05

was Roseanne Phil came in as Jesus

00:39:09

and uh there was one other person but it

00:39:11

it killed and it was first one up and

00:39:13

that's that was rarely happening with me

00:39:14

Dane it happened every week but to get

00:39:16

the first sketch out That was a big one.

00:39:18

>> When I did the pepper boy with Sandler

00:39:21

Boy,

00:39:21

>> it wasn't really happening throughout

00:39:24

the week. It wasn't really It did not

00:39:27

happen at dress, but we both just went

00:39:30

for it hard. Of course, we had Farley in

00:39:33

there, too. The ultimate Button. So,

00:39:35

that crushed on air

00:39:38

enough that Sandler called me at 4 in

00:39:40

the morning, just said, "Carvey, pepper

00:39:43

boy." That was it.

00:39:46

It's hard to kill in a restaurant sketch

00:39:49

in the corner.

00:39:50

>> Yeah.

00:39:50

>> You know, it's not at home base, right,

00:39:52

Paul? I mean, you know, you hard to time

00:39:54

the laughs. You can't quite hear the

00:39:55

audience.

00:39:56

>> Yeah. Yeah. You're kind of off to the

00:39:57

side. It's true. Where the above you

00:39:59

where you're doing the sketch on this on

00:40:01

stage makes it a difference. Huh.

00:40:03

>> Yes. Cuz you you can immediately kind of

00:40:04

feel and hear the audience or you're not

00:40:06

sure you you scored.

00:40:08

>> They're watching it on a 12-in TV and

00:40:10

the audience, you know what I mean?

00:40:11

They're like,

00:40:11

>> "Yeah."

00:40:11

>> Oh, wait. Cuz they can't see.

00:40:12

>> It's a really interesting point that you

00:40:14

don't hear about that often.

00:40:16

where you're actually doing. Well, I

00:40:18

would have when I got used to this

00:40:19

process, I would go to where the set

00:40:22

designers were. They had a little map of

00:40:24

8H

00:40:25

>> and I'd look at my sketch and I'd see it

00:40:27

in the corner

00:40:28

>> and I'd say, "Could I get this near home

00:40:30

base or whatever?" And they go, "Well,

00:40:32

not not if there's that."

00:40:33

>> What a [ __ ] cheater.

00:40:34

>> They go, "Not if there's an entrance."

00:40:36

I, "So, what if I take the entrance

00:40:37

out?" Oh, yeah. Then we can move it

00:40:39

here.

00:40:40

>> Oh my god.

00:40:40

>> No kidding. That's fascinating.

00:40:42

>> Oh, yeah. You know, I learned all the

00:40:44

concentrate.

00:40:45

>> That's true.

00:40:46

>> You got to do it, you know. But

00:40:48

>> what what about Please Don't Destroy.

00:40:50

That group was really good. Paul, you

00:40:51

did one called Good Variant. I saw it.

00:40:53

It was funny as [ __ ] They got a lot of

00:40:55

different moves in those things.

00:40:56

>> Yeah. Well, you know, we were supposed

00:40:57

to do a version of that. Those guys are

00:41:00

great, by the way. Um the the fifth

00:41:03

time, my fifth time uh I hosted the show

00:41:07

was cancelled the day of. It was the I

00:41:09

think it's the only time in SNL history

00:41:11

that a show got cancelled that day and

00:41:13

it was with you and

00:41:15

>> Well, Tom Hanks was there. Tom Hanks and

00:41:17

Tina

00:41:18

>> were there because they had come in

00:41:21

because they were in the monologue.

00:41:23

There was a big huge five timer.

00:41:25

>> Yeah. Mhm.

00:41:26

>> And then the show got cancelled at about

00:41:27

2 or 3 in the afternoon, but they were

00:41:29

already there. So, we were trying to

00:41:32

come up with a show on the fly. It was

00:41:34

really a fascinating thing to see and be

00:41:36

a part of. But earlier in that earlier

00:41:39

that week, I was going to do a uh please

00:41:42

don't destroy video, a version of the

00:41:45

good variant.

00:41:46

>> Yeah.

00:41:47

>> Um but the shoot got cancelled because

00:41:49

one of the guys got co

00:41:51

>> Oh, same [ __ ]

00:41:52

>> And so they had already had a crew and

00:41:55

the uh camera everything was set up to

00:41:58

film something that night. We took a

00:42:00

sketch and turned it into a into a film

00:42:04

and then we filmed that and then they

00:42:05

showed that during the show.

00:42:07

>> Was it that one or this one?

00:42:08

>> No, it was the one HomeGoods. It was a

00:42:11

show. It was the one with uh with 80 and

00:42:14

Kate about wanting grandkids and and

00:42:16

>> Oh, yeah. Yeah. Okay. I remember that

00:42:17

one.

00:42:18

>> Yeah. So, that was that was done in

00:42:20

place of the Please Don't Destroy.

00:42:23

>> It was it was COVID closure, right? And

00:42:25

it was uh

00:42:25

>> it was co Yeah. Because it it it

00:42:28

happened it was that week where the

00:42:30

really uh that omocrron variant really

00:42:32

>> came back hard. Yeah.

00:42:33

>> Yeah. Yeah. People were

00:42:36

>> Yeah. Everyone thought it was kind of

00:42:37

going away and then it came back [ __ ]

00:42:38

hard around November, December or

00:42:40

something. Yeah.

00:42:41

>> Yeah. It was I mean it was really uh

00:42:43

tense and that you know we were all

00:42:45

going through our testing and then that

00:42:46

morning I remember going in and getting

00:42:48

tested Saturday morning

00:42:50

>> crossing your fingers

00:42:51

>> totally and I remember I got the results

00:42:54

of my test. It came back negative and I

00:42:57

I was just jumping for joy. Like, thank

00:43:01

God. Perfect, bro. And then and then the

00:43:03

whole thing got shut down.

00:43:04

>> Can't do without the host. So, you get

00:43:05

through and then they shut it down.

00:43:07

Anyway, that's such a drag.

00:43:08

>> Yeah. Um, it was a bummer.

00:43:09

>> And that that monologue was weird

00:43:11

because I I hosted for Kimmel once and

00:43:14

it was in a house with a monologue with

00:43:17

no people. So, I said to the crew

00:43:19

before, "You we rehearsing it." I go,

00:43:21

"You can laugh." They go, "Oh, we're not

00:43:22

supposed to." I go, "Please, God, give

00:43:24

me a tiny noise. Anything to play off

00:43:27

of, just to dart my eyes around, just to

00:43:29

make it feel like there's some life in

00:43:30

here because

00:43:32

>> just to nothing is too hard." So, when

00:43:33

you did yours, I could hear a little bit

00:43:36

of something. That must have been crew

00:43:37

or writers or something.

00:43:39

>> Yeah, I think that's what it was. Um,

00:43:42

and you know, Michael Chay and and and

00:43:44

and Kanan stuck around, but that that

00:43:46

was it. And uh and yeah, some of the

00:43:48

crew guys. And so there was some

00:43:50

laughter and Higgins was there. Uh but

00:43:54

it was so strange. It was such a weird

00:43:56

feeling

00:43:56

>> that that was one of the weirdest most I

00:43:59

mean just no audience on Saturday Night

00:44:02

Live because

00:44:02

>> no audience and also no real rehearsal

00:44:05

no nothing and and for the hours before

00:44:08

the show it's like well what do we do?

00:44:10

What I mean we have to write something

00:44:14

and figure out what it is. And I

00:44:17

remember Lauren saying, "Do you have any

00:44:19

um Christmas uh you know episode that

00:44:22

you really like?" And I said, "You know,

00:44:25

I remember when I was in high school

00:44:28

seeing

00:44:29

>> uh Steve Martin talk about uh you know,

00:44:32

the his Christmas wish and

00:44:35

memorized it and I loved it because

00:44:37

Steve Martin and um and so it was great.

00:44:39

>> We'll dig it up.

00:44:40

>> It's on. It's in the show. Wait a

00:44:42

minute. You now officially have joined

00:44:44

uh the 70 timer club of someone who does

00:44:48

a great Lauren.

00:44:49

>> Yeah,

00:44:50

>> it is so weird whenever you are around

00:44:52

anybody. Doesn't matter when they were

00:44:54

on SNL people start talking about

00:44:56

Lauren, they just start going into

00:44:58

>> they go right into it. So you

00:45:01

>> you spent a lot of time with Lauren

00:45:02

because Lauren spends a lot of time with

00:45:04

the host and also you get start. You're

00:45:06

a friend.

00:45:06

>> You're the third Paul. He likes Paul

00:45:08

McCartney. Paul Simon.

00:45:11

I I like all the polls. No, he's he's

00:45:14

he's we love him, too. He's he's an

00:45:16

amazing guy.

00:45:18

>> Yeah. Nobody's ever done what he's done.

00:45:21

>> Not even close.

00:45:22

>> Yeah.

00:45:23

>> I mean, 50 years. Are you going to be at

00:45:25

the 50th?

00:45:26

>> I certainly hope so. Yeah. I mean, I

00:45:28

would love to. I was at the 40th, which

00:45:30

was I mean, what a incredible

00:45:32

>> That was a real [ __ ] blow.

00:45:33

>> I remember we had a little running gig.

00:45:35

I just had met you that night or

00:45:36

something. That's right. liked you right

00:45:38

away and I would every time I'd go do

00:45:41

something I'd say to you, I'm gonna

00:45:42

bring you up. It was so ridiculous. I'm

00:45:44

going to do Wayne's World. I'm gonna

00:45:46

bring you up.

00:45:49

That's right.

00:45:50

>> Yeah, that was the the 40th. Uh, but so

00:45:53

with Lauren and your relationship, do

00:45:54

you have any I mean I I hate to say,

00:45:56

hey, I have any stories about Lauren,

00:45:57

but did you ever stay all night at the

00:45:59

party or do you kind of cuz Lauren will

00:46:01

stay till 6:00 a.m. Do you kind of

00:46:03

Lauren, I got to go or

00:46:05

>> No, I will never I'll never leave early.

00:46:08

Um, are you smoking out, especially if

00:46:11

I'm sitting at a table with Lauren? I

00:46:12

mean, I will uh you know, even recently

00:46:16

I I went just to to um watch the show

00:46:19

and it's like I'm at that party and it's

00:46:22

like the greatest thing. I'm sitting

00:46:23

with I went with Marty and Steve were

00:46:24

hosting

00:46:25

>> and uh and I'm at the table afterward

00:46:28

with Martin Short and Lauren and then of

00:46:30

course I'm in the middle and I just want

00:46:32

to start hearing them talk about Three

00:46:34

Amigos

00:46:35

>> which of course happened

00:46:37

>> and uh

00:46:38

>> and it's

00:46:39

>> it's amazing. It's amazing there. There

00:46:42

are there are many times that I just

00:46:46

kind of step outside of what's actually

00:46:48

happening in the moment and say can I

00:46:50

cannot I cannot believe this. I just

00:46:53

can't believe it. And there's something

00:46:54

like having it on this show with these

00:46:56

guys. I had it at that at that table

00:46:58

listening to the three amigos stories. I

00:47:00

had it when I was hosting SNL and uh

00:47:02

Paul McCartney was the musical guest and

00:47:04

there were many times that week that I

00:47:06

mean I couldn't believe what I was

00:47:08

seeing. And I had that same thing. I did

00:47:10

a I did a I did one of those um I did a

00:47:13

you know a Lonely Island video that week

00:47:16

and Andy and I they pulled in Paul

00:47:19

McCartney who did a little thing on it

00:47:21

and I love it

00:47:22

>> and we were standing around the three of

00:47:23

us for an hour and he was just telling

00:47:25

us stories about John Lennon and the

00:47:29

Beatles and everything.

00:47:30

>> Wow. Now I'm jealous.

00:47:32

>> Yeah. I'll tell you one of the honestly

00:47:34

one of the coolest things I have ever

00:47:36

experienced ever

00:47:38

>> was on the Thursday, you know, Thursday

00:47:41

for um people that don't know that's

00:47:43

when the band really kind of comes in

00:47:45

for the first time and they do their run

00:47:47

through. And so we were taking those

00:47:50

pictures that you they use for the

00:47:52

bumpers

00:47:53

>> next to the stage. So Thursday comes in,

00:47:55

Thursday happens, the band comes in and

00:47:58

we're taking pictures and um Marielle

00:48:01

and I said, "We're not going to take

00:48:03

pictures. We have to go watch Paul

00:48:04

McCartney." So we did and um he

00:48:08

performed I played a couple of songs and

00:48:10

then there was a grand piano on the

00:48:11

floor and um he didn't know what he was

00:48:15

really going to play so he just came

00:48:16

down and sat behind the piano and

00:48:19

there's maybe you know the crew is

00:48:21

there. It's probably about 20 people.

00:48:23

>> And he sat down at the piano and he just

00:48:26

started playing the long and winding

00:48:27

road.

00:48:28

>> Wow. I got chills. I got chills.

00:48:31

>> I know. And I was standing 10 ft

00:48:34

>> 10 feet behind him,

00:48:36

>> you know, and and I'm just I hadn't met

00:48:37

him. I hadn't I was just kind of

00:48:40

observing and like I couldn't believe I

00:48:42

was in the same room with Paul

00:48:42

McCartney. But I was standing behind him

00:48:44

and I was looking at his hands playing

00:48:46

the keys and I was looking at his feet

00:48:48

pressing the pedals and hearing him sing

00:48:51

Long and Winding Road and thinking, "Oh

00:48:54

my god, that's the that's him. That's

00:48:57

the guy who made this." And those are

00:48:59

the foot pedals that he you know that he

00:49:02

pressed that same way when he recorded

00:49:04

it. And it was it was amazing. It was

00:49:06

just amazing. And everyone applauded

00:49:07

when he finished. He said, "Oh, thank

00:49:09

you. Thank you." Then he went into Lady

00:49:10

Madonna. And then more people kind of

00:49:13

started coming into the room and Lauren

00:49:15

came in

00:49:16

>> and he wound up playing about 10 Beatles

00:49:19

songs just for us in the room.

00:49:21

>> Just piano.

00:49:22

>> Just piano.

00:49:23

>> Yeah.

00:49:24

>> You know, how does how does he come up

00:49:26

with those those middle eights they call

00:49:28

them? The change ups and the the chord

00:49:30

structure and how it just hits you every

00:49:32

time.

00:49:33

>> Iman Lennon,

00:49:34

>> it's divine. There's no I mean I'm I'm

00:49:36

in that I don't think they're the

00:49:38

greatest band that has ever existed.

00:49:40

They're the greatest band that ever will

00:49:42

exist. They are like Shakespeare.

00:49:44

They're like Bach. They're like every

00:49:47

several hundred years somebody or

00:49:50

something comes along that redefineses

00:49:53

that kind of beauty. And um and I think

00:49:56

the Beatles are that they are for me. I

00:49:59

>> I couldn't have said that better. That's

00:50:00

really well put. And Cheryl Crow said to

00:50:02

us that she thought that Blackbird and

00:50:05

Yesterday were the greatest songs ever

00:50:07

written for for her. I There's so many.

00:50:09

That's the thing. They have so many. And

00:50:11

she thought it was, she didn't say it in

00:50:12

a heavy way, almost divine. There's

00:50:14

almost something like how did those two

00:50:17

guys essentially go to high school

00:50:18

together and then find those other two

00:50:20

guys and find George Martin and write a

00:50:23

hundred masterpieces

00:50:25

in six years, you know? It's crazy.

00:50:28

>> And then and maybe record three of them

00:50:30

in one day.

00:50:31

>> Yeah.

00:50:31

>> Yeah. Remember Dana when he said dur we

00:50:34

we talked to him Paul and he said uh

00:50:36

>> during that get back thing we were

00:50:38

fawning over you know that the

00:50:39

documentary and we said unbelievable he

00:50:41

said he came in with was it yesterday or

00:50:44

and he goes

00:50:45

>> well for that one he did have long and

00:50:47

windy road and he had get back you know

00:50:50

he was in kind of

00:50:50

>> he said I came with it and I go do you

00:50:52

walk in like I got a [ __ ] banger and

00:50:55

he goes no you can't you have to go

00:50:57

under and just go hey I got I got one if

00:50:59

you guys want to hear it I worked on

00:51:01

just to probably just for ego- wise like

00:51:03

let everyone go let us find it if we

00:51:06

like it you know and I think it was

00:51:07

either yesterday or some other monster

00:51:09

>> well yesterday was a little earlier but

00:51:12

he did let it he was he he he did uh

00:51:15

>> and they love it

00:51:16

>> let it be I think on on

00:51:17

>> yeah oh yeah he was playing that and

00:51:19

then um

00:51:21

>> uh and then my god when he sits down

00:51:23

he's playing and he is playing

00:51:25

>> uh get back and George and Ringo are

00:51:27

just sitting across from listening and

00:51:29

Ringo starts clapping his hands to a

00:51:31

beat And and you just think and same

00:51:33

thing like I'm how are we seeing this?

00:51:35

This is the first time these guys are

00:51:37

hearing this.

00:51:38

>> They don't know what this song is going

00:51:40

to be. It's just

00:51:42

>> it's magical. I couldn't get over that

00:51:44

that I wanted nine more hours. I

00:51:46

couldn't what I was seeing.

00:51:48

>> Wow. And you know I in my age group I

00:51:51

was you know watching them in real time

00:51:53

having older brothers. So I was nine

00:51:55

when they're on Ed Sullivan. But I love

00:51:57

when I hear someone who probably first

00:51:59

heard them in the 70s late 70 after they

00:52:03

because the

00:52:04

>> the wave was so high and by they left at

00:52:06

69 I don't think anybody even them

00:52:09

understood what had happened

00:52:10

>> right

00:52:10

>> so and then people like you come along

00:52:12

and then younger people keep coming

00:52:14

along and we're all trying to figure it

00:52:16

out

00:52:17

>> and Dennis Miller said to me he doesn't

00:52:19

he he can figure out the stones he can

00:52:21

figure out Pink Floyd Dennis Miller said

00:52:23

he can figure out Zeppelin and he goes

00:52:25

honest to God Carvey I can't wrap my

00:52:27

mind around the Beatles. Okay.

00:52:29

>> It's too much.

00:52:30

>> I know. It's It's true. It It Because

00:52:33

they have that thing u that you can't

00:52:36

define. It's something otherworldly.

00:52:39

It's why if you play the Beatles for

00:52:42

kids now, they caught on to them.

00:52:44

There's just it's it's hitting all of us

00:52:46

on some kind of level that is something

00:52:48

else. I don't know what it is, but

00:52:50

>> I'll show you this thing. I just got

00:52:52

Paul. I got [ __ ] Lennon's glasses

00:52:55

from that photo.

00:52:57

>> Oh my god. His real glasses from that

00:53:00

photo. Oh my god. Isn't

00:53:01

>> that sick?

00:53:03

>> Damn. David is holding up a picture of

00:53:06

John Lennon and he bought the glasses at

00:53:08

an auction. I'm just telling the

00:53:10

listeners.

00:53:11

>> It was a bit steep, but it was because

00:53:14

you never see [ __ ] like that come along.

00:53:16

And I saw it and I was like

00:53:18

>> and I called the auction place and he

00:53:20

goes, "Well,

00:53:21

>> it's going to go up." I said, "I got to

00:53:23

try to get in there." And I just got

00:53:24

horny for I was like, "It's too [ __ ]

00:53:26

cool." Cuz win in your life, Lennon and

00:53:28

McCartney and

00:53:29

>> and they they had proof it was his and I

00:53:32

said, "Oh,

00:53:32

>> I used to do it with a friend of mine at

00:53:34

some of the SNL parties."

00:53:36

>> Everyone's really, you know, just cool

00:53:39

people are coming to the SNL party.

00:53:40

Maybe it's Elton John or whatever. And

00:53:42

we used to imagine, you know, what if

00:53:44

John Lennon could walk in, you know, we

00:53:46

were like, who would just everyone would

00:53:47

just stop? And

00:53:49

>> so, yeah. Anyway, I'm with you, Paul.

00:53:52

We, you, me, Fred Armerson, and David,

00:53:54

and whoever else wants to join us. We

00:53:56

should have dinner and just fan out on

00:53:58

on try to

00:53:59

>> There are like I can't I I will talk

00:54:02

about the Beatles forever, I just once

00:54:05

that subject comes up or if I see a

00:54:06

picture or if there's some kind of video

00:54:09

clip or something, um I conversation

00:54:12

stops.

00:54:13

>> I know. I love the unheralded ones kind

00:54:15

of compared to we hear let it be a lot

00:54:16

and hey Jude they're brilliant but here

00:54:18

there and everywhere

00:54:20

>> for no for no one I mean no reply by

00:54:23

John Lennon is one of the most

00:54:25

heartbreaking pieces of and Paul maybe

00:54:27

wrote the middle eight anyway back to

00:54:29

Paul Rudd who's a super beetle fan

00:54:37

>> oh I have a question about Clueless he's

00:54:39

been in so many monsters like Anchorman

00:54:40

and Clueless

00:54:42

>> when did you make your first million

00:54:43

dollars. Was it around clueless or

00:54:46

around after that? God

00:54:47

>> wouldn't have been clueless.

00:54:49

>> No, that was

00:54:50

>> But did that get you paid after that or

00:54:52

did it take another five years?

00:54:53

>> No, no, no, not not at all.

00:54:55

>> I'm going to guess.

00:54:57

>> Let me see if that was 95. Oh, by the

00:54:59

way, we came out '95 and so did Billy

00:55:01

Madison. So, Clueless, Tommy Boy, Billy

00:55:04

Madison.

00:55:06

>> Oh, that was [ __ ] some comedies. My

00:55:08

god. Yeah.

00:55:09

>> Mhm.

00:55:09

>> Yeah. I don't I don't

00:55:12

way way way later. Way late. Well, it

00:55:15

might have been it might have been like

00:55:16

actually kind of around Marvel

00:55:17

>> because it wasn't you were in ensemble

00:55:20

one. So, they can't pay everyone that

00:55:22

much if you're in a movie with Will

00:55:23

Frell or Steve Carell or

00:55:25

>> Oh, yeah. A lot of those. Uh so then

00:55:28

then when it was Paul Rudd's movie then

00:55:31

they do a little bit better.

00:55:33

>> I honestly I'm just like I'm just happy

00:55:34

to work.

00:55:35

>> Of course. Well, I know

00:55:36

>> and certainly and certainly with those

00:55:37

guys. I mean, you know, do it for free.

00:55:40

>> Wet Hot American Summer is a little

00:55:42

nugget that's just that might I mean,

00:55:45

now I don't remember everything about

00:55:46

it, but I remember going, "This is a

00:55:48

cool movie." And we I I try to get that

00:55:50

director to do something, I think,

00:55:52

because I thought I go, "Oh, [ __ ] This

00:55:54

is such a weird funny, cool, low-budget,

00:55:58

well done." You must hear about that one

00:56:00

a lot.

00:56:02

Yeah, it it it um I think it was

00:56:05

probably partially responsible for me

00:56:08

getting cast in Anchor Man, honestly,

00:56:09

because it was a movie that came out and

00:56:11

and you know, no one knew it really, but

00:56:13

comedy fans and comedy writers

00:56:16

>> Yeah.

00:56:16

>> really kind of took to it and and I

00:56:20

>> I loved it when I read it. It took a

00:56:22

while to get it made. No one wanted to

00:56:24

make it,

00:56:25

>> but um I had met David Wayne and Sha

00:56:29

Walter and a lot of those guys. is they

00:56:30

were in a comedy troop called The State

00:56:33

that used to be on MTV

00:56:35

>> and um you know they lived in New York

00:56:37

and I lived in New York and um and I was

00:56:40

a comedy fan anyway and we had some

00:56:42

mutual friends and so I met them and and

00:56:43

David said man this script uh if you

00:56:48

want to read it I think I had just done

00:56:50

Clueless I mean it wasn't that long

00:56:52

afterward

00:56:53

>> and um

00:56:54

>> and I read it and thought I've never

00:56:56

>> like this is the funniest thing I've

00:56:58

ever read and you you never get to

00:56:59

really read anything that really makes

00:57:01

you laugh like that or I certainly

00:57:03

hadn't up until that point.

00:57:05

>> I did I felt that way with Anchor Man

00:57:07

too, but um I I used to keep that script

00:57:11

around and just read it for pleasure

00:57:12

because it was so funny

00:57:14

>> and also to get it from the script to

00:57:16

the screen. There's so many ways you can

00:57:17

screw it up and you know, I'm sure you

00:57:19

know this. I've done a lot of comedy

00:57:21

movies and some just don't connect by

00:57:23

the time you go through all the process

00:57:24

and you're like, "Fuck, where did it go

00:57:26

wrong?" And uh

00:57:27

>> well, I think that with that it was just

00:57:29

like uh there weren't many cooks in the

00:57:32

kitchen. Yeah. And it was it didn't it

00:57:34

didn't it you know it had a very small

00:57:36

budget. No one was really paying any

00:57:37

attention. And we filmed it at a summer

00:57:40

camp and it was people everyone that

00:57:41

worked on it I think we all had similar

00:57:43

s sensibilities and we found the same

00:57:45

things funny and so

00:57:47

>> meatballs or something. Yeah.

00:57:48

>> Yeah. Yeah, it was like a singular

00:57:49

voice. And I remember Zack Orth, the

00:57:52

actor that he, a friend of mine that was

00:57:54

working on the film, halfway through

00:57:55

said, "I don't know if this movie will

00:57:57

ever come out. I just want to get a copy

00:57:59

of it." Uh, you know, uh, very good

00:58:02

sign. I just wonder, you know, when I'm

00:58:04

looking at these notes here, you know,

00:58:06

studying your career, it it's quality. I

00:58:09

mean, I don't see any any evidence of

00:58:12

you taking a role because because you

00:58:16

needed the money or something. It just

00:58:17

seems like there's a consistent theme

00:58:19

with you. You It's all the way through.

00:58:22

You You did uh Living with Yourself. You

00:58:24

executive produced, got a Golden Globe

00:58:25

nomination where you played opposite

00:58:27

yourself. All kinds of quality work. So,

00:58:29

were you ever tempted like have you have

00:58:31

they backed up the Brink Truck for

00:58:33

commercials? I mean, but commercials are

00:58:35

totally fine. I would do any commercial

00:58:37

if anyone's listening right now. In the

00:58:39

90s, you weren't supposed to do them.

00:58:40

Taco Bell. Sorry. But that have you

00:58:43

gotten stuff where because of

00:58:46

Paul Rudd, you know, the the indust

00:58:49

like I'd like to take a lot of money.

00:58:51

It's just not for me. You know, you're

00:58:53

at that point now where you have to

00:58:54

navigate that.

00:58:55

>> Well, yeah. I I think that I'd say

00:58:58

through the, you know, majority of my

00:59:01

career, I've always tried to make as

00:59:03

many um decisions if I had the luxury of

00:59:06

making a decision uh to, you know, to

00:59:09

have it be some an artistic decision and

00:59:11

never trying to do anything for the

00:59:12

money. And

00:59:14

>> um

00:59:14

>> that's usually good. know

00:59:16

>> sometimes sometimes you you you have to

00:59:18

I could certainly point you to a couple

00:59:20

on that resume that

00:59:22

>> say well that one I kind of like

00:59:24

>> okay well we'll ignore that you know

00:59:27

>> but no I would say I would say uh of of

00:59:30

the decisions that I've made in my

00:59:32

career

00:59:33

>> Mhm. 97 to 98% of that has been because

00:59:38

I really thought uh it was something I

00:59:41

wanted to do and that it had the

00:59:42

potential to be something fun or

00:59:45

interesting or something I would want to

00:59:46

see.

00:59:48

>> Um and and I tried to always have that

00:59:51

kind of be my guiding light. When I was

00:59:55

in my 20s and 30s and I wanted to be an

00:59:57

actor, I really also went a different

01:00:00

kind of way. And I would always think of

01:00:01

bands that I really liked. I always

01:00:03

think of music always seemed to kind of

01:00:06

be the the north star for me more so

01:00:09

than other actors or uh uh acting uh

01:00:13

careers. I I would just think of

01:00:14

musicians that I liked and I lot I liked

01:00:17

lots of cool indie musicians and I

01:00:19

thought well would you know would Tom

01:00:21

Weights think this is cool? Would he do

01:00:23

this or would Elvis Costello do this?

01:00:26

Would he make this decision? And it

01:00:27

seemed like all the things that I liked

01:00:29

were artistic decisions made by people

01:00:31

who I admired. And so I really tried to

01:00:34

kind of follow that path with comedies

01:00:38

that, you know, I think with Wet Hot

01:00:41

American Summer and then when Anchor Man

01:00:43

came around, those were two things I

01:00:44

really really wanted to do. um because I

01:00:47

felt as if more than anything else I'd

01:00:50

I'd ever read up until that point, it

01:00:52

spoke to uh me and my own kind of what I

01:00:56

thought was funny. Um and I really

01:00:58

wanted to be a part of that. Um and and

01:01:02

I think that that then turned into

01:01:04

working with Jud over and over again. I

01:01:07

didn't see much like the Ant-Man thing,

01:01:09

I didn't see that lane coming. I did not

01:01:12

expect over the following many years to

01:01:14

work with a lot of those guys again uh

01:01:16

on a lot of comedies. I'm you know it

01:01:18

it's still it was the most fun. It still

01:01:20

is.

01:01:21

>> Uh but it's it was always I think I was

01:01:25

always following that like this would be

01:01:28

fun. I think this is funny. I really

01:01:30

like these people. I like these actors.

01:01:32

I'd love to be a part of this. So

01:01:35

>> wow. I think you're twin the two lanes

01:01:37

that explain this. One is what you just

01:01:39

said and the other of never losing a

01:01:43

sense of awe and wonder of this

01:01:46

remarkable good fortune we have to be in

01:01:49

show business. And for sure you you meet

01:01:52

people that get bitter or kind of angry

01:01:54

or whatever, you know, rather than just

01:01:56

like

01:01:57

>> I can't believe we're able to actually

01:01:59

do this on any level, you know? I mean,

01:02:02

right now I'm working.

01:02:05

>> I think that all the time.

01:02:07

>> Yeah. I'll be, you know, even it's like

01:02:10

you're in the middle of some some scene

01:02:13

and you're just going some improvisation

01:02:15

about farts or something. You can I'm at

01:02:17

work right now. This is my job.

01:02:21

>> Okay, before we before we let you get

01:02:24

back to your other job, so you you label

01:02:26

things. Kevin Dan told me you love a

01:02:28

pouch, which you make labels, and you

01:02:31

love to put labels.

01:02:32

>> I love a pouch.

01:02:33

>> And you put labels on everything.

01:02:36

>> You have one. This is my These are my

01:02:39

>> There it is.

01:02:40

>> That just organizes my organizes your

01:02:42

brain to get it labelled.

01:02:44

>> These are my These are my AirPods. And

01:02:46

by the way, it's my second case. That's

01:02:47

why it says number two on it.

01:02:48

>> That's hot.

01:02:50

>> All right. So, that's Are you of with

01:02:52

your wife and are you the tidy one or or

01:02:55

equally as far as how having the kitchen

01:02:57

clean and stuff like that?

01:02:59

>> Uh well, she can be she's pretty clean.

01:03:01

She'll, you know, uh, but I I think that

01:03:03

there's a there's a level that I will

01:03:06

take it that is maybe a little, you

01:03:08

know,

01:03:08

>> Yeah. I'm kind of the

01:03:09

>> a little too Jean the anal retentive

01:03:12

chef.

01:03:14

>> Yeah. Oh, fell.

01:03:16

>> Do you have any other secret secret show

01:03:19

business dream?

01:03:20

>> I mean, would you want to get

01:03:22

>> direct

01:03:22

>> do a Gary Oldman like playing Churchill

01:03:24

kind of thing or, you know, or Scorsese

01:03:27

movie where you're a gangster or just

01:03:29

whatever comes? I don't know. Yeah, I

01:03:31

you know I don't I don't necessarily

01:03:33

point in terms of like a type of role,

01:03:35

but I mean I would certainly like to do

01:03:37

things I haven't done and work with many

01:03:39

people that you know like great

01:03:41

directors like Scorsese and there's so

01:03:43

many incredible directors.

01:03:44

>> If Tarantino wanted you in a film, would

01:03:46

you take the call?

01:03:47

>> In a heartbeat for sure.

01:03:50

>> That's a good plan. I got obsessed with

01:03:52

the last one, Once Upon a Time in

01:03:54

Hollywood.

01:03:54

>> Oh my god,

01:03:55

>> I saw it so many times.

01:03:56

>> It's so good. Yeah,

01:03:58

>> he's great. What? What an amazing

01:04:00

director he is.

01:04:01

>> Yeah.

01:04:01

>> Yeah. I would I would jump at the

01:04:02

chance. Cohen brothers. I mean like it

01:04:04

just there's so many

01:04:06

>> there's so many uh

01:04:08

>> that you're just going to say yes. Yeah.

01:04:10

>> Mike Lee.

01:04:12

>> Um I mean there's so many great

01:04:13

directors. Most people I think probably

01:04:15

wouldn't think of me for some of these

01:04:17

things at this point, but I'd love to do

01:04:19

more kind of versatile, you know,

01:04:22

dramatic roles or whatever, but uh I

01:04:25

don't know. I've also haven't really

01:04:27

tried to, for better or worse, guide my

01:04:31

career by thinking, well, I just did a

01:04:34

comedy, now I'm going to do something

01:04:35

really dramatic. You know, I think other

01:04:38

actors probably do that and it's might

01:04:40

be smart. I just think like, oh, that'd

01:04:42

be fun.

01:04:43

>> Yeah. Doesn't always sync up perfectly

01:04:45

like that.

01:04:46

>> No. No. And that's the other thing, too,

01:04:48

is that people always say, "Well, why

01:04:49

did you choose this and why did you

01:04:51

choose that?" And I I want to say, well,

01:04:53

you know, you don't always get to

01:04:54

choose.

01:04:55

>> Yeah.

01:04:55

>> There's a bit of whimsy to it. Jack

01:04:57

Palance told me that once. They got all

01:04:59

the parts. It's all about the parts. And

01:05:02

if you get the parts, Spencer Tracy got

01:05:04

took that part. I didn't get to do that

01:05:05

part. I don't do a Jack Pants. That's an

01:05:07

old reference lost on younger viewers.

01:05:09

>> Not at all. You start doing some one-

01:05:10

arm push-ups right now. I'm gonna, you

01:05:12

know.

01:05:13

>> Oh, yeah.

01:05:14

>> All right. Well, thank you, Paul.

01:05:15

>> Thank you.

01:05:16

>> You're a [ __ ] stud.

01:05:18

>> This has been really interesting and

01:05:19

enjoyed it very much. Yeah. So, I feel

01:05:22

like I know you a lot better than I did

01:05:24

after the 40th.

01:05:25

>> I know. Well, this is the great thing.

01:05:27

Well, when I see you at the 50th, we're

01:05:29

gonna really have a lot to talk about.

01:05:32

And And I'm coming up. If you bring me

01:05:34

up on the 50th, I'm coming up.

01:05:36

>> I'll be so excited to see you. I'll kiss

01:05:37

you on both cheeks.

01:05:39

>> Yeah.

01:05:40

>> And then go, "What did I just do?"

01:05:42

>> I'll be plus one.

01:05:44

>> Uh Paul, thanks, buddy. Very cool of you

01:05:47

to come on and talk. And uh

01:05:48

>> thanks for having me, guys. I appreciate

01:05:50

it. Say hello to

01:05:51

>> I really appreciate it.

01:05:52

>> Steve and Marty and I I've never met

01:05:54

Melena.

01:05:56

>> Tell her I love her.

01:05:57

>> I will tell her.

01:06:03

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01:06:20

>> Fly on the Wall is presented by Odyssey,

01:06:22

an executive produced by Danny Carvey

01:06:24

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01:06:26

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01:06:29

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01:06:31

producer is Greg Holtzman and the show

01:06:33

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01:06:40

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