David Cross
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Yes, I have actually stayed at Airbnbs from time to time. And truth be told, I do really like them. I'm being totally honest right now that I've had great experiences with them. Yeah. I mean, you can have your look at you go get your own place, get your own pool, your own living room. You're not going to walk in an elevator. You're not going to see people when you're walking around in your undergarments. Yeah.

Yes. And if you don't understand what we're talking about, you should go online. What we're saying is you have a house with a kitchen and a bathroom and it's just for you, tailored for you. You liked your Airbnb over a hotel. Yes. And I do think I've had relatives stay nearby and sometimes it's very nice for them to do an Airbnb and have a little house and they're not underfoot. The last thing you want is your house guest to say, excuse me, um,

Where would I find a towel? That's a toughie when it's because they're naked. Well, it's like the 1800 time you say on the towel rack. Yeah. Thank you. I was going to look there. People don't even think hotels sometimes just go, hey, I'll go there. I'll get an Airbnb. So you won't regret it.

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Hey guys, so we have got...

The one and only David Cross, an old buddy today. Dave, you know half of Mr. Show with Bob Odenkirk, another extremely gifted comedian. Those guys, those sketches were so interesting, so funny. Along with Arrested Development, we talk about the specials he's doing. He's got one coming out. Dana, you had some good chats with him.

Well, I had listened to his album once, I think, and I asked, I couldn't remember the title. It was so funny. And I think it was shut up, you stupid fucking baby or something. And it was like 2002, but he's kind of like with, and Bob Odenkirk, they're like Batman and Robin, or I don't know which one's Robin, which one's Batman, but they have an amazing sensibility. We talk all about their friendship. And Dave is just one of those comedians that is always,

Goes outside the lines, does whatever he... I mean, he's very thoughtful about what he likes in comedy, and he and Bob. That's why Mr. Show was so great. And we even make him talk about the Chipmunks movie, especially the second one, The Squeakquel. Dana thought I was making up The Squeakquel.

Which we bring up as the trilogy of the Chipmunk movies that he was in. And I thought Dave was kidding in the second one, but it was called The Chick-Wool. What was it? The Squeak-Wool. Yeah. Because they squeak. Yeah. So we laugh and you'll get to know David Cross, the one and only David Cross. And I like him because he's on Just Shoot Me. And he did one of our best episodes ever, which was Slow Donnie.

And so fun. So we get to talk about that. Okay, well, here you guys go on a platter. David Cross. Should we call him David Cross or David? How about DC? Just DC. That should fit. Well, that's my initials. That's what I said. There's the joke. There's two DCs, two Davids. Do we have a third? What's your middle name, Dave? Just call me Spade.

Let's call me Spader. I'll call Spade Sparky. Sparky for just today's podcast. I'll call Spade Sparky. Do you mind that? I'm just going to jump in.

I'm looking at your whole everything to see where to jump in. I could easily jump in with my. It's good to know that you guys have really dug here. Look at that. Look at Dana. There's too much stuff. There's too much. I don't know where to begin. It's fucking spades over there. Googling. All right. Let's see what we got here. I actually do my stuff. Right before they go, you'll know them when you see them. And I go, okay.

So, Dana, you don't know about this. I did a sitcom in the old days called Just Shoot Me. I was a guest. You were a guest. Oh, I can't say the next thing then. And DC was. I was going to say DC was probably our favorite episode. But Dana, you were second. You were so close to second. I can't do comedy acting like that.

that David, David Cross. He's a brilliant at that stuff. I put a wig on me. I'll do a voice. David, do you remember this bit we did on just shoot me? I, uh, it, it was perplexing to me how to this day that, that, uh, slow Donnie thing was as popular as it was. I mean, I, I, this, what are we, what is that? 30 years ago, 25 years ago, something like that. And, um, and, uh,

I mean, I still get people still to this day saying chicken pot pie or green quarter. Green quarter, I get. Dana, just so you know, he was on as Slow Donnie, and I think you're Elliot's brother. Making fun of Todd's.

Yeah. It was all funny stuff back in the 90s. He made fun of Tad's. Yeah, he was a challenged individual. Oh. And he was one of the cast member's brothers, and then he wanted to date Laura. And he was hitting on her, and she didn't know what to do because-

I don't know why he was mentally challenged. And did you use a Boston accent? No. Oh, okay. Cause that was pretty funny when he just did it. I, uh, it's the only way you're allowed to say the word retarded in context is to do it. Like you're doing an impression of a Boston guy. Cause it's so normal up there. Yeah. It doesn't sound aggressive. It's just, I thought you were talking about it.

That's just how they talk, you know? Yeah. But the guy with the character was pretending to be mentally challenged because he was getting a free ride. And then he showed him the real self to Laura's character and then, you know, gas littered the rest of the show. How did you affect kind of a voice or a character or you play it like yourself?

Oh, I mean, I don't know. It's a sitcom for a network, so I just did it as broad and dumb as... It's just like, Donnie wants to do this. What? I can't remember, but something like that. It's only 30 years. Come on. I remember when he's with... He's just screwing up his household his whole life. He's getting taken care of his whole life, and his mom's all beat up, and he goes...

I love you, mommy. And she goes, see, that makes it all worth it. Then he goes, I love you, table. That's the table. And she goes, well,

But with Laura, he's hitting on her and he's like, and then when they get quiet, he goes, listen, baby, I think we, I know a great sushi place. We can get out of here. And she's like, wait, what? Can you talk normal? And he's like, no, I'm Donnie. And then he accuses Laura. It's all great. The great thing about that, the sitcom world is that you would be like,

sharing all these experiences with a co-worker that you're extremely close with and yet never know until that episode that was never brought up again that he had a brother that was mentally disabled and then never brought up in any other episode brought up again i should every show i should have gone where's that fucking scammer slowed on yeah don't bring him

Yeah, he was funny and Maya, Laura was Maya. And God, we laughed. We talked about that forever. We always, everyone's like, that's the one that was. But anyway, good job, David Cross on that. Thank you for that. Okay. We're pretty, pretty much did that one. That's a good one. It's a perennial wrap up. We're always on the edge of wrapping up, but do you want to talk about your current stuff or your canon of work? Oh, I don't care. Um,

Uh, I mean, there's not, I, I know, I mean, if we're talking about stuff to promote, I do, I have a special that I shot last summer during that tour that, that I think is February. It's in mid February. I should know this, uh, when it's coming out on. Is that world's worst? Yeah. The worst daddy in the world. Worst daddy in the world. Yeah. That's not. Okay. Okay.

So that's you, when you shoot that, like that special, did you partner with a corporation or do you do it yourself or what was it? Is it like Louis CK kind of thing or what? I did the last one before that, uh, myself, I just, you know, uh, produced the, you know, out of pocket with some good local folks shot it in New York. That was, I did that app because of COVID. Um, cause I was going to go on tour, but I had to cancel it. And, uh,

And I figured I'll just shoot this anyway. It's all, it's fairly topical and relevant. So, um, when it came time to do this, uh, I paired up with 800 pound gorilla out of Nashville. They're great. And, um, and just, yeah, shot it, uh, in the middle of the tour in Chicago and, and, uh, they were great. I'm pretty, pretty psyched about it. It's good. It was a very fun tour. And, uh,

And yeah, I did it all myself. It'll be out. I'll distribute it, you know, with them and that's it. So can I ask you a question? Cause I think the last one I did, it was with a corporation. And anyway, I think they said it was like,

Something like $400,000 to $500,000 to shoot this special for the two nights. Right. Is there a way, when you're doing it yourself, to bring that price point down a little bit? I mean, it seems exorbitant. I'm not anti-union. I'm just saying. No, absolutely. I had 17 cameras were on me, I think. It's like crazy. Yeah, I mean, absolutely. I did this one. This was even...

Less expensive than the one that I did myself where I was kind of scrambling a little bit. And that's part of what

small part, but a significant part of what made 800-pound Gorilla so great to work with. And everything's in-house, so I didn't have to get a separate editor and go find one. When you're communicating with them through the pre- and the actual production and post-production, it's all in-house. It's all one place. And it's just a lot easier. And they're all good at what they do. And it was relatively cheap. And it seems like by...

impression with you is you wouldn't be someone who would get nervous, but do you get nervous either shooting specials, going on talk shows? Are you, because you do seem pretty calm or at least together. I don't like shooting specials because usually it's here you go. It's your one shot. You worked on it for a year.

Better make it work. Well, I think that's... I don't get nervous. I definitely am aware of stuff and everything's kind of heightened a little bit. But I always shoot always in the middle of a tour. So if I'm doing, let's say, 80 dates, right? In a calendar half year, whatever it is. And...

I always look at the calendar and the routing and stuff. I go, okay, I'm going to shoot my special right around there somewhere, give or take a few shows around show 40. Then I always record the audio during the last or second to last show. Um, cause it changes, it evolves as you go on. And by the time I shot it, it's, you know, I mean, that's my 41st time I've,

done that set and uh so i mean i've got it it's down and and i always you know i'll take two episodes so it's if i fuck something up i got one more do you do retakes during your special i know uh there's a comic i know i work with a lot and and they stop and they redo their line a bunch of times when even though they have two shows so that's one way that i have not heard of but

I mean, it would mess with the momentum for me. Oh, for sure. Yeah. Unless you totally mangle it. I mean, I don't think I'd do it. No, I'm not doing it for the TV audience or the audience at home. When I'm doing that, I'm always...

It's always about the people in that room. And hopefully that translate. And if I fuck up, I'll say I fucked up and whatever and, and address it. Um, but I'm very much in the moment and, uh, you know, it's, I'm not trying to cut it so much so that it looks, I want it to look as spontaneous as it feels when you're in the audience, you know? Sure. Do you think that when you do it in the middle, which I think I'm trying to figure this out for myself,

because I sort of got caught off guard. My first special was probably way back around Just Shoot Me, and then it was on HBO. People were traveling with an hour for 10 years. That was just the old way it was done. And then when I thought about doing another one, I did it for Comedy Central, and I don't think as many people saw it as right before

Netflix was blowing up. And so I felt like, God, all that material and you have to get rid of it, I guess. And then after my last special, they're like, now once it aired, the next stand-up I'm doing at a theater, they're like, well, ideally it would be all new. And I'm like, all new? A whole new hour? It took me so long to get this one. So what I'm sort of getting at is you do it in the middle, which might be smart because toward the end, you have free reign to sort of start screwing with it because you already got it.

then you could, then by the end you might have, you know, another 20 half hour. You don't know, you don't might evolve. That's exactly what happens in, uh, the, the, what I do and I've done for the last, uh, four specials, this will be my fifth time doing this thing, doing it this way is, and I just started a couple of weeks ago, uh,

I do these shows in Brooklyn where I live. Um, and I do, it's, uh, they're called shooting the shit, seeing what sticks. Everybody knows what the premise is. I'm going up there with just a handful of notes and kind of Dana, like what you showed and, uh, just scribbles, you know, and he go, Oh, what do, what do I want to work on? What do I think is funny? And everybody, and I have guests so that it's, they're not watching a guy for an hour and 15 minutes, just dicking around. But, um,

the beginning of it, I will, you know, have some kind of fresh anecdote, which I do now, uh, currently about, uh, a surprise hand job. And then, uh, and then, uh, and then I get, then I have a guest and then I get to, and that's a thing like, oh, this just happened, but I think there can be a story here, you know? And then I get to just kind of

some ideas that I'm working on. And, you know, sometimes it's, it hits, sometimes it doesn't. And then I have a guest and then I'll just do stuff that I dropped out of the last special. So every single special or tour that I do has like anywhere from like five to 15 minutes of stuff that I did on the last tour that I

I'm not going to put in an hour and a half of material, you know, not doing a special for, I'm not going to make it a 90 minute special, which means I've got to cut something because the shows are that long. And then the stuff I cut out of both the audio and the video special is stuff where I go, I know I can work on that and make that better. And so I'll work on those bits and try to find a different context for them. And, and,

I don't want to give it away, but there's the closing bit of this last special, which is really strong and a pretty good punch. That whole bit was something that I riffed.

just before I shot the last special before this one where I took it out, I cut it out and I was like, I know I can work on this. And I worked on it and became the closing bit. So I have that stuff ready to go. So it's like a sourdough starter, you know, you take a little bit. Yeah. Have you noticed what happened on my last one was I had stuff that was very new that I, you know, I always fall in love with newer stuff and I threw it in.

And it was undercooked. And then now I would work on it. So I'm like, I really can't put it in because the premise is the same one. But now it's five minutes long and way better and more polished. I'm like, shit, I kind of wasted it. Like you just said, you didn't waste it, which is smart. Well, there is. I mean, yes, but also there's stuff that which is partly why I do the audio at the end, because there are things that.

That were definitely fresher in the middle of the thing that I, you know, I was like, oh, I can, I just started working on it. And so the audio version is a little different and tighter and even expanded. But it's more of the idea, like it addresses the idea as opposed to this kind of throwaway funny thing.

idea that I did. And then I found some somewhere down the line, I found a context for it. When you say your strongest bit is at the end of the last time I did one, I went in, I won't mention the live streaming. It wasn't anything negative, but went into a room with all these people and they just talked about audience retention. They showed me posters of the special. He said, this does well in the Netherlands. This does well in Brazil. And then

And then I thought, well, you should do a special as if the audience could start leaving at any minute. Yeah. In other words, you know what I mean? Cause that's what happens on when the living room, uh, cause I, there's certain people I'll go to the end, but you know, I'm a comic. Yeah. 15, 16. So they really look at that. He made it. You have 18 minutes, 18 minutes of retention by 65% of our audience. I don't know if you think of that or have experienced that. It sounds like something you wouldn't like, uh,

No, I mean... As an artist? I never think of that, and hopefully never will. But, you know, I'm not... I'm in it to do fun, good shows, and I don't care. I'm not looking to...

Get a 40 million dollar paycheck or I mean those days are over obviously but you know I'm not that's not my interest. I I really really really love doing stand-up and

And it's just a fun process. Every, every part of it is fun, except for traveling. I don't like the travel so much, but everything else. Do you know any standup that does like to travel? I just did it. It was rough. Unless it's a G4 rocked and loaded and I don't know. Yeah. Yeah. There's some people that have their own bus. I know that. I wonder if a bus is good. You know, I did, I, I've done it in a plane when I jump on with Sandler.

It's great, but it still delays. It couldn't be better, but you're still like, we're in Florida. It's 85 degrees. Now we're going to Canada. Now we're going to Nova Scotia. Now we're dropping down. And you still manage to complain. I do. I find a way. Everybody. But wait, I want to go back. So you did Canada and Nova Scotia? Dave, what happens is I just talk off the top of my head, and it always makes no sense.

That's a weird route. Nova Scotia, is that still down by Australia? Because I don't have it in front of me. They just moved it. They just moved it a couple months ago. They've been talking about moving it forever. North of Scotia. It's north of Scotia. You've been to Scotia, hopefully. Or had it. I go to Canada only because I enjoy the extra taxes.

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That's $50 off with CodeFly at BlueNile.com. BlueNile.com. Okay, so if we're into the process, just for one more thing I want to ask you. Yes, I like this. Your comedy albums. Do you feel like when it's recorded on video now, is there anything that changes it at all? Because I'll just say for myself, one night I was driving late night. I got a whole, I don't know if it was your first album. It was probably 20 years ago.

But it was so brilliant. You had a thing where you thought, maybe I'll get a drink. And next thing you were, you were in your hotel room and people were pounding on the door. Oh, yeah, yeah. And then the Ricky Henderson thing that you took so far. Like, what album was that? Shut Up, You Fucking Baby. Yeah, that's what I thought. Shut Up, You Fucking Baby. Yeah.

That's going places. I don't know how to describe that. It's such a cliche. Kind of monopythony, but also I look back at how you made that thing work, just verbally. You had to have, you're waking up in a hotel room, you don't know anything, you're stacking words together. Those albums seem very free. I don't know. For sure. I was drinking way more during those days.

Oh, good. So it, it, it feels like that. I mean, it's messy. The, the, the, it's definitely messier. It's, it's, it's like crackling though. It was, yeah, it was fun. I mean, it was, uh, I put that out on sub pop. That was my first comedy album. Yeah. And, uh,

And that was a real story. That was the, I believe I was in Kansas City, where the guy's knocking and saying, answer your telephone, but it was pitch black.

Pitch black in the room. I'd been traveling. And when you're on the road, you don't know where you are. You wake up and you have no fucking clue. And I had been out drinking heavily the night before. And what do you drink? Sorry, just real fast. What were you drinking? I'm guessing beer and tequila. Not together, but beer followed by tequila, followed by beer, followed by tequila, followed by beer. And then a slice. And...

Yeah, it was a bizarre... It was panic. It was like little kid panic. Even though you're an adult, there's a few seconds where you want your mommy because nothing is making sense. You're also in trouble.

pitch black and pounding and yeah out of the blue you don't know where you are and you can't see anything and there's just a disembodied boy saying answer your telephone knock knock knock answer your telephone i like they're right there and they're telling you to answer your phone doesn't make sense but you don't know where you are yeah what telephone who who are you talking to me yeah are you an angel are you angel moroni what's happening

answer your telephone it's like a kubrick moment basically it was very bizarre anyway that was like a 20 minute bit or something but it was you know i really i have those old steve martin albums david and uh as a kid i mean now it's all specials and stuff and video but it was pretty fun because he had a few screw-ups like even when the sound goes out like

or he's like more wine and you're just picturing in your head oh it's so funny whatever he's doing and he does a bit and everyone laughs I'm like fuck what is he doing but I kind of liked it that's all I had so it's but I would like that scratchiness and that kind of fun of the old stuff like that and there's not that many I think some specials come out as also a CD or an album but

I don't, I, they'll never get back to the sound of those sixties albums. I mean, it just feels crackling. I think it's one mic hanging overhead in the club. You hear your individual laughs, that crackling thing, and now it's all stacked and remixed. There's one, um, I don't know which one it is, but of the different comedy channels on, uh, Sirius XM or whatever. Um, one of them, um,

95% of the clips they play, mostly from people you haven't heard of, but they're definitely in a club and they sound different. And I appreciate that, you know, you hear the people. Yeah. Right up on you. Yeah.

And it's cool when you're going across the dial there, as it were, and you've got the Netflix one, and you've got Comedy Central and Raw Dog, whatever you're listening to it, and it just sounds slicker. Sometimes money hurts comedy. Put it that way. Oh, yeah.

You know, just if a guy doesn't have much, can't afford many mics, he's got, he can only do an old club. He's not very popular, but it has a crackle to it. Rick Rubin in there fixing every mistake. Yeah. Yeah. You know, you want it a little messy and that's what I like. I like, I like mistakes in a lot of things and I like them in songs when there's,

They say something different than when the guy sings it in concert, you kind of want that little mess up because you know where the mess up is. And all that stuff is sort of character and gives it something different than super polished, which is the name. I knew special super polished. And nice. Hey, Neil Young releases whole songs that are out of tune. See, I like it. We got it. We don't do it again. It's all going for the feeling of stuff. So, you know, it says here, I love that. The, the,

Not a story, but like the... When...

the different actors who work with Clint Eastwood when he's directing. Oh yeah. We'll do a take and they'll be like, Hey, can I get one more? Like, no, we got it. What? But I, no, no, we're good. We're moving up. Oh, but I, I just worked with David Fincher. Yeah. He worked with Matt, Matt Damon. He was working with Matt Damon. He goes, can I do it on the take? And he goes, yeah, if you want to waste everybody's fucking time. Yeah.

One take Eastwood. Oh, great. I like these movies where they go, oh, I did. I mean, this director is so good. We were doing 40 takes. I'm like, maybe he's not that good. I mean, come on. I mean, so 39 were horrible? Like, come on. I had a guy drop bullets. It was a scene where someone had to out of frame just drop bullets and then they catch it.

I'm going to say 60 takes. And I realized he was a child in a sandbox. He could not see the forest for the trees. Just want to hit the bullets. Perfect. Anyway, David, I have another one. I'll call you a full name. Now. I had one that had rapophobia. We had a, we had a rap party on the last day and we only had like two scenes to do. So we could have this party and he kept shooting and everyone's like,

oh my God, he's got rapophobia. He knows it's over now and he won't let it end. And we went till midnight. We canceled the party. We're like, what are we doing? Wow. Yeah. But okay. It also says, says David, you, it says here, no, Steven, right. It says is one of your favorite comics. Now, if that's true, I think he's kind of underrated and, uh, God, he had a real run there for a second when I was starting out. That was so good. And, uh,

Dana, you probably worked with him, right? Oh, yeah. He's still out there playing big rooms, I think. One of my favorites...

You know, I don't write jokes at all. I'm terrible at it. And when I think of the amount of material a comedian works like that, you know, I went to a 24-hour convenience store. I went there. It was closed. He said something about it. Not in a row. He's locking it up. Yeah, he's like, yeah, yeah. Well, not 24 hours.

But he'll ruin that one. He's like, I know I'm horrible. I can't even explain. It's like the movie airplane where it's just so much blending and you know, Steven's like that and you kind of, it's like a magic trick. I really, and also the lo-fi talk that soft and strut around tonight show only on your material.

But you're friends with him, David Cross? He's one of your favorite comics. Yeah, I haven't seen him in quite a while, but he is a key part of, key reason why I'm at the place I'm in right now. Because...

Did you all know Lauren Dombrowski by any chance? Boston Comics. She was a producer, head writer for MADtv for a while. She was in this comedy group I had in Boston and a good friend and an awesome person. Unfortunately, she passed away from cancer a while ago. But she...

She was good friends with Stephen, brought and said, there's this guy I think you'd like. You should check him out. And brought him to see me do stand up at Catch in Cambridge. And then he told his manager of...

whom I think he only had four clients at the time, maybe three, to come up from New York and see me, Tim Sarkis. And then Tim signed me. And then the rest, as they say, is history. So he's in no small way a big part of that. To have some powerhouse like that say that about you. It's such a nice legacy when you hear that about someone like, hey, check him out.

yeah help him out it's such a it's yeah steven is a very sweet man many times a few times i've met him i hung out with him that doesn't surprise me pay it forward there you go i mean it's uh i don't know if he's aware of that um but yeah it was uh um hugely important yeah when i saw him the first time i it was i was newer and i had not seen you know it's hard to

See somebody that kind of comes out of left field because you've seen such similar comedy and you just go, oh my God. And I had a guy in Arizona that started trying to do Stephen Wright. And it was, it was like, there's tons of them. And I saw overnight. He's like, I had a dream.

I was a kite. I woke up in a tree. I'm like, no, it's not the same. I'm going to just write that down. Hold on a second. I'm not good at jokes. You see that kind of delivery, and it's often like the oddball. They affect this kind of oddball persona of like,

So here's an interesting idea. It's like, no, you're not, you know, that's not how it works. The only one who did it well, it was slightly different, was Mitch Hedberg.

Yeah, but Mitch also... But different, you know? Yeah, he had a joke structure that was similar, but his whole cadence was and persona... Kind of Southern or some sort of weird twang. But it was kind of real, right? Yeah, and he was always smiling. Mitch would be smiling, and there'd be kind of jazz playing behind him sometimes, and...

And to the best of my knowledge, Stephen Wright was never a junkie. So there's differences. There's differences. They don't have the same first name. Yeah. Well, I have to say that when I think of you, David Cross, go ahead. I have a compliment ready. I was going to go for something metaphysical.

Well, I just... Your career, it seems like you just... You've stuck to your guns. I'm just curious about... You've talked about the Chipmunk movie, but it seems like you're... You do what you want to do. Have you been tempted at times in your career to do a commercial or something that the money was good? Or did you ever get into that trap, that world? Or did you regret? The world that I live in? I don't know, but it seems like you just...

Seems like your career seems fun because you're always doing exactly what you want to do the way you want to do it or you wouldn't do it, which is sometimes difficult. I would not say no to some, even if it was another like Chipmunks movie, which I did.

Not necessarily for the money, but at that point when it came around, I hadn't worked for six months, which is, you know what happens internally in your head when you're like, after like two months, you start going, oh, I've

I'd like to get some work. And when two becomes three and three becomes four, and you're like, am I ever going to work again? Do people hate me? What's wrong? Four becomes five. Five becomes six. And I jumped it. I was like, yeah, I'll do whatever you want. Yeah, somebody wants you. Somebody likes you. And you're like, shit, I've been in that position for sure. Yeah. And nobody had any idea that that movie was going to be as phenomenally successful as it was. And I was contractually obligated to do two more. And the first two were fine. I had no problem.

issue with it. And the third one was just a terrible experience for whatever, I don't know why they... Was it Chipwreck? It was Chipwreck, yeah. Dana, they had me at the fucking Squeakquel. The funniest name for a sequel is the Squeakquel. And I was like, I'm in on that one. Chipwreck, well, it's still cute. It wasn't Squeakquel. But yeah, it was, but I mean, I get to do, and you know, I kind of supplement

uh, doing all the stuff that doesn't pay well with a couple of big things. And then I get, you know, you get these really cool, really cool opportunities, uh, Spielberg film and a Todd Haynes film and, uh, work with Michelle Gondry and all these people. And that doesn't pay shit, you know, but you know, it's all balanced and like,

the increasingly poor decisions of Todd Margaret, you know, I mean, that didn't pay anything. Well, you also have respect. And like, I mean, going back to Mr. Show, like with Bowden Kirk, like Mr. Show coming off of SNL was just going, oh fuck, they're doing whatever they want. It was, it was really, this is a compliment. I was just saying these, it's so bananas and they do, and they, they put out so much stuff. It's all clever. I was really,

I really got into that one. Yeah, it was fun, man. It was, you know, and it was all new. It was new, you know, Bob, neither Bob or I had run a show before. And it was, and we were, HBO was in its infancy, basically. And they were just like, do whatever the fuck you want. You know, we need you to be different. Get attention, yeah. Yeah, we need you to not be, you know,

you know, network TV. We need you to stand out. And, uh, here's $25. Get back to us at the end of the year. See what you can do with it. Do whatever you want with it. It was fun. It was fun. I got two slinkies and a slim. It had a, yeah, again, I hate to use the word smart, but it was, it's so dry and weird and clever. I don't know whatever words people use for it. And you guys obviously didn't have a big budget was smart.

Sort of part of the charm? Just the sets? Yeah, well, like you said earlier, comedy often gets hurt. Money is the enemy of comedy. Yeah, often, you know, hurts the comic idea, you know, that's in there. You know, Dana, I think we have a connection. We've been friends for a long time. And for this episode of Fly on the Wall, we've partnered with eHarmony.

which isn't us. eHarmony is a dating app to find someone you can be yourself with. We are not dating. I want to clarify that. But the connection is what you want in a dating partner. Just someone like, if you found someone that listened to this podcast, that's somewhat of a connection. And then you sort of build on that. You want someone with some common ground. Yeah. It's not, look, if you want to connect romantically over, you know, super fly or fly on the wall, yeah.

It just makes us happy. You don't want to be watching The Godfather and the person next to you goes, this movie sucks. So dumb. Yeah. You want to connect on all issues and harmonize in life. Similar sensibility, similar sense of humor, and similar sense of sense. I don't like when they watch The Godfather and they're like, everyone in this movie is so old. I'm like, they're 40.

Watch 2001 Space Odyssey. Too much of this movie is in outer space. I don't like it. When do they land? When do they land? Why is that stupid red light acting so silly? Who's friends with a robot? We know dating isn't easy. That's why we partnered with eHarmony because dating is different on eHarmony. They want you to find someone who gets you, someone you can be comfortable with.

Yeah. I mean, the whole idea is you're going to take a compatibility quiz, helps your personality come out in your profile, which makes all the profiles on eHarmony way more interesting and fun to read. So I think this is the goal of dating sites, and I think eHarmony does it great. It's just finding somebody you're compatible with.

So get started today with a compatibility quiz. So you can find some and you can be yourself with. Get Who Gets You on eHarmony. Sign up today. I'm a nibbler, Dana, and I think you are too, but you always know me that I just have to keep the energy going. And I think because I learned from my dad, pistachios...

are a good source of just, you know, nibble, wake you up. They're always delicious. I actually named a character in a movie I did called Master of Disguise. The lead character's name is pistachio. That's how much I love pistachios. Ooh. Yeah. Well, wonderful pistachios have literally come out of their shells. It's the same taste. It's delicious, but...

It's a lot less work. As you know, cracking them open can be a little bit of a job. Less cracking, more snacking is what I say. That's what I say. That's what you say. And I'm going to use that when my wife goes to the store. Wonderful pistachios. No shells. Flavors come in a variety of award-winning flavors, including chili roasted. Honey roasted. Mm-hmm.

Sea salt and vinegar, smoky barbecue. Sea salt and pepper is one I like the most. And I'm going to try this jalapeno lime. They don't have a red, red necky flavor just yet. Yeah, look at him there. Red, red necky loves pistachios. I like to crack things open and put them in my mouth.

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Is it a sore subject? No, no, no. I didn't do the traditional audition where you come in and you do some characters and you do all that on the floor. But the comedy group I had in Boston had really started to...

uh, make a name for itself. And, and there was a little buzz and people all of a sudden in New York were aware of it. And, you know, it, it had a lot of people that went on to great success, uh, um, across the board. As I said, Lauren Dombrowski was a producer, head writer for bad TV. Jonathan Groff was, Oh, you know, Jonathan Dana at, uh, uh, Conan. Oh yeah. Um, uh, was a head writer for Conan. Uh, uh,

John Benjamin does all that amazing voice work. There was just a lot of folks coming out of there. We got an invite to go to showcase for SNL. We did it at Caroline's. I know Al Franken was there and James Downey. And...

Frank and some other folks. Smigel? I don't know. I don't know if Smigel is there. No, Smigel would go there. Jim Downey and Frank and then a handful, maybe... Lorne Michaels? The Farley era? No. I don't know. There were a handful of people who came down. 94? Would have been, no, like 92, maybe. Oh, okay. Maybe we'll trade him for Spade.

And we did the show and it was a fucking disaster. And we started like 40 minutes late. Somebody came in. I can't remember who it was. And, you know, they wanted to do time and they did a bunch of time with some bigger person. And we started really late. And then it just...

Yeah. Yeah. Really late. And it was a disaster. Someone bumps you on your fucking arm. And there were some people in, yeah. And we had a showcase. It wasn't like five minutes. We were doing like a show that had a beginning, middle and end and it had tech to it. And it's, it started like at least an hour late by the time we eventually went on. And then, um, and then there were a couple of people in the group that were just pushing too hard. Like,

you could tell they weren't being naturally as funny as they were. Bits we'd done a million times and they were just pushing too hard. It didn't work. Super Bowl. And I think Frank and Lefkowitz is fine. Grumbling all the way out. Adam Bader. But I did get an open invitation to write for SNL

to come on and write. And then I, uh, about a year or two later, I met with Lauren and I'll do that impression for you very quickly. Uh, excellent. I, I think Julia Sweeney had, uh, Rob Cohen, if you know the writer director, Rob Cohen, uh, Rob and I were brought, uh, to New York to, uh,

meet to be a writer with an eye towards women. It's the female cast. All right, whatever. So Rob had his interview. I went in and everybody, all our friends are, you know, because we had tons of mutual friends. We knew a lot of people at SNL at that time and they were all excited for us. And I went in and I met for about

I want to say like 40 plus minutes with Lauren in his office. And here's my impression of how that conversation went. In a nutshell, I'll be Lauren. One of you be me. I'll ask you a question. Just start to answer it. So David, what is your idea? What do you like best about sketch comedy?

Well, it's, you know, it's, I'll tell you what I like. I like it when, and it was that for 40 minutes, I barely, I would answer, I'd start to answer and then he would answer his own question. And then I left and I had no idea if it was good or bad. And everybody was like, wow, you were in there for a long time. Holy, but you guys, this is going to be great. I think, you know, I was like, I don't know. I have no idea. And then I, neither Rob nor I were hired. And that was that.

Not a bad story, not a bad experience, but just weird, kind of bizarre. There's so many people have weird stories around that. Now it's so mythic to be in a room with Lorne Michaels. I mean, that was 92, but like he is, I don't know what you call it, iconic now with the Godfather and whatever. Oh, yeah. I can't imagine people going in there now. But yeah.

I talked to him last night. You know, the one that really got away was David Cross. It was that thing of like, I answered every question I didn't know. I had a little toot right before he came in. A little toot. But he's like, like really, really good. That's all I got for you. It does check out because they were saying right for women like to us. And it was sort of a problem then. And they've, I think they've fixed it. There's so many great,

women on there, but at that time, exact time, it was a lot of like, it was so dude heavy there. Yeah, I think this would have been about 90, I want to say 94, maybe? Yeah, that's exactly. Somewhere around there? Mm-hmm.

Yeah. Yeah. I don't know. It seems like it's dodging a bullet in some ways. It's you did fine. I don't know. Go ahead. I went to visit, I know when, um, Sarah Silverman and Dave Attell were, were writing there and I was in New York for doing something and I went to visit them. I might've had a friend who was, uh, the guest that week. I don't remember, but I was in town and, uh,

I went to go visit them and I remember, uh, kind of walking in past some like, uh, uh, uh, receptionist type of desk, like assistant desk or whatever. And then there was this big room with a glass, uh, thing and a long, big, long table. And the writers when they're, and I went in, Oh, and there are tons of like pizza and Chinese food, like delivery. And then, um, I remember walking in and, uh,

And seeing everybody and everybody kind of felt like they had 50 pound weights on their, like their necks. They were just slumped over and there was no energy and no joy. And I remember I had been coming from a Mr. Show at this point where we just had a blast most of the time. I was like, Oh boy. You walk in. Hello, my baby. Hello, my baby.

We're sitting there in those fluorescent lights. It's funny. Yeah. Oh, I'm from the 22nd century. Like 20 minutes, you know, I'm from the 23rd century. Well, you know more than I do.

Hey, I just did a Mr. Show kind of template of what made me laugh so hard. Bob Odukert, can you have this sort of Lennon and McCartney thing of friends? I don't know. It just seems you have a...

Well, sensibility, shared sensibility in so many ways. We do. We're, we're, it really works so phenomenally well. We're, we're quite different people and with different backgrounds and, um, and approach comedy from different ways. But when we do it together, it's just, and we knew this from the very, very, very beginning, first thing we ever started doing. Um, and, uh, you know, it, it, it's,

it was like effortless and it all made sense. And the, the strengths and weaknesses I have balanced out his strengths and weaknesses, which were different. And, uh, you know, it was, it was, it's, it's been a highlight of my life, you know, to, to be able to work with him and, you know, call him my best friend. And, um, and, Oh, is that my daughter? There's a cat.

She's pretending to be a cat. Marlo. Marlo. Are you out there? Where are you? Oh, you're at the door. Oh, Jesus. Oh, that's my door thing. She's on the roof. I'm in my office. Where are you? Wait, what is it? On the talking box. Okay, sorry about that.

I thought I had my phone on silent. That's funny. Yeah. Marlo, what was up with Marlo? I mean, I don't know.

What was up with that? By the way, before we left- I find that really interesting. Bob Odenkirk, oh yeah, he's so fun to work with and he's just effusive. I don't know if he is all the time. No, this is going to be great. He's a great laugher too. But I'll tell you this one thing which I want to ask you about. This is a very human Bob. So we know him in the 80s and he's just coming along like that. And then he goes through all his stuff, Mr. Show and everything. Then he's on Better Call Saul.

So first he's on Breaking Bad. Then he gets that show. So he's on our podcast and one of my favorite moments. And he goes, he goes, I knew if this action movie worked, you guys are going to go. What the fuck? Now he's a movie star. It really made me laugh. Like what is going on?

So with you and him, like I was pulled out of a movie theater once in the late 90s by people didn't know I was ever on TV. And they just said, someone told us that you knew Adam Sandler. It's just sort of a weird trajectory. I had to happen this morning. Yeah.

but, but Bob, just the kind of, as he's a comedian and first and foremost, so he knew how funny it was. He just has. So anyway, how do you navigate that? Like you, your partners in crime. Now he's going off on this thing. You're still talking all the time. It doesn't affect anything, but with you two personally, right? Well, I mean, uh,

the, the, one of the greatest things about Bob as a person and as a, uh, sketch writer, comedian, actor, artist is he has no ego. There's no real ego, you know, and we zero. Yeah. And we, it's hard to hate. And I don't have that ego. I don't have that ego either. And, and it really helps to collaborate that way. And, uh, you know, I, I,

want for him and wish for him nothing but the best and all the success, success in the world. And, and him with me, vice versa. And he's a big supporter. He's at every show I do. If I'm in LA or Chicago, he's there. And, um, and he, you know, uh, we enjoy the whole process. So, uh, I think it, and I also knew that

early on, because he demonstrated it in certain sketches, he's a really good dramatic actor. I knew that was there. And it's always bothered me when people...

kind of make an assumption. It's just lazy that, oh, it's a, usually it's like, wow, I had no idea Robin Williams could really act or, oh, Jim Carrey really surprised me. Or, you know, when a comic is shows humanity. Captain Kangaroo has some chops. You know, I mean, it's, it's, it's just lazy thinking. And so people are like, wow, Bob Odenkirk, who knew?

Like, well, all of us who knew him. Yeah. It's the same thing. Like, well, a writer, he's just a writer. Well, a writer can't perform or direct. That's insane. They're just a writer.

But yeah, the Bob who of 2023 when we saw him. Yeah, there's literally no ego and no change of anything. It's like, yeah, you could not talk to him for a decade. And it's exactly just right there. And so you guys share that. And I guess that's why it's fun. That's why you get along. I mean, he did say on when he got his star Walk of Fame that you were funnier than him.

I was, yeah. He said, I'm funny too. It wasn't a false compliment, but yeah, David's a little bit funnier than me. In that moment. In that moment. Yeah. If you watch it, which I didn't, I was there doing it, but when I gave my little thing, in which I think I referenced you, David Spade. I saw that. I watched it. And then you can watch Bob...

leaning over my shoulder at the script. And you could just imagine him like punching it up in his head and making notes, you know, maybe Ted cut that out and maybe focus on this or, you know, well, the idea, I mean, the initial broad-based idea was you started reading an article from, from Hollywood reporter or something that had nothing to do. Oh, it's the variety. Uh, it was, um, Oh, some guy, what's that fucking guy's name? The DJ, DJ Khaled.

And, you know, who's everywhere and like, what, what have you done? Okay. And so it was all, it was an issue dedicated to DJ Khaled. It was on everybody's chair. The reason that I did it was they put it on everybody's chair there. Nothing to do with anything. And you want to hear a great, this is, this is great. This is so present day Hollywood. You know, Rosetta Stone, the most trusted language learning program.

If you want to learn a new language, which no time like the present, it's always fun to learn when you get older. I know. And it's not learning a language when you're older, you know, over the age of 20 is difficult. You know, I mean, all the high school Spanish I took, grade school Spanish, you know, all I can say is hola.

And hasta luego. So it goes out of your head. So now you have Rosetta Stone, David, tell them about it. Well, Dana, you know, more than anyone trusted expert for 30 years with millions of users in 25 languages. Uh, I mean, my gosh, they have Spanish, French, Italian, German. I don't think you can throw them a curve ball. I think they're going to know what don't they have the language you want. Yeah.

It immerses you in many ways. There's no English translations. You understand? I know no English. You need a Rosetta Stone for English. No English translation. So you really learn to speak and listen and think in that language. That's the whole idea of Rosetta Stone is that it sticks to your head. It sticks to your brain. I learned German out of a book. It just doesn't stick as hard. So this is the way to do it. Just don't type.

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There's a true accent feature. It gives you feedback on your pronunciation. Yes. And of course, there's desktop app options. There's an audio companion and ability to download lessons offline. Yeah, so that's great. Lifetime access to all 25 language courses Rosetta Stone offers for 50% off. A steal! And I do think that the off-label thing that... I'm ad-libbing now, going off script.

is that when you learn a language and you learn to pronunciate the words in that language, you start to learn about the people who live there and speak that language. Sort of a subtle, intuitive way of integrating with the culture. A little different, yeah. Don't put off learning that language. There's no better time than right now to get started. For a very limited time, Fly on the Wall listeners can get Rosetta Stone's lifetime membership for 50% off.

You just visit rosettastone.com slash fly. That's 50% off, unlimited access to 25 language courses for the rest of your life. Redeem your 50% off at rosettastone.com slash fly today. Homes.com knows that when it comes to home shopping, it's never just about the house or condo. It's about the home. And what makes a home is more than just house or

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We've done your homework. So we were on Vine, right? We, you know, his, his star is on, uh, on Vine just North of, uh, Hollywood Boulevard. And, um,

And we were all set there on the side, like kind of facing the sidewalk, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up, up

It's disgusting, right? There's the smell of human pee and it's hot and it's just a disgusting, awful place. I don't know where it came from or what business was releasing it or whatever, but this

gush the stream. I'm going to say a good inch and a half to two inches thick of water. And people have open-toed, like the women have open-toed high heels. And it's brown and dirty and oily and everything that's Hollywood. And it just comes rushing down. And so while this celebration of Hollywood is happening, people are like, oh, God. Oh, my God. Yeah.

it was just a perfect little if it was on mr show it would have gotten higher and more covering people's heads right it would have been just like and then they would have ignored it and they would just be like i don't know nothing's going on nothing's wrong it's like well when there's fame going on you're willing to i i'm willing to look the other way i just get so focused on the fame of it all and the fun

I'm on fire. I'm like, but I'm here. It's a blast. My star is down near El Segundo. If you know where that is, uh, it's by a El Pollo Loco. Uh, that's not on the map. Yeah. All right. Anything left for Dana Cross, Danny, David Cross, David, Dana.

Well, unless he comes back another time, I would, I, I, well, I have so many things. No, too many. Arrested development. We didn't, we didn't touch a minion mega mind. We didn't touch, um, uh, what's, what's up with Jason Bateman and what's, what's the deal with that? Yeah. What deal? Trash. Will Arnett. Yeah.

Don't pull any punches. What's the deal? Will Arnett. I love those guys. I love those guys. No. Yeah. Here are the people you want to see in a restaurant, and they wave you over to their booth. Oh, Bateman's a pro. I mean...

He so so many of the of the people I know that are the most down to earth, most equitable, gracious, gracious and and caring people.

In the world of Hollywood, were kid actors or born and raised in L.A.? Like the assholes, when people think about asshole Hollywood, those are all people moved there. But the people I know that were born and raised into it with kid actors are just super sweet, nice, genuine, good people. And Jason's one of those.

I do think the longer you're in it, you don't get tricked out by it much. So I assume if you start as a kid, you see this kid got the Lassie show and all the emotionally violent aspect to it starts to kind of tamp down. You see the sausage being made, as it were, and you know for a fact it's not as exciting and glamorous and it's a job.

People seem to forget that, but it's a fucking job, you know? I mean, my wife was a, uh, child actress, you know, and she has a, a lot to say about it. You know, there's a really good movie about that. If you get a chance, it's called Dickie Roberts. Uh, um, anyway, um, by the way, Jessica Walters played my, she was in a movie called PCU. One of the first movies I ever did. So I would follow her and things she did. So it was fun. Um,

She was kind of fun on that movie. She was pretty sweet to me. The cast is huge. Everyone loves Arrested Development. Then it got another life on Netflix, right? Is that right? Yeah. Good job. I just was curious because I was looking at that. Did that predate the American version of The Office? Were you in America? I think Arrested predated the American Office, but not by much. It couldn't have been by much. Because I know the...

I don't know, but I think it did, but it could have been different, but there's a certain, uh, I don't know what, well, the, the cinema verite. Yeah. The documentary style thing. Although we never, uh, the, the camera, the characters never acknowledged, uh,

The camera or the quote crew. Right. Which they did in the office. I mean, they went to the well on that thing like 20 times an episode. Somebody looking over going. That's a great way out of a joke. Steve Carell.

Steve Carell, what's up with that guy? You tell me. I don't know. Yeah, Dane is your best friend. David Cross, what's up with that guy? It's a good way to sound. Another very talented comic who's an extremely talented actor.

Steve Carell, you never would have thought, never in a million years, he'd be any good at anything. That guy's a silly clown. He's a clown. And he's like, what? Oscars? Give him. No, he's, and he's another person, sounds like we're doing Merv Griffin or something, but it's like, that's such a lovely human being and so unpretentious. Even after he was huge, he would go to the mall, his wife Nancy told me, just as, you know, didn't think it'd be a problem.

Then people were mobbing him. So I like the good ones. Let me tell you that. Yeah. David, thank you for spending some time with the...

dysfunctional couple of me and Dana. That's great. I'm glad to see you guys. You know, the therapy's working out and it's, it's, you seem to be copacetic. Well, I just want a newsflash. We have a talk over meter and we were up at 60% of the time you tried to speak. We talked about an average. It's right in the middle. It's not, it's a Steve Martin was slightly higher. Anyway,

But we have to be careful of that, this new technology. One day. I'll just leave you with this. If you're watching TV with your wife and a very handsome man comes on and she goes, oh, and you go, what? I don't get it. What are you talking about? That's what I do. That's my defense fallback. That's it. I don't know what you're talking about. That's your closing words. But.

Brad Pitt. I was just doing this to try to make him smile. I didn't work this bit out. Yeah, I should. But I think it's funny. Brad Pitt comes on television and you go, I don't get it. What's the whole whoop-dee-doo about this guy? Oh, I see. I see. It's a little reversed. Because you're threatened by the handsomeness. You're like, I don't get it. Yeah, I do that when I see Bruce Valanche. But maybe it doesn't work that well.

That's the one I get. That's just for you. Look up Bruce. That's just for you. But look Bruce up. Brad Pitt, Bruce Fletch. All right. Thanks, David. This has been a presentation of Odyssey. Please follow, subscribe, leave a like, a review. All this stuff, smash that button, whatever it is, wherever you get your podcasts. Fly on the Wall is executive produced by Dana Carvey and David Spade, Jenna Weiss-Berman of Odyssey, Charlie Finan of Brillstein Entertainment, and Heather Santoro. The show's lead producer is Greg Holtzman.