Laraine Newman
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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 1800th time you say, on the towel rack. Yeah. Thank you. Oh, 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. That's a nice one. Here's good, right? Here's Burge, right? I love how soft it is.

That's you waking up in the morning. So I do the hand so it gives a sense of... Now here's a crusher and I shouldn't even bring this out here because you don't deserve it at all. Here's the bird flying away. Thank you. Here's an old-fashioned dial phone for you, ancient. Okay. Ring, ring. Hello? Yes. What's that? Try to beat it and go a little louder. Can you do this sound? Hello?

Like Predator? It's just sort of a... No. Okay, can you do this sound? Can you do this? Can you do an octopus? Watch. Can you do Anthony Hopkins as Hannibal Lecter?

I can smell him, Garth. I once did Garth. You can smell him, Garth? I played Garth and Anthony Hopkins played Hannibal Lecter and we would entertain the crew on a movie we did together. I can smell you, Garth. I can smell Wayne. I'll do Garth. No, he'd be like, oh, hey, man.

Hey, you gotta be weird. It's all in the jaw. It's all you gotta do is the jaw. I remember Kristen Wiig at the 40th goes, why does he hold his mouth that way? She seemed a little upset. I'm from a woman who has 100 characters. I'm a laugh machine. I do voices and effects to make people happy. Dana, who is married, you were married in 1950. 1957. 1957, I got married. No, I met her at 19. When she was 19, I raised her as one of my own.

That's what Elvis did with Priscilla. Hey, Priscilla, you're 14. You've got to wait four more years. I'll bring you in from Berlin. When she was 20, she wasn't sexy anymore. I'd like a burger damn sandwich. Lorraine Newman is on the show today. Yes. Lorraine Newman, one of the OGs from SNL.

I'm very lucky, I would say, to hit that lightning time of being on the show that just blew the fuck up. And she has a true adorableness level. Like there's something very sweet about her. She's cute.

You know, when you're in college stuff, you liked all the women. I don't know if women understand how much men find smart, funny women attractive. David? Yeah, that's true. You're the bachelor. Tina Fey, I have a crush on Tina Fey. There's a lot of girls out there that just got that smart, funny thing, and they

They don't even need to be Robin Williams. They just have a clever thing about them, sort of charismatic deal that I like. Now, that being said. I don't understand. Where are we going? She is one of the original members of the original cast, the rock stars from 1975 on. Lorne Michaels, cadre of...

- Cadre. - Cadre of funsters. That's another podcast. - But she got to work with Belushi, Aykroyd, Garrett Morris, Chevy Chase, like what a fun- - Jane Curtin. - Mixed bag of great people. - She was a cone head for crying out loud. - That's really what I'm going for. She's a cone head and I did the cone heads movie and I didn't get to wear a cone. - And what, you know what? When did you first get that, hey, wait a minute, their heads look like cones.

And that's why they're called coneheads. When did you realize that? One second in. Did anyone take long? So let me give you a quiz, pop quiz. If their heads were oblong shaped, what would they be called? Oblong heads? Yes. Okay. How about this? Did you know that Arby's is because of roast beef, Arby? Nope, you did not. Well, no, slow down by three quarters. Arby's.

Rhythm and RB, RB? RB, roast beef. That's why it's called Arby's. Oh, got it. Okay. I didn't know Togo's was because it's to go. I didn't know that. Do you know Jack in the Box is called that because the owner jacked off in a box? I didn't know that.

No, but I did jack off in a box once. Let's look at a clip. My mother's maiden name was McDonald's. Oh, those late nights. Is that weird? All right, we better get to Lorraine. Lorraine Newman. I adore her. She's so funny and so charming.

I did a benefit once. She was there, brought her daughter. Daughter's a big star too. On the show, don't say what one. I won't say which one. Her daughter was like 10 and I was up there and I was kind of at the latter stages of my teen idleness. And so later on, Lorraine, I ran into her at the West Side, a comedy club in Santa Monica. She goes, you were my daughter's first sort of crush.

on an adult figure. And that was kind of flattering. All right, we got that story in. You guys, here's Lorraine Newman. That's my best story. You know what? I'll give Lorraine a compliment right off the bat, right? Ready? Everyone loves Lorraine. Lorraine, you have a great voice. And not that I'm flirting, but when you...

women say what or if people say what do you like about women one of my weird things is not that weird but aside from the basics oh I like this this that all guys like a voice is very interesting because it's very unique on every person and

Even as you get older people recognize your voice like they know mine from the Emperor's New Groove Which was a cartoon movie at a long time ago. And so when I'm in 7-eleven people no touchy. No touchy Everybody in my family all my kids know that reference. Oh, they know that you ever think did you ever think no? but I was telling that whole story just to get this they see if that they knew my movie and

You have a recognizable voice, David. You have a recognizable... And she has a good voice that's right off the bat. Lorraine has a very seductive, smooth...

feminine voice. You know where it really came in handy? E. Buzz Miller. Weren't you the girlfriend or something? Yeah, Christy Christina, a character that I never understood why anybody thought that was funny. I never, ever thought that character was funny. I just was like, you know, well, they gave me the part. I'm going to do the best I can. And they even made this kind of piece that gave me those

boobs with the, you know, the little bullet nipples because it was actually a rubber piece that went, you know, under the leotard. It's always a weird meeting that they probably don't have anymore. Who knows? Yeah. Well, okay, Lorraine, when you do a part like that, I think SNL people want to, and we can talk about anything, but on the SNL tip,

when Dane and I have been in that, in that mix. And it's probably similar when you were there, but is that Danny Aykroyd is writing something up or someone else, they walk by knocking your door and go, Hey, do you want to be in this thing? We're writing it up. It's Tuesday night where you play. Is that kind of how it goes?

The way that it went with you is exactly the way it went with us. I remember listening to Andy Samberg on a radio show and he talked about the schedule, like Monday, meet the host, pitch some ideas. Lauren says, work on that. Everybody works until Wednesday. She'll read through, you know, the whole thing, choosing what, you know, build the sets. Yeah, and you guys didn't have...

They probably ironed out a lot of the problems. You probably had a little rougher as far as. Oh, yeah. Well, we didn't have WordPress. I wasn't there during being online and stuff. So I did go back to host at one point. Bill Hader and John Mulaney were there. And they're like, oh, well, we'll click up this sketch that you did from dress that was cut in 1987. So they have everything in a database. I wouldn't even think of that.

And I, you know, you never know what's going to land with people. So I had done a sitcom with Mickey Rooney and he's the freakiest person ever. You know, hysterical. I have a Mickey Rooney story, but go ahead. Oh, Mickey Rooney. And so then I just took Mickey's lines. Some sketch Bonnie and Terry Turner were doing old fashioned movie stars. So I just...

told them stuff Mickey had said. I was the number one star in the world. You hear me? Bang. The world. So I just did Mickey's lines and I had prosthetic makeup. So I go there and Bill Hader and John Mulaney, they just go, our favorite thing you've ever done is Mickey Rooney. So...

- Wow. - Just one of those things. - Well, that's a great impression of him. What is the language code on this show? - Oh, you can say whatever you want. - What the mother fuck, what were you saying? - So I did a movie that I had nightmares that had been released and I would wake up sweating. And it was called "Revenge of the Red Baron."

And it was the kind of thing where I said to my agent, just ask for this amount of money. They'll never agree to it and be over. Well, they agreed to it. And it was a Roger Corman. It was a Roger Corman movie. OK. And I'm thinking, well, you know, Catherine Bigelow started with Roger Corman. But no, this was some schlepper that had been cutting his movies for 20 years. But Tobey Maguire played my son.

Clifty Young was in it. And a lot of it was written by Mike McDonald from the Groundlings and Mad TV. Okay, so it could be good. And there were some Groundlings in it. And so I thought, you know, Mickey Rooney would say those things, you know, I was the biggest star. And then as he's as he's hitching his trousers, when I was having my single and he was in my peripheral vision.

He would spit in his hand and make masturbatory gestures and then squirt the spit out of his hand like it was semen. Talk about painting a picture, Lorraine. Thank you. Thank you. Oh, man. Yes.

Yeah, can you imagine? I thought I was the only one that did that on sets. That's always a real fun one. I know we shouldn't speak ill of the dead. No, not at all. He was just the most bitter person. It was so funny. He had a .38 revolver with him, and he would pull it out sometimes. This grip is caw-caw. And he's kind of waving it around. She's reliving it in her head. I would go to work. It would be Rockefeller Center on the sixth floor, six years before I got on the eighth floor. And I'd hear him down the hallway.

Judy Garland never owned a car. Never owned a car. And then he would get really close to your face because they pumped her so full of drugs they killed her. He would talk until the air, there was no more air left.

And once you've worked with Mickey, I mean, Nathan and I had so many stories about working with Mickey. But yeah, he could be crude. He said he had an idea for a show where every character's name was a swear word. And he would act it out for like 20 minutes. Hello, Mrs. Fuck. I'm Mr. Shit. How are you, motherfucker? And it went on for like 20 minutes. Dude, I could get that sold.

Well, I actually saw him say to an actor, have you accepted Jesus Christ as your personal savior? Hey, would you look at the tits on that one? You know, it was like, right. You know, and he was phoning it in. He was in Sugar Babies on Broadway doing the sitcom. So we'd have to act to this guy who's like 30 years old, but is five feet tall. All week long, we rehearsed with him and Mickey would have giant cue cards. He was just

And he would always had cash because he'd been broke for decades. And Sugar Babies, he was making money on the sitcom. So he'd pull out like $5,000 and put it right up to your face and go, think I can afford lunch? Oh my God. There's too many stories. We don't want to make it all about Mickey. I'm so curious. What were you doing on the sixth floor for, did you say four years? I was doing, pretty long story short, I was doing stand-up in San Francisco, acting.

NBC people came up. I had kind of this innocent Timmy Lassie look going on. I was kind of funny, whatever. So I got a deal with NBC, a holding deal.

$50,000 upfront against things I would be doing. That's a lot. I was on the Marie Osmond Variety Show as a sketch player for like a day. But anyway, then all of a sudden I got a call from NBC, you're gonna play Mickey Rooney's grandson on a sitcom in New York. And Nathan Lane had auditioned in LA. We flew back out on a 747. George Burns was playing cards. Anyway, everything was surreal. And it was in Rockefeller Center. Wow.

On the sixth floor. And then I would go up to the eighth floor on Thursdays, watching them run through the thing, Joe Piscopo and Eddie Murphy and going, oh man, I want to be up here. But I was cast as a straight man for many years because I just had, I had no confidence. I had no, I had ambition, but I had no real confidence, which kind of comes full circle a little bit to your story. When I'm,

And watching Saturday Night Live from 75 to 80, you were the Beatles. You were rock stars. You were more than comedians because you were the first. And I was so in awe of the show, the idea that I would be on it. And I don't know how you felt because you get on and the show's not the show yet. It's still, maybe it'll get canceled. So can you just talk a little bit about that very, very bare beginning? Were you ever the first show of the 75? Yeah.

season. You're there and who's with you? Is everyone there? Chevy? Everybody's there. In the last, like, you know, the 11th hour, it was between Billy and Chevy. Really? Yeah, which killed me because I had never seen Billy except he was one of the first people I met. My first friend was Gilda Ratner and she took me up to a recording session for a National Lampoon album and

the one that's called That's Not Funny, That's Sick. So I'm on that album, but I meet Harold Ramis and Chris Guest and Landell Murray and Bill Murray. And so I got a sense of what Billy had. And then I saw his audition. I'm thinking, oh boy, you know, and then they chose Chevy. Wait, they waited that long? They couldn't have both of them? No.

That's what I thought. That's what I had hoped. But they had Belushi and Ackroyd already. Yes. And they felt like... Well, now they have 32 cast members. They could have... I know. How many was it with you guys? Seven. So explosive. I mean, I really want to talk through this a lot, but just for a second, I just, because of...

everyone's love of Gilda Radner and your whole cast, but she just seems so likable. I mean, was she just really fun and just a genuine... I mean, all of you...

And Jane, you know, I don't know, there's just a likability to that whole cast. But speak to Gilda for a second. Well, she was a really good person. That's nice to know. And she was the person that, you know, made a fuss over your birthday. Mm-hmm. And just. Very sweet. You know, she and I found ourselves in some pickles, which I talk about in my book. Oh.

And what is the name of the book? Maybe we'll get a big following. May you live in interesting times. And, you know, one was that when we did the New Orleans, live from New Orleans special, the technology, you know, for doing green screen and shifting from one set to another was like a minute old. And everything that could have gone wrong did. But.

But the days before, during the rehearsal process, Gilda and I were put into a room in a building at a part of town. We did not know where we were. We were scared to go out because we were literally getting mobbed. And we were in this room with nothing but chairs and a trash can with one of those lids that you step on a pedal and the lid goes up.

They forgot about us for four hours. We were in this room for four hours, and Gilda turned that trash can into a puppet because that's the kind of person she was. And, God, there's just so many times that she and I, for some reason, but we also just would have breakfast together before we went into work and stuff.

You know, I think it comes across, and I don't know if Lauren honed this later, you think about there's the funny part, there's the likability part, and then there's the charisma, and finally there's how might they work together, you know? Will they, you know, kind of like a sitcom, you know, you have this piece, this piece, this piece. But I think everyone who's gone through that, you never lose hope.

a certain kind of bond with your cast, especially unknown people, not famous at all, no money at all going on this television show. And I was 10 years later in 86, but you don't, you still feel that esprit de corps with, with your original cast. If you run into Dan Aykroyd or whoever, or, you know, it's an extraordinary experience. As you know, it is an extraordinary experience and I always liken it to a lifeboat experience.

Where, you know, you all survive something. Some of us didn't. But you all survived something that was very extraordinary. I was on Dennis Miller's show a couple weeks ago, and we talked about the very same thing. And he mentioned the movie The Right Stuff.

which I think of this scene every time people ask about the camaraderie of the cast and the closeness where they're backstage. I think Lyndon Johnson is introducing them. I've seen it many times, yes. Yeah, that scene where they're backstage and they're all just kind of looking at one another like, I guess we did this thing that nobody else has ever done.

You know, and obviously I'm not comparing our show to space exploration, but, you know, it was the same feeling. Well, I would say, you know, without that analogy, but in terms of show business, especially as the show grew live, I remember just doing a cold opening and one is the president or whatever.

And just the whole weight of the show is on you. And then there's that Joe Disco five seconds. And you're just...

You're like floating and then you're just reading the card and hoping that you're articulating. That is a lot of pressure, you know, I think in show business. I don't know if there's any more, anything that currently exists live like that. We came from that background. I'm sorry, what did you say, Dave? Everything I say is important, so everyone has to listen closely. Keep going. I was just saying that when Dana and I were on,

There was a chance you could get famous or just being on it, you'd get a little bump in fame even if you suddenly didn't click or whatever. But with you guys, you seem like a very sweet woman and Gilda and all those –

people together and not knowing that it's such a whopper and and getting the biggest hit out of it that anyone's gotten must mess with your head like you were saying just walking the street or getting breakfast and you feel like do i deserve this or why what's going on here and why are so many people thinking this is so great even though you think it's fun but i think i don't think anyone can prep for that

Well, you kind of, I mean, since you're part of this era, it really, when you think about the evolution of comedy from Laugh-In, and Lorne used to say, it's fucking Carol Burnett. I'm sure he loves Carol Burnett, but he had a thing about breaking in scenes when we were there. He didn't want you to break. Yeah. But the rock and roll George Carlin, Richard Pryor thing had started, and then

All of a sudden, this sketch show manifests itself with this kind of post-1960s, early 70s comedy sensibility, right? Well, it was alt comedy. That's what I've come to realize is that, yes, you had your show of shows and Carol Burnett and, you know, Laugh-In. Laugh-In.

But those were really mainstream and written by writers that were not our age, did not have our references or sensibility. And this was truly an amalgam of a bunch of really great minds like Michael O'Donohue and Herb Sargent and...

you know, Franken and Davis and all these amazing people whose tone and style had never been seen before. And then you also have the references that we all came with. I mean, you know, I came with these characters that I had done at the Groundlings and

So you talk about the format, that's exactly what I came from, is doing a sketch, running off stage in the dark, changing my costume, coming back in the dark, lights come up and you go. I mean, that's what I came from. And that's, you know, Jane came from The Proposition, you know, Gilda came from Second City and The Lampoon Show. So, you know, we all had that background.

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. 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. Honey roasted.

Salt, sea salt, 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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7-15-24 and 9-11-24. And Dell will donate $1.75 for each eligible product within your purchase to ComputerAid, capped at $1.2 million total. For details and restrictions, go to dell.com slash deals. Did you, were you the first or one of the first on television to do the Valley Girl voice kind of, or it...

It feels like that. I mean, because that is still around. I know. And it's organic, too. You're welcome. How did you hatch that? Where did that come from? That was in your early grounding time? I had always noticed, even in high school, that the people from the Valley spoke differently. And my twin brother was a surfer. He still is, actually. And...

So I'd go to the beach with him every once in a while. And, you know, there was this whole thing about the Valley surfers versus the Malibu surfers and the West side surfers. And, you know, but I did my ear picked up because I'd always loved dialects. I'd always picked up on them. There was, you know, when I was four years old, there was an orange Julius stand in Westwood village run by the Scottish couple and,

who would say things to me like, would you like your hot dog steamed or grilled? And I would just, you know, grab on to that kind of stuff. So you were doing that at age four? No, I wasn't doing it. I was noticing it. Yeah. You know, but then I was, I did start doing dialects very young. But that was, yeah, I started hearing that valley accent and realizing that it was a very unique accent.

So many people have used it. I mean, it's just... Well, it's become ubiquitous. I'm familiarized with your take on it. Did you do the thing, oh my God, or how did you process it? That became later. I don't know who did that. No, I think that Moon Unit did, oh my God. Okay. But...

You know, I break down that dialect in my book. Which is called, You Should Have an Interesting Life? May You Live an Interesting Life. May You Live an Interesting Life, right now, on everywhere books are sold, Ray Newman. Audible. Audible. And, you know, contractions like wouldn't, shouldn't, or couldn't would become wouldn't, shouldn't, and couldn't.

And ING endings were EEN, so I'm going there. And things like that. And then there was also words like bitchin' and super that came before. Like in my monologue in the Godfather group, there per sketch, I said I had to get super reflective.

It was that, that was the language and the dialect that I kind of twigged to that I love. That was great what you just did. I love that. Yeah, that is still around by the way. That was like super reflective. Can you do that again? I had to get super reflective. God, even that like voice grainy, that's out there too with Every Girl and the Bachelor. Yes. Lorraine, what is underneath that? I just want to know for a second. The process, I mean like-

Someone who talks like that, is it an elitism or is it trying to be cool? Or what is kind of behind someone who would change their voice? I'm just thinking out loud. I don't think people change their voice to it. I don't think they change their voice to it. I think that it becomes ubiquitous. Yeah. And is there a charm to it? A sexuality to it? I'm just wondering where it came from. But anyway, we may never figure that out exactly. Well, it doesn't charm me one fucking bit.

Because the stoner dude, the male version was like most like, I don't know what you're talking about, man. This is crazy, dude. But also if she does that, then everything, even Moon Unit, it's all sort of a spinoff of that laying the groundwork. Like, you know, someone doing Lauren the first time or Christopher Walken and everyone's kind of doing that version. But you're laying, everyone's like, oh, that's a thing now. So they're kind of playing off that one and building on it.

So that's the hard thing is to come up with the code. Frank Zappa? He loved that character. He absolutely loved it and wanted to do something with it, and it just never happened. And he's also... He was from Cucamonga. He was from the valley. Cucamonga, too. So he absolutely...

- Frank Zappa, I did him once on the show and Michael Thomas did such a great job with my makeup and I came out of the room and Eric Clapton was in the hallway. Sorry folks, name dropping, but that's what Saturday Night Live does. - That's okay, Michael Thomas, oh God. - He was my guy, brilliant.

So fucking funny. He made vampire teeth for me. Did he? Oh, Michael Thomas, for everyone listening, was one of the quintessential brilliant makeup artists and he could move so fast and do little things and you'd sit in the chair and you'd get more and more into character and he would keep doing stuff and then

He had such a funny ear. I was doing a show a few years later and I was asked to do all these classic impressions like Groucho Marx. It was an Easter special. I was rich little. And I didn't really have him. And so he taught me Jack Benny. And then I would go out and do Jack Benny. Oh, my God. And he said, this is how you do Groucho. So he also had an ear and he loved monsters. But God rest his soul. Yeah. Loved him. Loved him. So glad you had a connection with him. He was amazing.

Such a great. Did you start the Groundlings or you were part of the founding people? Yeah, one of the founding members, yeah. That's great. That's so cool. Wow. And that was in LA? Who knew? Yeah, who knew? So SNL is like the Groundlings, but suddenly when you leave, everyone has seen it. It's so funny. You can do a sketch, walk in your room and someone could text you and say, great one. I was in Oklahoma. I just saw it. And you're like, it's such a mind blower. Yeah.

Yeah, there's a thing going on in the Groundlings now where people would stay in the main company and they just wouldn't leave. And even though it's like, you know, they're on series television now, they just don't leave. So what they started to do to get them to leave was to do a retrospective and a celebration to just

- To get them out the door. - And I always marveled at the technology because they had the ability to film their sketches. And when we did our 40th anniversary, the people from the 1970s, we just did straight improv 'cause there was no, we'd never filmed any of our sketches.

But later on, of course, everybody had, you know, early Melissa McCarthy, early Kristen Wiig, early Maya Rudolph, you know. It was just great stuff to see. I wish that when I was there and it was sort of with all of us.

If you missed a sketch, then you waited for the rerun six months later. And if you missed it again, you might have been in the best of in the summer. But that's a long shot. And now I don't get to see the show as much. So if Monday on Yahoo News or wherever you are on your computer, sometimes it just says, here's a sketch from...

And they give you the best one. And then you go, oh, the show is pretty funny still. Even though who knows how much of the show it's always like hit and miss. But that keeps it alive. I think that's a big part of why it's still out there and still killing it. Well, now it's 1.6 billion YouTube hits last year for their season, which is extraordinary. And then it's now, I don't know if it still is, but Peacock, I think you can watch it live at 8.30 on the West Coast. So, yeah.

It's evolved in so many ways. The interesting part about you and Gilda and Jane being the first women and there's all these, you know, the society has evolved and we were talking to Anna Gosteyer who's another great performer and

Just the idea that how many women have emerged in such a big way in the last 20 years in some of the ones you were mentioning. But it was three on your cast. Then there was those intermediate casts. I know Julia Louis-Dreyfus was on. We had Jan Hooks, Nora Dunn, and Victoria Jackson. Jan Hooks. Yeah. Jan Hooks, she's supernatural. I love that reaction to Jan Hooks. That's such a good one.

So unbelievably funny. Yeah. Oh, God. Just balls out funny. Oh, God. And funny offstage. We had so many laughs. We would just get, you know, when you get so tired in a stressful job like that, you get laughing fits everywhere.

Oh, yeah. Like your little kids. I remember one time Phil had a suit on, the late, great Phil Hartman, and we called him The Glue because he was like our Danny Aykroyd or something. What do you need this week? And it was effortless for Phil. But Jan and I just saw his tie or something. It's like we were stoned. We were so tired. Oh, sure. That's a great place to be, though. Don't you love it? It is. You're just so weak. You can't not laugh. I have a question about Lorraine about...

You know, we had in our run, Chris Farley, you guys had John Belushi and Jen, Chris looked up to John so much. Cause they were sort of, you know, bigger guys and physical, very, very physical. I remember even in, in wardrobe, uh,

He would find pants for a sketch and he'd look in and it would say Belushi. They still had them. And he'd wear them and then he'd wear his pants over those because he wanted to have anything. And at one point I said, Chris, you're as good as Belushi. I mean, I hate to sound like blasphemous, but I go, we all love Belushi. And I go, Chris, you're at the point where when we go down the street, you're so good that I would put you in the same spot.

And he would never buy that. Never buy it. Never. And it was hard. Here's the thing that I have to say about all of that, because when I hear people say your cast was the best cast, I say, no, the cast that was on when you were an adolescent is the best cast. Because they've always had great casts. Always, always had great casts and great writers. And, you know, I mean, guys, your years had been,

You guys and the people around you, there have always been great casts. And people that don't even know ours. They said we're bad, and then later they say we're good. It's so funny that when we're there, they're like, you missed the good people. They were just here. You guys suck. And then later they go, Saturday Night Live dead. It's been funny since. That never ended. Lauren goes, Saturday Night Dead. It's going to get every year. It'll be a headline.

That's a good impression. I cannot do it. I let Dana do it. He's the guy. The problem with the critics, they're like really into their own thing. It's that thing of like, you know, you have to be really light on your feet. It'd be nice if this sketch was like, you know, funny would be a good thing. We love Lauren's sarcasm. Did he overcome saying things like, absolutely, or no, no, no,

no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no,

navigating it like Lorne. He was so good with the network and all that part of it. He was very good with the hosts and he also was, I think because he's a very, very smart guy, he could get all those Ivy League guys to come in and respect him. You know, the Harvard guys. Because I went to San Francisco State, but everyone, you know, they would all giggle when I would mispronounce a word and read through. And I'd go, you fuckers, I'll get you on the stage. That was intimidating. I don't know. You guys had great writers, Lorraine, but...

It got very Harvard-y when I was there from Scottsdale Community College and I could just tell it was very clear I was in over my head. And it takes a while to figure out, like, I don't know if you wrote, but I think you did, but how to write a sketch or how to fit in with these guys and just get to the level of

I just want to go and read through and say, I don't want everyone to go, what the fuck? Who wrote this? I just want it to be like, oh, we're not doing it, but it's sort of mixed into the bunch, you know, because sometimes I would write something and I didn't know how to write and I just got that yellow pad and

They would be like, that's eight pages too long. I'm like, well, no one is talking to me. Oh, God. No one tells you anything. Was that the same when you were there in the 70s? You have to learn it yourself or ask other cast members. Absolutely, yeah. Nobody tells you anything. And I didn't quite get that it would be good if I were to...

align myself with a writer who could really get me. But fortunately, it worked out that way anyway. And O'Donohue and Schiller and Rosie Schuster, they really wrote beautifully for me. And, you know, I brought us some of the material that I had done at the Groundlings. I brought it there. But that was basically how it worked because I did not know how I...

The things I did in the Groundlings were what we now call "in ones" or "down lefts," which were just character monologues. I am a shitty improviser. Shitty!

You know, so, you know, I don't know how to write a sketch. People think we improvise on Saturday Night Live, but you don't improvise. No. Yeah, people think you do, yeah. But backstage you do. You know, just for a second, Rosie Schuster came back, Lauren's ex-wife, one of them, and she was assigned to me. I'd just done this character in my stand-up. I didn't do it all day long. I never wore a dress. It was this church lady person. Oh, my God. And so we sat for a couple weeks together.

you know, making the talk show out of it. And she was the one who said, ah, church chat, you know, and she was very, very good. Oh yeah. Yeah. Really beautiful. Yeah. So that Lauren loves that when the writers in the cast get together. And I actually talked to a young cast member recently wanted to talk to me. I won't say, you know, who it was, who's currently on the show and struggling a little bit with the process. I said, well,

Whatever your rhythm of your character is, you know, collect your hooks or what makes it funny and crunchy to you.

seek out a writer that has influence and maybe would want, so at the ground floor, while the sketch is being written, your rhythms are being integrated. Don't wait where they've written jokes and then you're trying to put your character into it. Exactly. Make sure you do it together. So it sounds like you had that with Michael Donahue and Rosie and all the rest. Yeah. That's one, Lorne loves that thing too. It's like the Congress and the Senator getting along or something. He doesn't want one side to dominate too much.

Yeah, well, Conan O'Brien talks about not knowing how to write a sketch and how he really started out by just like telling somebody stories. And people say, yeah, you should write that as a sketch. But, you know, the idea that any writer would come there not knowing how to write a sketch. Well, I auditioned to be on the show. And then they say, me and Rob Schneider, and they go, you're hired, but they liked your stand-up.

But they like the writing of it, which is good and bad news because they go, he wants to be a writer performer. And then they go, oh, maybe Chevy was, I don't know who was, but I go- He was just hired as a writer. Chevy was just hired as a writer. Yes. Garrett and Chevy were hired as writers. Oh, I did not know that. That's cool. Yes. How long till Billy came on? Was it three years? Yes.

No, actually it was the second year. Yeah, because Chevy did like one and a half seasons, whatever. He was on the cover of Time or whatever he was. He just blew up from the show. Yeah. And then he always regretted leaving. You know, when he would come back and host, he talked about wishing he'd stayed longer. Sure, for sure. I mean, it's hard to get that again. I think once you leave it, you can never go back, you know? Once you what? Once you leave SNL, you're never going to do... I thought you said once you diva.

You never come back. Oh, funny. That's good. That's better than what I just said. So I did say that, Lorraine. Once you diva...

But once you leave, you can't go back to that experientially. And it haunts your whole career or life in some ways because it's New York. It's the grease paint. There's a horse in the show and someone's juggling and it's all chaotic and weird. And there's just nothing quite like that intensity of SNL. Or how hard it is. And you go, I could do that.

And then you leave, I'm sure Chevy after years, and he sees the show stays huge and even huger. And you're like, fuck, that was fun. I was in that. I was in the mix. Yeah, that's the thing. A sketch comedy is so fun. Yeah. You know, I mean, when I was back for the 40th, just doing sketches. Oh, right. So goddamn fun. Oh.

Oh, yeah. And the people you get to work with are always super sharp, funny. Yes. You get to look around and go, God damn, all these people are great. And then they go on to do great things and you go, shit, everyone was good. I was not wrong.

It feels like it's more pressure now, but you guys, when did you for yourself, Lorraine, so you're on the show and the show's not the show yet, but you're becoming rock stars. When did, you know, I think the audience starts to discover and they discovered Chevy first probably because he was on update and had an N1 at home base. It was like very potent Chevy. Yeah.

But when do you feel like, when did you personally get comfortable, you feel? Were you comfortable right away? It took me, I feel like 60 shows. 60? To get, I'd say I was better after the third season, fourth season. I mean, to be really having fun.

To go back full circle to like just enjoying it because everything is picking and wigs and going and then the cards and changing to get relaxed. Did you feel you had a breakthrough with a certain character? I mean, was it the Coneheads or any sketch you remember where I've got this, we're winning, we're a winning team, we're rock stars? Or maybe it was immediate for you guys. No, I was very young and I was very inexperienced. You were like 21 or something? No, I was 23.

but I was a very young 23. I was a young 23. That's what I have to say about that. But I was very inexperienced and I did not have a lot of confidence. And so I can't say that I ever got to a place where I felt comfortable. When I was doing something either that I wrote about

or that I really had an affinity for and felt like I could score with, those were great times. I mean, Marilyn Miller wrote this Barbra Streisand song for me. And I was just thinking about it the other day because someone was talking about, I think it was the documentary on Mr. Kelly's, and that Barbra Streisand does the intro on that. And I was thinking, you know...

It was a complicated song. I was the only one who could sing a little bit better than everybody else of the girls. And I just remember afterwards that kind of explosive applause when it was over. And as I'm bowing and my legs are shaking, you know, it was such a great moment and experience to have. But I didn't have a lot of those, you know. Did you, like singing, did you sit with someone...

We had Cheryl and Mark Shaman. We had Cheryl and Mark Shaman. Mark Shaman worked on the show? He did. Well, I was there for a couple of years. Then he went off and did movies, but he was there with Cheryl. Oh my God.

I didn't know that. This is just for people listening. You know, if there's a musical number, it's so much fun to sit down. Let's just say Cheryl was so wonderful and she could just play anything and you had a song you wanted to do. I think she said she did Black Magic Woman. Is that Santana? I don't know who did that. Yes, it is. She played the chords backwards.

for the church chat theme and stuff like that. Oh my God, how brilliant. Wow. But she would help you with notes and know we're going to harmonize and we're playing cowboys and we're harmonizing Woody Harrelson and she would help you and I'll speak to the, I want to hear your experiences. I had one freaky thing of I was in a booth with Willie Nelson. He had his old guitar and

And then he was learning a song, maybe I didn't, and I've seen him learn it in real time. Oh, wow. But you have those kinds of moments. In terms of the movies, the hosts that came along in those five years, does anyone stick out? Oh, the hosts? The hosts, because then you're meeting, like you had a lot of- You had the monster stars come through. It's unreal. Yeah.

Richard Pryor. Yeah, Richard Pryor. I had met Richard Pryor when I was 14 because he was friends with my sister. Oh, crazy. And he was playing the Troubadour guys, the Troubadour. Wow. He was playing the Troubadour. West Hollywood. Yeah. So I met him when I was 14. So when he came to host the show, I was like, ah, ah.

I'm Tracy Newman's little sister. Do you remember? And he was so great to me. He was just sweet. Always like there are three people who are my main influences. Eve Arden, Madeline Kahn and Richard Pryor. Those are like the holy trinity for me. Madeline Kahn's another monster. Did she come host?

twice oh how great yeah so yeah so that how so that's the exact example of what happens to you on saturday night lives you have this mentor who doesn't know and then you're now you're in a sketch with them i know it's all surreal right what about lorraine did i read that um you were stopped i mean this is where your career just hits a zenith when you got stopped by john and yoko is that true

Yeah, I was coming from a photo session with Francisco Scavullo. Jesus. I was in full makeup for the read-through with Jewel Klayberg. Jewel Klayberg. And I'm walking through the lobby of 30 Rock, and through my peripheral vision, I see these two forms, and they come into focus. Holy shit. John and Yoko. Goddamn. And as they pass in front of me, John goes, hi, Lorraine.

Not high, high Lorraine. Wow. And I was like Lou Costello in those series. Frankenstein. That's exactly what I was like. John Lennon. There were so many intersections that happened to have my cast with different people and Paul McCartney and so forth. But yeah, it was always bittersweet. I would love to have met John Lennon. Oh my God.

Yeah. Christopher Lee was the person that I was very excited to meet. I had lobbied for him to be a host for three years, but it wasn't until he was in a James Bond movie that he hosted. And God, was he a great host. Of course, he immediately said, "I do not want to do Dracula."

He's like, wah, wah. He's your Steven Seagal. Yeah. Yeah. I'm going to play Coco the Clown. I don't want to do Dracula. Lorraine, I was just saying that because when Steven hosted, I think I got a bad rap of being quoted in sometimes these stories that that's our worst host. But the truth is, I did like Steven Seagal and I liked his movies. And I was just trying, I was saying,

He was sort of known to others as a bad host. He wouldn't roll with the flow. And I think both of you know that the best thing to do if you're a host is to just put your hands up and go, what do you want me to do? And if you're Christopher Lee, we'll make it track that we won't make you look like an asshole. This will be a funny version. People like it. And he wouldn't do any karate monologue. And we wanted to do Kung Fu fighting and or something stupid. And he just was latching on to wanting to be cool. And I got what he was saying. He's like, that's I have an image of

And it was just too hard to trust us and talk him out of that. That's all. He wasn't a bad guy to me. Well, I didn't mean to imply that he was difficult. He was absolutely great. Sure. But a lot of people don't want to do that. Yeah, that's what I'm saying. A lot of people just say they get on there or the music. We had that a lot. The music doesn't want to do their hit song. You want to go, you get two songs. You could do whatever you want on the second one.

But the first one, can you please do your hit? You know. It's kind of when a host comes in, like, you know, there's an athlete or we had George Steinbrenner, a billionaire owns the New York Yankees. So George Steinbrenner. So he's got kind of, you know, he's a billionaire. And Al Franken pitched him something to the effect. In the sketch, he would be on all fours in a diaper with a dog collar. It's funny. Yeah.

Just like Al. He's not going to do that. I think it's really funny. Remember Conan was saying at dinner the other night, we saw Conan, he was saying he, he was, he had to, Bob Odenkirk had to go pitch to George Scheinbrenner and he, and he fucking hated it and said, I'm not doing that shit. Get out of here. And they leave and Lauren goes, give it another try. What? Go back in. They go, we have to go back in. Oh my God. I did a sketch once. It was during Matthew,

Broderick? Married to Sarah Jessica Parker. Broderick, yeah. Matthew Broderick. So we were all bare chested in diapers in the sketch.

And so the sketch bombs. I mean, it really bombs. I mean, it's dead quiet. And then you have to walk off. It's too busy. No one puts a rope. You're walking through 8-H through the audience with a big diaper on and a sketch that just shit itself. And then I looked at an audience member and did a little like, hey, how you doing, a little wave. And they looked away. Oh, man.

They were like embarrassed. That was in my first season. They looked away. Oh, the pain. The pain. I know. It's like, we're talking about humiliation. That's what comedy is. Dude, in a sketch, if it's bombing, it's the grossest feeling to sit there looking at the cards. Your next line's coming. You're like, we should end it right now. It's going nowhere. It takes your chances. The sickest if it kills a dress, and then on air, you're like, what happened?

I know that's the worst. Well, that's the alchemy of the show, you know? Well, it's sometimes the dress show is so hot and you're like, I don't like this. Yeah. Because then that air show is not so hot and a lot of invited guests. And then all of a sudden the same and it's a half the laugh. And then you've gotten spoiled with the dress show. But sometimes the air audience was the best. So you never knew. But it was a high wire act.

You know, Rosetta Stone, the most trusted language learning program. Oh, yeah. 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.

Designed for long-term retention. 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. Mm-hmm. Yeah, so that's great. Lifetime access to all 25 language courses Rosetta Stone offers for 50% off. A steal! Oh, my gosh. 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.

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Say what? Mebs? Mebs. What do you say in Coneheads? Mebs. M-E-B-S. Wow. I've been saying it wrong. I've been saying it wrong every time I stub my toe. That's all right. I was in Coneheads. I was in the Coneheads movie. Really? Yeah, I played... Oh, that's great. That's great. I played... You were in the Cone. I wasn't in that one, but I just loved it. Dana, it was almost jury duty. It was everybody. It was...

Ellen DeGeneres, Phil Hartman, Sinbad, Schneider, Sandler. I was too big at the time and I had a beach house and I didn't really... I was turning down a lot of things. I'm just processing this idea of when it came out, the idea that...

The character's name was what the character was. So the Coneheads had coneheads. So I always loved that. And that's why I said the church lady is the church lady, you know, or Dr. Evil is Dr. Evil. We see that sketch where he plays like a church lady. Right. Well, did that...

I mean, did Carol Burnett and Flip Wilson or whatever, did they do that? Because that was the first time I saw it. It's a certain knowing dry silliness that the character's name is what the character is. It was that pre-date SNL. But I love that about Coneheads. I don't know. You don't know is the answer. I don't know, Dana. I don't know what happened with Flip Wilson. Exactly. Yeah.

I love all those variety shows. Lorraine, do you laugh when you're going to do Coneheads in rehearsal? Does it kill at the table or is there any weirdness along the week going, what if this just does not work?

I adored Danny's writing. I absolutely adored it. And he could do no wrong as far as I was concerned. Even if it was like something really subtle and tasty that I knew the audience would not get. That was fine with me. That is fun too. Because you know, some of those sketches you're like, I don't care how it does. I love it. We need to do it. And Lorne's good at keeping stuff like that on. He's like-

I don't care if it doesn't work. This represents us. That's a good sketch. Jack Handy used to write a lot of really weird ones, and we all loved him at read-through, and he goes, put it on, put it on. That's part of the magic of the show is that that sensibility is allowed even if it doesn't kill. And yeah, Dan Aykroyd would write these long... He would talk really super fast and have all this language coming out of him. And you'd have to just figure out later what he was saying. But the Coneds was silly, and it was...

How many times did you think you did that? It seemed like it was on a lot. Gosh, I do not know. I just know that the one time that we did an extended version where we filmed us going back to Remulak. Remulak.

We had never been in the cones longer than the length of a sketch, but this was like a whole day. And the spirit gum started to burn. This is where it was anchored here and here and here. Oh, my God. And so Jane and Danny were in the front seat, and they just started smoking weed.

And I was in the backseat. Were you on location or something? Yes, we were shooting on location. Oh, I'd be terrified. It was all improvised too because, you know, we didn't get permits. We went to a gas station to fill the tank. He was walking around. Danny did a bit of drinking the gasoline. But, you know, it was like guerrilla because you got no permits or anything like that. And you're in your outfit. You're a giant head and everything walking around. I got a question. When you do Coneheads...

Did you have to do it either cold open or after update because there's so much work? It was always at the top of the show. When I did Gap Girls, it was so much work. They could only put it first or after update because that's the biggest chunk. You have update and music and that's like 12 minutes or something. And did you get stoned that day then? No, I didn't. I didn't like pot. I never was able to perform high. I mean, I tried it with a couple beers once out of nerves. To work and do, yeah.

Try it. Tried Stone once, didn't work for me. Well, you know, heroin is good for doing sketch work. I think the good thing about fentanyl is... Meth is what makes James Woods. The meth is what informs his choices. Marcy, please, more popcorn. Anyway... But, you know, that thing that you said about Lauren is very astute because that is what causes an audience to come to you. Yeah. You know, it's like you don't write for them...

You let them come. You write for us. Yeah. And you let them come to you. And some things like...

Like cheeseburger, cheeseburger, one of those, like they, that might not work the first time. There's a lot of sketches that might not work. And then by the time it comes on, you don't realize they really did like it. They had to watch it and think about it. And then their friends talk about it and you go, that is good. It gets, it's kind of hooky or even if it's not a catchphrase, just a smart bit. And then you go, Oh fuck, that's bigger. That was active and high energy. And I've said this before, but for me personally, when I was doing Johnny Carson on the show, uh,

and sort of a new way. Great impression, by the way. Thank you. My kind of my favorite,

thing because I did, I thought I enjoyed it so much. And I had Phil, of course, there that the drafts, I didn't. Oh God, I forgot. He did. God, I forgot he did it. You are correct, sir. You are correct, sir. Those of you at home who you're watching a television and that's how you're seeing the pictures. We are not actively in your living room. You know, the, how Johnny would include everyone in the country in on stuff. And I didn't care. And I was in my sixth season or something.

But I wasn't thinking whether it was going to get a laugh because I intrinsically knew it was so fucking, it was almost too funny. Some things that I'll watch sometimes are so funny that I know I'm going to, I can't even laugh as hard as I want to laugh. I'm going to laugh later. Because you want to hear it. I want to hear it and it hits you so hard. But the rock and roll sketches are easier. It was, you look at an old sketch, like even from Lorraine's seasons and you go,

I didn't even really get that back then. Like how funny it was. Like I was too young. And now you look back and go, holy shit, that's so well done or smarter. Cause I was just like looking for the easy jokes. I'm younger, you know? And then it, then you get older and you start to like different stuff, but you go back and go, Oh fuck. That was so good. Yeah. That's an interesting point. I've experienced that too. Yeah. Did you go on update a lot and do characters? Um, I, I did it a couple of times, uh, when, um,

When Sid Vicious murdered his girlfriend. There's a hilarious topic. Go ahead. I went on as his mother. I went on as his mother saying that he was a good boy, you know. And I think Brian was Sid Vicious, you know. And he just had the wig on and he just looked completely mad. You know, and I was just going on. I did my best, you know. I did my best.

I don't know. I don't know. We've had a great time here. Oh, my God. Michael Caine. But then, of course, I did the reporter, you know, Lorraine Newman, the reporter. Which was kind of in that sort of reporter dialect, in a sense, the language of reporters.

Breaking news right now. This is the whole, that kind of thing. I'm standing here. You know, I always had heard, you know, I heard that song. And, you know, you know what I'm talking about, Dana. The song that they do that is a newscaster song. Oh, right. That da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da.

Well, no, the song in their voice. Oh, got it. Yes, it is. You know, it is a song. I did it in stand-up, and I don't know if I got it from Robert Klein, but it was a newsman ordering dinner with his wife, if I can remember. It was like, a surprise come to my wife tonight. He's at a restaurant. She'll have the steak, meat and rare, and a cup of black coffee instead of the traditional cream and sugar.

I saw that bit. You did? I must have done it on a talk show or something. I could have done it on a talk show or stand up. That's a great bit.

I love, I'm like you, I love all voices, I love all dialects, and I so enjoy when I see people do them on Saturday Night Live, the new young cast member does a trump that is so brilliant. Oh my God. And so, and I just, that's like so funny and so brilliant, I have to like watch it later almost because-

He's doing so many hooks, excuse me, and the people, a lot of people, they're saying many, and he's doing all that stuff. His Biden is great, too. His Biden is just, his debut. Come on, this is good stuff. We can do this. We can do it. No, here's the deal. My father lost his job. I'm not kidding around here. We can, in fact, do better. We can. It's because I'm out of my mind.

Let me smell your hair. Biden is an interesting one. You know, the evolution of doing a president is that the country still has to get used to Biden. The kind of defensive guy has come out a little bit angry and then befuddled all the different flavors he has, but we're still discovering him, the whisper thing. And then he goes kind of loud. And sort of my dad would do that when he was 90. It was kind of a patronizing whisper because I know what I'm doing. Oh.

Oh, man. That's right. We can do this. Come on now. Number one, the one part. Number two, what the guy said. Number three, come on, folks. He's always admonishing us for not understanding. It's not rocket science. There's some really, really interesting new cast members.

- Chloe Fineman? - She's a groundling, she's a friend of my daughter Hannah's. Been telling me about her for years. - So I watched your daughter today, she's really, really funny and talented. I just saw her on Colbert 'cause I knew I was gonna be talking to you. And she reminds me of you, there's a droll, dry-- - Really? - Yeah, I mean, there's just a, well, I would just say this, her stuff is very smart, you know? - Thank you, yes, we're just, you know, beside ourselves.

She belongs there I mean she's going She is having a career She's on hacks now She's just really good And so I can't imagine what that must feel like

to have a daughter, have someone have success because you look at her mom and now you're the daughter and following a big act to follow and she's doing great. Well, her talent is completely different than mine. And my older child's talent is also, they're also, they started doing standup when they were 15 and they're on, they're on Losa Spooky's Julio's show. Um, um,

And they both, their talent is completely different than mine. And that is exciting to watch. But, you know, my only contribution really was, and this is so inappropriate, but

But when I was driving them to school, I mean, this is like grade school, I would play the Sklar brothers and Maria Bamford and Patton Oswald. Oh, yeah. Okay. Maria's great. Because mommy needed to be entertained, damn it. Yeah. You know, I was not going to listen to radio fucking Disney.

another second, you know. You gave him some good stand-ups. Wow. Yeah. But your daughter, when she came on Colbert the first time, this is Hannah, she did kind of like a little story about her mom and dad and sperm donors and stuff. And it was very, very sketch. That's why it wasn't traditional stand-up. That's why it reminded me of your style. Yeah, she's very different. And I saw her set at Dynasty Typewriter this last Sunday and it was awesome.

pretty much new material and 40 minutes set and it was so good and so interesting it was like how the hell did you come up with that stuff you know interesting wow well that's a a great way to close the podcast because that's that's like this gigantic perfect full circle yeah talking about that and you know the apple does not fall very far from the tree

You'll find. But anyway, that's very sweet, Lorraine. I'm so happy. I think I met one of your daughters or both of them at that Al Franken thing we did. It was probably Hannah. Probably Hannah. Yeah. She's, you know, whatever, just a sweet little girl. Yeah. Now she's, that's cool. Well, I've really enjoyed this a lot. I hope you did. This was so fun, you guys. I really did. And thank you for having me too. And good luck with it. I know it's a really fun thing to do.

Fly on the Wall has been a presentation of Cadence 13. Please listen, then rate, review, and follow all episodes. Executive produced by Dana Carvey and David Spade, Chris Corcoran of Cadence 13, and Charlie Finan of Brillstein Entertainment. Production and engineering led by Greg Holtzman, Richard Cook, Serena Regan, and Chris Basil of Cadence 13.