Paul McCartney
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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. They just go, hey, I'll go there. I'll get an Airbnb. So you won't regret it? Jesus Christ. What are you, the new Liberace? Put a new outfit on.

We're talking about Spade. I'm talking about Spade. No, we're talking about... What have you been drinking? Maylux. We're talking about Paul McCartney, the Paul McCartney. Yes.

This is our big, exciting first musical guest I think we've had on the show from SNL. Well, I'm a Beatle fanatic, and the fact that we got Paul, I'd sent him an email very casually, because I sort of know him, I guess, and just gently said, we'd love to have you. And then what happened next, David? I think we heard the next day. He said, what do we do on the phone?

Or do we do it in person or how do we do it? And so we did it within a week. Well, okay. So from my side of it, it wasn't so easy peasy. Hey, a lot of moving inputs. I was going on vacation. I was driving with my wife. My mother-in-law is Irish and stunning and she's 91 and my son...

And we're just driving through Wyoming and we're just having fun on our way to Montana for a reunion type thing. And then our manager goes, McCartney can do it on Friday. And they said, how was Friday for both of you? We both said, horrible. It's absolutely, couldn't have picked the worst time. I'm in the mountains, I can't even hear him. Friday, McCartney, beat it. So then I'm not vacationing anymore. I'm like, oh, so we're at this three star because we don't like fancy pants places. No.

In Jackson Hole. Where you can catch fish in the pool with your hand. Hey, I'm in Jackson Hole. And then you just eat it.

But the Wi-Fi sucked, and I'm trying to do, what am I going to ask Paul McCartney? And so I had to go up to the Four Seasons at Teton Village. Teton. And check into a room for the night. It was $1 million was the room. And so I went up there in a lightning storm, and then the next morning, I'm at a little desk. I'm trying to get the laptop. We're going to zoom in with Paul McCartney. I'm very kind of nervous about,

And then on the screen, I can see that David is having, you flew to New York and what's going on with you at that moment? I was heading to a sold out, I guess that's not really part of the story, show. Your sold out show? In Ohio. How many seats? That's not the point. And I was going there and I had to cancel my flight and do this, do this, and then go late to the show and hopefully I make it. And then my wifi didn't work in my hotel and it dropped out.

The 10 minutes while we're on screen with it, I dropped out from you twice. So I just said, if I drop out with Paul, go on without me. Oh, I just saw the technicians leaning in, guys with beards, there'd be a beard and then a rubber band and then more beard. They were just leaning into frame. You're just sitting there and it's like, is he going to make it? Our producer Greg is on the line. No, we don't know. Paul's going to pop up any minute. I don't know if you're going to be on it. All of a sudden we see...

Sir Paul McCartney in our frame. Hello, how you doing? So we spent a good hour talking to Paul McCartney and- I didn't know if I could joke. I wanted to go, Paul, I'm kind of Dana's Yoko.

I didn't, you know. No, I didn't either. That's the thing with famous people. You don't want to turn them off very early that, you know. So you're a little careful because you just want them to have a good time. We do get into what you Beatle fans love. I'm being one of them.

is who wrote what, when? We know there's Leonard McCartney every song, but who did what, where, when, how? And we do get into that with certain songs. And I realized that was really fun for Paul and just, and they're like in a bottle, Leonard's a genius, but Paul, um,

Did a lot with that band and there was a period of time where he was the cute one and whatever. And then I was going to say, oh, do you think you would have spelled the Beatles correctly if you had spellcheck back then? I did not ask him that. I did. I do remember two things. One, I paid about five years ago $125,000 for Front Row to Paul McCartney.

- Wait, wait, wait, 125,000? - Yeah, I mean, that's a mark. I mean, Ticketmaster is getting ridiculous. - It's getting insane. - No, I was at a benefit for, it's a whole story, but for Sean Penn for Haiti and you bid on these things and I sort of accidentally was being bullied to go higher anyway. But I went, met Paul, great. He came out with his guitar in that little tiny trailer and was singing and talking, gave me a drink. Hey, have fun out there. So I knew him a little bit from that, which doesn't really count.

And I also, in the old days, I took Brittany Murphy to Paul McCartney. Isn't that crazy? Wow. I think it was a date. I don't know. Paul and I, after I hung up- What a great- Front row. Second row. After I hung up at Jackson Hole, Paul called me and said, who was the other guy on the Zoom? Because he seemed a bit dodgy. Me. Yeah. I go, that was David Spade. Oh, David Spade? What is it? He didn't call me? He didn't call me?

No. I'm a professional superstar. Is that what I am? I went scooby-dooby-doo. And he went doo-doo-doo-doo-doo. And I went doo-doo-doo. So anyway, that's my Paul. He'll do a little bit on this podcast. He was fun, though. I have to say he was fun. Charming, fun, and funny. Yeah. A lot of quips.

A lot of quips. A lot of quips. You threw in some Lorne impressions, of course, right? He did go, you do good, Lorne. You'll find Paul is, he's just like a real person. It's like that thing of like, you know. But Paul is, he holds the mantle of the Beatles very well.

classy with it you know he doesn't you kind of you can't help but gush and I do gush a little bit I gush a lot sometimes I compliment you too much and you get a little red face you've never one time what I say you're the greatest you're always saying I'm like a young McCartney now I'm like John Lennon I guess I don't know what was I gonna say oh Paul oh he's one of the most famous people out there

Right? Is that fair? I would say globally, well, not, he's right. Who's more famous? I mean, there's Mick, there's Paul, there's a lot of people that are super famous and he's definitely up there. And the challenge of this for us as podcasters- Is getting to start the podcast. We're not doing it yet. It's just not yapping like we are now. It's just to ask the guests questions they might enjoy, ask them questions that they can't ask themselves. Yeah.

You know, Paul can't rhetorically go, you know, I did a lot with the Beatles. He can't bring that up. The reason I'm a genius is because – Yeah. So we have to – Can you believe how many songs I've got? You know, so – It's unreal. But it is fun to set the table for him and give him his props. And I do think weirdly Get Back did – and we talk about Get Back the documentary a lot. And I think it did couch Paul's place within the Beatles. Yeah.

a little differently. So if I were you, I would press play and I would have forward passed this a long time ago. So if you're still listening, I don't know who you are, but the actual interview is more interesting than these talking heads. Here's Paul. Is that him? It could be. It's a sighting. I like your environment. That's so cool. I live in a good environment.

That is a wonderful environment, Paul. You had a kitchen back there? He is spending the money. Let me go scouser for a second. Did you have a good brekkie, lad? All right, yeah. Thanks, man. Yeah, I'm just having my coffee. All right. And

Instead of I'm having my coffee, you say me coffee. I love that. We're a little hyperbolic, just we're excited like anyone else would be. Paul, please don't mention that I look like I slept on my face. Don't bring it up a lot because people are whispering already. No, I think you look lovely.

I want to make you an offer, Paul, before we start, just an exchange. So your people sent me Flaming Pie in 1997. You sent 200 vinyls out framed, and I got one out of the blue, and it's a treasured... I love the album, love that. And I happen to be in possession of...

that NBC gave me as a Beatles, capital Beatles, meet the Beatles signed by all four Beatles. And there's only 16 in the world. I don't know if that's true, but I will give it to you. I will send it to you tomorrow. If you want me to, cause you are, cause you sent me flaming by. No, you can keep it, man. You,

You can keep it. I was hoping you'd say that. Dana, you can send it to me if you want. No. Well, I suggest you send it to Charlie Finnan.

He's an Irish lad. Finn is Irish. He's a bit of an Irish. So, Paul, where shall we start? Where did you meet Paul, Dana? Where did I meet Paul? I met him at Lorne Michaels' house in Long Island in 1986. Can we say it? And I was out there. I'd gotten cast on the show.

I was nobody from nowhere, and it frequently got cast on the show, and then I was hanging out at Lorne's house. Lorne's very intimidating when you don't know him.

You know, he's like, well, you will come out to Long Island and maybe you could take Jack's room. And I was, Jack? And there was always, it's where Jack Nicholson stays. So I was in Jack Nicholson's room. And then one day he goes, because he's friends with Paul Simon and our Paul McCartney, but he never tells you the last name. He goes, oh, Paul's going to be coming by tonight.

So he makes you ask, I go, Paul? Yeah. Which Paul? He goes, that would be Paul McCartney. That would be. That was when I met you and Linda at Lauren's house, and you guys would put the kids to bed and come over, and we would chat when you played us.

a new song that had never been released that was very cool. We had a chat about tug of war. What can I say to that? I know. These aren't even questions. We're just going to talk for an hour. Yeah, we're narcissists, so we just talk about ourselves. We're not good at questions.

but you just speak to how you met Lauren, how I met Lauren or when I'm not, I'm not sure I can remember. Um, just, I've been coming out to the Hamptons forever because Linda's dad had a house out here. So, um, yeah. So how did I meet Lauren? Uh, it might've been on SNL. Um, um,

It might have been out here. There's loads of answers. I could pick one and sound genuine. Doesn't matter. In actual fact, I'm not sure. It was either at SNL or out in the Hamptons. Yeah, you'd have to meet him at the show, probably. That's where most people meet him. Did you have to audition to perform on the show? Yeah. I did. I sent him a tape and...

Yeah, he was impressed and he asked me to come to his house and I stayed in Jack's room. Did you find it haunted like I did? Yeah. I just kept hearing a voice. What's the matter? Not sleeping so well in your bed?

But now you, Lorne has been such a big part of our podcast because this, we celebrate all things SNL. And then Lorne kept coming up naturally with all the guests we've had. And he's such an enigmatic, interesting human being, but also incredibly funny. And he's kind of like,

The further you get from the show, the more you appreciate the job that he's doing. And I don't know how they may do it without him. I really don't. Yeah. No, I love Lorne. And like you, I've known him a long time and he's become a friend and not just the SNL guy. And so we can talk problems with each other like friends do and can sort things out. But

Yeah, no, I think he's very funny and very laid back. He always reminds me of Jack Benny. Yes, I see that. I think he molds himself on Jack Benny. That sort of slow motion relaxation. Very sort of laconic thing. Very deadpan delivery. And he has wisdom. He really is.

Very good at taking a big subject and then putting it down to one sentence. Because I was at a low point in my career, as there were many, and I was having dinner with Lorne and he just paused and he said, well, everyone knows who you are.

It was just sort of like, everybody knows who you are. It's a very good impression you do of him, by the way, Don. Oh, thank you. I've had time to hone it. I was shy about doing it for him for many, many years. And then finally, I did it. And actually, everyone does a Lorne at this point, which Lorne knows. And it's a great place to be. Somebody who's very relaxed.

Like you're about to do a sketch and you're terrified. And they're during the commercial break on 8-H and he would walk up and say, and he'd have a glass of Chardonnay. He wouldn't drink it. He would just hold it to relax you. And he'd say, oh, this sketch has to breathe. And that was it. So he's great at just encapsulating things. He would say things to me like that and I didn't understand. But when I, Paul, do you remember this incident on SNL when Sinead O'Connor was on and she tore up the picture of the Pope?

Yeah. Yeah, you heard about that. So when I was there, I was a writer and I was walking by when that happened. I didn't know the severity, the heaviness of it. I just – from Arizona, I don't know anything. So she ripped it up. So I picked up a piece of it and put it in my pocket and kept walking. And then –

I come around the corner and it's dead silent. This is the only time in history you've been a musical guest there that no one applauded, no one did anything. It's just dead silent. They went to a commercial. And I come around the corner and there's Lorne holding his Amstel Light and he goes, Irish...

And that was it. I don't even know what it meant. Irish people just tear up pictures a lot. Yeah, I guess so. He's throwing a, I don't know. So Paul. So yeah, go ahead, Dana. Give one because I was looking through all the songs and there are some real toe tappers in here, Paul. Oh yeah. Oh yeah. I mean.

I'm looking at all these and I'm wondering because we do stand-up sets and all that do you when you go on tour it's got to be such a heavy deal that you have a set list or can you change it or how does that go about yeah you can change it yeah I mean

Normally, we get a set list in rehearsal. Well, just so the whole crew knows what's going to happen. Of course. Occasionally, you know, if I'm feeling in a very fun mood, I will just say, we're going to do something now that the crew doesn't know about. And that's what happens.

a fun moment you know and i'll just we just throw in some song that the lighting guy doesn't know how to light but i mean normally to keep on themselves normally it's it's the same set and then if we've been in a place let's say we just recently we did uh fenway park in boston we did that two nights

on the run. So the first night we would have the main set. The second night we'd probably alter a few of the songs in case someone came to both of the shows. Ah, that's cool. So we do that, you know, we have the ability to sort of change the opening song or, I mean, we, yeah, that's normally what we do. We don't normally do much more than that. Let's say because, um,

You put a show together, it's like putting an album together. If you've got it right and it's working and it feels good for you, I don't really see the point in changing it.

Unless for the reason I just mentioned, which is, you know, you know, somebody's seen it all. And what happens is you end up even the dialogue becomes it gets like a stage musical because the dialogue is the jokes that work.

Of course. I mean, you can try and do a complete new dialogue every night, but you might find it doesn't work quite as well. So what I do is I say, I tell a story where I tell the same story. Because we got a guy who came to our show who holds up a card, 130 pounds.

It means he's been to the show 130 times. Wow. So, I mean, I love him. But I do say to him, it's slightly obsessive.

So that's the thing, but it really is a set list. Which we love. I have a follow-up. Listen to this. So Paul, you're doing this, you know your songs, you've got them down, and if you have something new you're going to say in between, does that almost get you more nervous if you're going to tell a story or do something funny in between because that's a little more unfamiliar? Yeah.

You know what? I don't know. My theory about nervous and all of that is that when we first started, I used to get really very nervous. I was trying to think why, because we were quite popular in the beginning even. Quite. My thought was, I look at the audience and I think,

They all hate me, so I've got to do something good to make them like me. That's where my nerves came from. I think they're all looking at me like, what's he got? And over the years, I suddenly sort of realized at one point,

Wait a minute, they've all paid to come and see me, so they probably like me. Once I realized that they probably like me, I really relaxed. And, you know, just got... So, yeah, I'm quite relaxed now. And even if I do some new stuff or try a trick, I'm kind of...

I'm relaxed enough to do it. What I started doing a couple of years ago was like, um, it coming to an audience that really loves you. For instance, if you haven't been there before, which I love, if you go to a town you've never been, cause they're more excited, you know? And I would, I would feel this energy coming off of it. It'd be like, Oh God, this is so great. So I started off then saying, um,

Just a minute. You know what? This is all so cool. I'm going to take a minute to take all of this in for myself. Then I walk off the microphone and just sort of stand there. Wow. And they all go, ooh. I love it. It's a great thing with the audience. But I just think, Jesus, I mean, it's a little bit flashed of me just not doing anything, you know.

that comes with the confidence of what I said, thinking they've come to see you. So even if you just stand there looking around and go, well, Elvis, Elvis in Vegas would just go and do a pose and do a pose and just be Elvis. And they wanted to love him up so much, you know, before he got to the song. So I think that the time has passed so much. So many people love the songs that it is like a church in a way, you know, because how much the songs have touched them.

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I just want to ask you, do you have any rituals before you go out? Something you eat if you want more energy? Like, I'll have a little bit of chocolate. Do you guys do a high five in the band? Or do you have any kind of stuff you're doing right before you go out? Because you're going for three hours, right? Or two hours? Three hours, yeah. Yeah, we do. You know, again, all this stuff

you start off just doing a couple of things and it grows into a ritual. Because everyone expects it at a certain point. You go, let's just do this, this, then we go on stage, blah, blah, blah. Ready, go. So what I do in my dressing room is my guy will come in, my show manager, whatever you call him, will come in and he'll say, okay, that's an hour. You know, 7.30, you're going on at 8.30. So I go, oh, okay.

and start my preparation kind of thing. And yeah, so I do certain things. I sort of boil a kettle because I know I'm going to do like a steam thing

Okay. I do that, and then I do, for some unknown reason, I question it every night. I do, with the boiled water, I get a salt. I get salt in a cup and put like a brine solution, which I then gargle with. I've no idea if it does anything. You don't know where the idea came from? Yeah.

Seems to work, right? Okay. Yeah, you know, so I do a few things like that and then sort of get dressed and into the sort of stage stuff. And then about 10 minutes before we're going on, I will go into the band's dressing room. We then have a little sort of routine session.

where we do, Rusty, one of the guitar players, will play a C chord and I'll go, let it be, let it be. And they all go, woo, woo, woo, the harmony. So we just do a little burst of that. And then we do a little burst of Hey Jude and they do the harmonies with that. And the guy comes and says, showtime. Wow, I love it. Oh shit, scary. Yeah, how fun.

Do you have, I saw Elton one time and backstage he had probably 300,000 outfits. Do you have probably less than that? And do you, because I'm like, Elton, can't you whittle it down to just a hundred that you might wear tonight? Like they have literally every outfit in America in the back. And then he goes, that one. Or,

Or do they pick or do you pick? Do you walk around and go this one? You're kind of pretty simple, right? Yeah. I pick my outfit. Yeah. I've got a few. There's not an awful lot of variation. Yeah, it's simple. I've got a few jackets, a few shirts, a few trousers and beetle boots.

So, you know, I can make that. So you're still wearing beetle boots, actual beetle boots, like with the two and a half inch heels? Everyone's got to wear beetle boots. That's just one of the sort of great things, which is like sort of memories and all sorts of stuff for me.

you know, what used to happen with the Beatles was we'd show up in what we call our civvies, you know, our street clothes. And so four of us would be different human beings. And then we'd get

ready for the show and with the Beatles often we'd have the same uniform suit so we yeah all together yeah so well then suddenly we were transformed into like wow this is like a group it's like you know you're it's like military you're like wow we're the same person and the thing was that um

When we first started going down to London, we'd found this place that made these groovy Spanish-y kind of boots with a heel.

And so when you got your outfit on and you pulled these boots on with the heel, you were now taller as well. Oh, it's great. You were a four-headed beast. You were a tall four-headed beast. Yeah, you were like a four-headed beast because it was the most amazing transformation in history because then you were just badasses, right? When you got out there and got into your groove. Yeah. You know, so yeah, that's...

So that was it. I've always liked that. And I always think, yeah, that's a good idea that you pull these boots on and you're, you're a little bit taller. So I've become very used to them as well, you know? So, uh, yeah. What's the thing you like? I wear sketchers. Um, but because Paul three hours, I, I, I'm not a great stander. So when I do my standup, which, uh,

everyone's excited about. But when I do my standup, it's an hour and it's tough to get through an hour. Three hours has got to be tough on you, but you seem to have absolutely no problem with it. I blame Bruce Springsteen. I blame him. I do. I literally, I know him. And I say to him, it's your fault, man. Yeah, take it easy. Because that guy. Five hour things. And the rest of us look, you know, measly if we do an hour. Yeah.

But the Beatles used to do a half hour. 30 minutes, yeah, of just hits. Yeah. Dig that. And then they throw you in a van and you just be four Beatles just flying all over the place. But you know how that, again, you know, it's lovely because you start thinking about what was the reason for that? Why did we do that? And I know when we first started playing clubs and things,

the promoter would come up to the comedian and say, how long do you do? And the comedian was like, four minutes.

He said, you can do four minutes? Yeah. Okay. So the comedian would do four minutes. So we thought, well, God, you know, if we could do like 20 minutes, it's a marathon. So we stretched it to like... It's an eternity if you do 18. But the songs were two minutes essentially in the early days, right? Just bam, bam, bam. She loves you. Yeah.

Yeah. Yeah, and the great thing was that John would do some of the songs, I would do some of the songs, George would do some of the songs, and Ringo would. So split that through 30 minutes. Yeah. And I mean, hardly done anything. So...

You shouldn't even get paid for that. Well, I don't know how you play the bass and sing like you do. A lot of people are amazed by that. You know, I tell people who ask me about the Beatles, I say, well, if Paul McCartney was only the bass player, he would be indispensable. You do other things as well, but I just love the way you play bass. You know, on the things I never wanted to

that job bass player was the worst job in the group and it was always the fat guy always the fat guy well you were exotic because you were a lefty

And then you had that Hohner bass for so long that it became sort of iconic and seemed pretty and lightweight. But did you find it difficult? Because you can't just strum. You have to hit all the notes perfectly, and Ringo has to stay on time. It seems awfully difficult, but you took to it. Did it take a bit of time? Well, you know, I had a lot of practice in Hamburg. We've had a lot of practice. So, you know, it's that 10,000 hours thing.

that um you know i started off malcolm gladwell and i did start off playing like the fat guys played which is sounds very kind of country western almost yeah um but uh eventually when james jameson came along

the great bass player and started going, he's like, what was the melody going? So that really turned me on. So I completely changed. And, uh,

you know, just enjoyed being a Mormon. Riding, riding around the neck, riding up and down. And, you know, because love me do, I got to say is, is a very simple baseline, but that's what that song required, I guess. But that was probably your simplest baseline. Yeah. Cause we, we do that in,

in the show now. You do? Awesome. In the show now, yeah. And it's funny because you've got a little autocue in case if you've got some of the songs have got a lot of lyrics. And so it's kind of handy to just check what the next verse is. Love Me Do, I find myself looking at the autocue and it's the same chorus. It's Love Me Do every time.

and then you went to please please me which seemed like such a leap please please me was kind of your next big your top tenor you know which was pretty sophisticated from love love me do oh yeah no the thing about that was again looking back on it is that um

It was all directed at our fans. Because we were new to this whole idea of fans and autographs. It was wonderful and new and wow, you know. So love me do. So there's the personal pronoun. So the next one is please, please me. Then there's from me to you.

And then there's, she loves you. I want to hold your hand. Was this intentional? I'm looking through you. Huh? I'm looking through you. I'm looking through you. So it's really trying to reach directly fans. I think

I think I should do more of it these days, actually. Let's, uh, let's do a redo. It's a good try. I saw you. I have a question for Paul real quick. Love it. Did you, did you know Elvis? Did you see Elvis, uh, back in the day? We met him. Yeah. Was there any competition or was he just sort of big here? And then you got here and it just two different things. Well, you know, we loved him. It,

It was like the start of everything to us. We're in Liverpool and you're listening to the radio or seeing the TV, and it was old-fashioned music.

or, I don't know, novelty songs and stuff. Okay. But then suddenly rock and roll came out. And so this creature, this Preston, it was like unbelievable. It was so good looking. His voice was so amazing. The way he danced was so incredible. Mm-hmm.

So, you know, we just loved him anyway. And loved him mainly. We loved him all the time. But after he came out of the army, we thought they ruined him because they put trombones on his right foot and things like that, which we weren't that keen on. But, yeah, we met him. We tried to meet him a lot. And, yeah.

we went to the house he was renting in LA and we all showed up there and like before again. Yeah. Knocked on his door. And there, there is where we get, it goes strange to,

Oh, really? Because my memory is Elvis came to the door and let us in. And Ringo says, no, we didn't. No, somebody else let us in. Someone else let us in. So I'm gone with my memory anyway. Yeah. But anyway, yeah, he was fantastic. He was really cool.

We thought he was just so good looking. He was voted, by the way, you know he was voted the most handsome man of the 20th century by some poll or some magazine. Yeah, well. That Elvis, so the best looking man can also sing better than any human being. I mean, it's too much. It was too much.

So he was lovely and he started playing on a bass. He picked up a bass. So I thought, well, here's something I can talk about. So we talked a bit of bass. And then he had what amazed us was he had a remote.

because in england they didn't have remotes for your tv oh sweet remote we'd ever seen so he put his thing in his hand and he goes and the television channel changes we go sorcery yeah that's crazy

Yeah, that's funny. His record, Moher Sam, we played that over and over, Moher Sam. How did that go? Moher Sam, Moher Sam. What was that song? Moher Sam. Moher Sam by Charlie Rich is great. It's a good song. So, yeah, no, it was magic, you know, meeting him. And so we loved him and everything. I continue to love him to this day, even though he tried to bust us to Nixon.

What? Oh, was that when he was a sheriff or something? There's tape of him saying, you know, those Beatles, they're American. He's been posting us on Elvis. I'm telling you, I don't trust no Beatles. I'm telling you that. I still love him anyway. But yeah. Oh, yeah. Did you go see him ever? Did you see him go live? Did what?

Did you go watch him at the Hilton or anything? No. I never saw him live, though. Well, we only got meetings, but I never saw him live. But he was great. Oh, yeah. Unbelievable, yeah. I mean, just the fact that you guys got in the same room, that must have been...

You're probably both nervous to meet each other in a weird way. Yeah, probably, yeah. Has anyone talked to you since Get Back came out, the documentary? Probably have done some interviews. Yeah. What's your feedback from the fans? I mean, I found it just revelatory and amazing and brilliant. I just loved it. And we were seeing you guys up close. I remember you...

Just the work ethic of you guys and the chemistry between the four of you sitting around. I don't know. What are your thoughts on it? Was it surreal? I mean, if there was video of me in my 20s doing stand-up, there's no record of me at that age. And you're watching yourself at like 27 or 28.

But how did you find it? I mean, you enjoyed it, right? Well, yeah, it was kind of magical for me because that period had, in my memory, had always been a little bit dark because it was to do with the Beatles breaking up. So the first Let It Be film was cut a little bit with that in mind. So I found it a bit depressing. Yes. And I never wanted to watch the first Let It Be film.

And so when Peter Jackson was slated to do this version, I said to him, Peter, you know, I'm not sure I'm going to like this because, you know, I got blamed for breaking up the Beatles. And in actual fact, it wasn't me. And I've been trying to explain that to people for years and years. And he said, well, okay, you took one more. But then after a couple of months he'd been working on it, he got in touch with me. He said, it's not like that at all.

He said, it's amazing. So there's just these four guys in a room and you're having fun and you're working together. So he sent me a little clip, which

really saved my life. This is a little bit where John and I, well, I'm working on, she came in through the bathroom window and I'm just strumming on the bass and John's on the piano. And at the end of it, I say, no, no, no, Monday's on, Tuesday's on the phone to me.

And I go, hello, Tuesday. How are you, darling? All right. And Tom immediately picks it up. Yeah. He's coming around. I can't remember what he says. He's coming over. We gave this little routine, you know, if I'm ringing Tuesday. And I thought, oh, God. Yeah, that's how it was. It was fantastic. So, yeah, I loved it. I really loved it. And, you know, with Peter, yeah,

um what do you call it re-remastering yeah make it so shiny and bright and making it sharp and everything and the sound and all of that um it was like having an old home movie of yourself oh my god yeah but perfect

And, you know, and I really, I forgave myself when I saw that. Because I'm thinking, no, everyone's messing around. And we're all messing around. We're goofing around. It's not like we haven't got to do anything in a month's time with these songs we haven't written yet. 14 songs. Yeah.

What were you forgiving yourself about? Why did you feel you had to forgive yourself? I thought I was too bossy. I thought that would have been the problem. But when I saw the film, I'm not being bossy at all. I'm just trying to get people to work.

Yeah. Totally. I'm trying to get us, you know, come on guys, you know, it's two weeks off, you know. So people have said to me, you asked about FEMA. People have said to me, well, someone had to do that. Oh yeah. Someone had to do that guy. So I forgave myself, let myself off. I thought, yeah, that's all I was trying to do.

I wasn't trying to be pushy or I was just trying to get the work done. And the other aspect I thought was great is that the way we just goofed around. That's what I loved. You know, you think, but John Cleese had a thing where it was work as a tool. No, no. Play as a tool. Yes. So in other words, you're goofing, goofing, goofing, and then you come to do the thing. So,

Yeah, we messed around with the song so much that it made them not intimidating. We'd done them as jokes. Hello, Tuesday. So when you came to do the song, you weren't as frightened as you might have been.

It was just this stuff you've been goofing around on. I don't want to interrupt that flow, but sometimes you guys would, to release pressure, I guess, is sing some of your brilliant songs from the years previous, but in a funny voice. That always struck me kind of, that was very funny. You all would do that. I mean, you just... Again, that's the thing, you know. You take the wind out of it in a way. Yeah.

Yeah, and I'd forgotten that we did that. You know, I kind of knew we did it, but I'd forgotten the specifics. So Peter's film then, he just shows us working on the song Two of Us. Oh, yeah. And John and I decide we'll do it like Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura. Ventura.

It's just the fact that, and we don't just do it for two lines. No. We like, we do the whole bloody song. It goes for minutes. And we're looking at each other and, you know, that spirit was always there from the minute I met John. Yeah. To the minute the Beatles broke up and beyond actually, you know. There was always that sort of, we're just two guys goofing our way through the world. Yeah.

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That's $50 off with CodeFly at BlueNile.com. BlueNile.com. I think sense of humor connects young cliques and friendships more than anything because that sensibility of what is funny and how are things funny and you guys had it.

You could see all four of you kind of knew when it was getting good. But I totally relate to when I'm working on something of wanting to get away from it because you're sort of problem solving and it gives you a headache. You know, I've got a feeling, I've got a feeling. And then you go away, go incredibly goofy and then come back. It was really fun to watch. I'm so glad that that is in this documentary. I must say, I was so pleased with it because I,

All the things we mentioned, you know, the way the picture was beautiful. It looked like it could have been shot, you know, a week before, except it has this beautiful color. These colors, the color grading is beautiful. The sound is amazing, you know. All the things that Peter's team did were so great. And then I say, you know, the way I was able to let myself off the hook,

And just think, you know, the thing is, guys like you who are in the business, all you and other people who I've met, they talk about what they liked about the film was seeing the process. Sure. It's riveting. We would call it the process. The process. But, you know. What?

Well, we were glad to know that there was the work ethic. The genius part comes in, I'll use the word here, is knowing when it's good. Yeah. And so you guys, not quite right. Not quite right. And then you would look at each other and get feedback. I always say collaboration is affirmation. It's not that they're riding the cords. It's like, yes, yes.

that, that, that. And it comes out where George was a little persnickety about, I've got a feeling. Is it about, is the song called I've Got a Feeling? And then later on he came to you and said, it's getting quite good, you know? Just little moments like that. But yeah, the process was just work ethic and going until it's good. Don't stop. We didn't know where we were going to do it. It was maybe going to be Libya. Yeah.

Or it was maybe going to be on an ocean liner. In the end, it was just up on the roof. Oh, yeah. I think you guys looked the coolest. That rooftop show, the beards and everything, was that the last time you did a gig together? Was that it? Yeah, that was the last time we ever played live together. But all the fear was gone. All the fear was gone. By the time you guys... It was emancipatory watching the struggle happen.

creatively and then watching you guys in the pocket immediately, like just so zoned in and then you're looking at John smiling, he's looking at you like, damn, we're good. At least that's the way I saw it, like holy shit. - That's true, yeah. And then John's doing a song and he doesn't know the words so he just gets Kevin all over the paper. Just the way we, it was not important.

it was we're just making a film on the roof yeah even though it was very important yes it's a big film but but being able to treat it like you know didn't this doesn't matter was a secret with the people the the people that uh are like me and newer that um

Every year goes by, there's just certain clips you will see of you guys. And they're the ones from TV. And so to get such a huge chunk of your life, it's not just a photograph. To get hours of you just sitting and talking, you get like, who would ever think they'd get to see that? If I saw it of myself...

a day in my life, 20, 30, 40 years ago, like not just a picture, it would blow my mind at what things I'd be looking at. I think I don't remember any of that. I do remember that. It's so riveting and authentic. And one thing, Paul, that you were like, you know, any songwriter goes through periods that are up and down. You were just going, you were kind of on an upswing of,

around that album and I think when you were like sometimes Ringo or people would stop and sort of look and I think you were doing Long and Windy Road or something and everyone the studio would get kind of quiet like uh-oh what's he got now you know so you were in a kind of an upswing creatively at that time right? Yeah and it was funny because if you're on a creative upswing the awkward thing is like I was saying I didn't want to seem like I was posse the awkward thing is

You don't want to be the guy with the good songs. I see. You know, you want to just let me sort of squeeze these in and shuffle them in between other songs.

I mean, it wasn't totally true, of course, because George was coming up with something and, you know, there was all sorts of... Well, Abbey Road was being hatched out there and then you went in the studio a month later and then you get this work of art, Abbey Road, where everyone came together one last time in such a brilliant way. So that's arguably right up there with any of your albums, with your lads. Well, you know, again, the nice thing about it is that

John, you could see John could tell I was coming up with like sort of, you know, let it be. Yeah, we could tell. A friendly competition. Yes. But I had to sing it a bit po-faced. You know, I couldn't go, let it be, let it be. You know, when I find myself, I had to be like, this is serious. Good old John, you know, he says, I'm out.

Heart the Herald Angels sing. He has to take right before the take. Yeah, he's got to take the piss. Taking the piss out of you. Yeah. And then I've got a straight face. I've got to try and do this song selling this. Yeah. With someone making faces. Do you underplay it when you play it? Just because you don't, it's not like showing off. You're like.

That's an interesting concept. Yeah. I've never come into the studio, well, mind you, none of us ever have, and said, I've got this great song. Yeah. We play it and stuff. And, you know, that was the great thing about John. He often did that. He'd try and take the mickey. Right before you. Well, they were brilliant songs and, you know, I mean...

But you asked him in the documentary, you said, have you got anything? I mean, you were asking for more ammunition, you know, like, I got these, but have you got anything? And he goes, I got a real, you know, something. It's going to be a basha. You know, kind of a non-answer, really. But he...

You know, when you guys did If I Fell, two-part harmony, and you sang into each other's faces, and it's such a love song. You guys couldn't keep us... I mean, it must take a long time to look at, right? If I fell in love with you, and you're looking at each other. I mean, how did you get through that? The song is wonderful, but how did you guys...

get through that take. I don't know. I mean, some of the time you didn't get through it, but then, you know, it's like you've got to straighten up at some point just to make the record. But now we, you know, I think the humor, like you said before, the humor from the word go of eating, John, it was, that was what we loved about each other. And again, you know, you couldn't say anything

You loved each other. No. Because you're Liverpool guys and you're trying to be hard and you're trying to be tough. All right, man. Yeah, yeah. It's okay. Yeah. It's not bad.

So you never really praised each other at all. Right. But you did it with humor. Yeah. And that was the Beatles. He just goofed and sort of said, yeah, it's all right. That's what John Lennon had said about Pete Best to your point. He said, why? He goes, he wasn't a Beatle. And the Beatles are humor. You know, Ringo is really funny and George and all you guys were so funny together. One thing I want to ask you about, which I find interesting, like if John writes a song,

And then he shows it to you and you're going to play bass and you're going to write some really cool bass. And did he ever just sort of go, Hey, thanks for the bass part. Cause even in she's so heavy, some of the stuff you're doing on Abbey road, cause after these remasters, we finally got to hear your bass and Ringo's drums and,

That's why the Beatles are still evolving as an idea. But your bass playing on some of his songs, he must have really loved the riffs you were coming up with, Dear Prudence or Come Together. Maybe you did that little first part. I don't know which ones you did. I think so. The thing was when we wrote them, like you say, he'd come to me or I'd go to him. That was two acoustic guitars. Mm-hmm.

So there was no question of bass. Bass came later. That was like an afterthought. So that, and come together, that was a special circumstance because he came in and he basically brought in a Chuck Berry song.

Chuck Berry did a song called You Can't Catch Me. Okay. It starts off, you come all flat up, here you go. It's the exact opening line. So John brings in, we're in Abbey Road Studio number two, and John comes in there, he says, listen to this one. Boom, chicka, boom, chicka, boom, chicka, boom. You come all flat up. And I'm going, John, John.

You can't catch me by Chuck Berry. Yeah, no, but it's good though, isn't it? And I said, no, you've got to do something with it. So that was a case where we had to get it out of that Chuck Berry tempo.

You know, you couldn't change that opening line. It's just such a good opening line. And John had to pay Chuck Berry for using that. Oh, okay. He come on flat top. He got... Early sampling. He'll be like, slowly. So you wrote that bass, that... That was the opening. You wrote that bass line.

I was on the session. He comes in. No, no. Got us to hop out. We slow down. You know, got to do that. And suddenly we had this swampy groove.

And then John just said, hey, come on, clap up. He started singing on top of it. And it just all came together. It's one of the best openings of a song. And also him going, you know, he goes, shoot. I mean, that is just... When you guys record that shit and you hear it back in the room...

Or you go into the engineering room and you, I don't know, and you hear it back and you know it's so right. What a high that must be. It was, man, yeah. I must say. What about writing it? I mean, the words are so crazy. Do you guys just try to out-crazy each other on the lyrics? Or did you write the whole thing or does everyone just throw in something? No, it's a funny thing. You know, I listen to songs these days and a lot of songs make sense.

Whereas, you know, we're going, here come old flat Tommy. You go, do you have all you got? The realist. And,

The truth is because we loved that kind of art. We liked the realism. We got it. We liked the sort of crazy words and stuff. So, you know, whereas we would try and write songs like Let It Be or, you know, more sensible songs kind of thing. Yes. We also loved the crazy stuff, you know. Yeah.

And so, yeah. Well, everyone tries to figure it out too, which is even more maddening. Yeah. But yeah. So, you know, that's the thing. I think what was good about it is that if you look at all the Beatles songs and hopefully my songs right through. Yeah, for sure. There's no two that are the same.

Whereas you got a lot of recording artists who were, you know, we used to say the Supremes were great. We loved them. But it was Stop in the Name of Love or Baby Love. You know, it was kind of the same record, just, you know, they kept the same style. We always tried to switch it. So it'd be like, Oh my God. Come Together. Yeah. Yellow Submarine. Yeah.

Right. It was like, yeah. A day in the life or, you know, uh, here, there and everywhere. Uh, she, she's leaving. Now, Paul, if you do something like a day in the life or even like later with Admiral Halls, I'm just, I'm just thinking of random ones, but when there's so many layers to them and so many change ups, I don't know as much about music as Dana. I don't,

I don't know anything. But it's so interesting to listen to, like, where do you stop? Where do you think this is it? Or where is it too much? Because you always seem to land on exactly what it should be. And we don't know the other versions, but it must be tough or with your bandmates to say, I feel like this is it, or we need one more this in it. Because they're so...

so mystical the way they come together and stop and start and the arrangements. I mean, in those kind of songs, that only just happens in the writing. You know, luckily, unlike a lot of people these days, a lot of people will go in without a song.

The discipline that we sort of learned was you had to have a song, which does make a lot of sense. Yes. And we have recordings on the Escher tapes. We have recordings of you guys working out the songs. All of those songs, like Day in the Life, we knew...

that was going to happen. Oh, well, this bit comes now. And so we had the framework. And then with me, like live and let die, you know, I knew that was going to be from Uncle Albert. Yeah. You knew that framework. And then you went in.

and gussied it up kind of thing, you know? I put Live and Let Die. Solid gussying. I put that up with Goldfinger. I think that is, it goes so avant-garde with the keyboards in the middle. It's a big song. And in concert, you got the lights going, explosions. And we got all the explosions and that.

Yeah, it's great. The guy who does our explosions, our pyrotechnic guy is called shaky.

Perfect. Good old shaky. You're not going to feel any heat, I promise you. Is Day in the Life, was that sort of, it's hard to pick a number one, was that vote is the best one? The favorite for the fans? It's pretty damn good. I mean, what happened was John came to my house in London and I've got like a music room up on the top floor and

And so he came up there and we sitting around and he starts, it was his song essentially. And he starts doing this. I read the news today. Oh boy. And so we were working into that. And then after that, we're going to go to a second verse and then all that.

And then we get to the bit, I'd love to turn. Oh, yeah. We're looking at each other thinking, we're really being naughty boys. Yeah, yeah.

Hey, I'd love to turn you on. Were you allowed to say on? That was probably pretty controversial. It was a bit, you know, yeah. But it was like we knew as we looked at each other, we knew, yeah, we've got to do this. And there was this little conspiratorial look between us. It's like, oh, yeah. You're getting away with it. I was always good at throwing something a little bit,

It was like, you know, talking back to being a naughty schoolboy. Yeah. It was like, you know, doing something that was a little bit, but no, that was a great song to write. What about when it goes, ba-boom, ba-boom, psh. It's just like, it's got sort of a haunting feel to it when you're singing. I mean, Ringo's Tom's, yeah. Is that what it is? Yeah. Ringo's Tom's, psh.

And then woke up, got out of bed. All of it fit together so beautifully. It's just one of those magic things. I guess you can't predict it. You hope, but you know what I find interesting? Not just we have only have so much time. How much the medley has gone into higher esteem as magic.

later on with your fans on the side two of Abbey Road that you put together with you and John. And it sort of is like worked out to be a perfect mic drop for the band. And in the end, you know, so that whole thing is, I love it. Every time I'm on XM, listening to the Beatle channel and that comes on and stereo and cars are amazing now. So I really feel like I'm hearing it like maybe you guys did or something, but that, that piece of music is extraordinary. Yeah.

That's not golden slumbers where he goes, oh yeah, that's all in there. Oh, when you rip that out, that's... You never give me a... I mean, what I say, one of the great things about...

technology is that if you go into a museum, you'll see Winston Churchill's old papers and they get older and crinklier as the years go by. Beatles stuff gets brighter and sharper and more wonderful as a technology. So you can suddenly hear it in surround sound. Yeah. Every single little thing.

And that continues. Yeah, it's extraordinary. You're hearing all these little details that you kind of didn't know were there.

So I think that's a kind of place. I think the Beatles are. Some people say, why are you remastering all the time? Why'd you do that? You know, they say, I like. Who are you? I know who comes up to you. I want to meet this person. What are you doing? What are you doing with the remasters? There's plenty good enough. Yeah. Yeah. You know, and it's like, no, no, no. It's really good. In fact, we're just about to do, I think it's revolver.

I was with Giles Martin. George Martin's son was kind of in charge of all that stuff these days. Giles Martin. It's pretty amazing. The details, it's lovely. Revolver is another one. It's hard to pick. There's so much genius flying around, but Revolver was very special. When I went back when they were remastered, I listened to...

beginning to end and that one did kind of stay in my head a bit there was a some kind of revolution going on with that you know i mean you had eleanor rigby on there i mean it was just just yeah no it was tight it was a good time for us creatively you know because as i said earlier it's like we we knew we didn't want to repeat ourselves so you know i would come up with um

Eleanor Rigby or something and bring that in. For no one, another one. And George Martin would sort of say, you know, listen, this would be great with just strings.

And the others would all agree. I mean, when I brought in yesterday, I played it to the guys and sort of said, okay, you know, like, what are we going to do? And they'd ring me and say, well, I can't put any drums on it. And George, well, it doesn't need any more guitars. So it was just me on my own. George Martin came in and he said, string quartet would be great. And I said, no, it wouldn't. Wow. Oh, so you stood up. Because we're a rock band, man.

So he was very clever. George was the ultimate producer. He said, well, let's do it. And if you don't like it, we can take it off. He was such a gentleman. When you see him walking around, even get back, he's very well dressed. And there was just this gentlemanly quality about him. Very calm. You're lucky you didn't have Colonel Tom Parker. That wouldn't have been. That's the difference between you and Elvis. He had bad management.

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They have Spanish, French, Italian, German. I don't think you can throw them a curveball. I think they're going to know. What don't they have? The language you want. Yeah. And immerses you in many ways. There's no English translations. You know what I'm saying?

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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. I don't know how much time we have, but I just wanted to talk a little, just a little bit about some of your recent stuff. Egyptian Station, especially the song, I Don't Know.

And it seems like journalists, who really cares what they think, but it seems like they're a little more enamored. I mean, your peers are not putting out this kind of stuff. You know, McCartney 3, which I just loved. I always like specific compliments, a deep, deep feeling.

is such a magical song about the fist fight in your head between the light and the dark is the way I look at it, you know, and also all the pretty boys is so sweet. But anyway, um, you've just been so, uh, you're just going at it and you have your book of lyrics, 1956 to the present. And then you've got your album. Then you just did a tour and Bruce Springsteen's your friend that how cool is that? Yeah.

He's, yeah, fun seeing you two in Glattenburg together.

Yeah, you know, I feel very lucky because of that. Because, you know, and I do, I'm a little bit amazed at the fact that I'm still into it. Because, you know, I sometimes just think, you know, I should be jaded by now. For sure. I am. I should be fed up with this whole thing. But, you know, each time I do something like McCartney 3, which is basically just lockdown fun.

You know, that was something to do. Lockdown Fun. That should be the name of the album or the subtitle, Lockdown Fun. Yeah. But, you know, that DP feeling was very indulgent because it wasn't going to be an album. Yeah. Yeah. This is just me playing around in the studio. But, yeah, no, I love what I do. I feel very lucky to be

a songwriter, you know, it hits me occasionally. I go, shit. I've ended up as a musician. I've ended up like as a songwriter. I never intended that. You know, I was,

I wish I was an English teacher. Well, you're teaching us all how to keep going. There is no reason to stop. And these songs you've come up with recently, Queenie Eye from the new album. I think you're in another kind of upswing creatively these last few years. And so it's remarkable and amazing. And we love you because we can say that now because it's 2022, because your music tells us who you are.

and you're sentimental and you, you're, you're sweet, but you also, you know, deal with everything we all deal with, you know? And so it's been, well, I'm glad I came on the show cause you know, I'm getting loads of adulation and you can adule anytime. You know, Paul, every, every question we do sounds like the Chris Farley show. Uh,

I do have to say that when you did the sketch with Chris on Saturday Night Live, that is a classic. That was such a great one. I know. That was so, so lovely. Yeah. And everyone was in a jealous rage quietly watching that he got to hang out with you. And it was one of the highlights of his life, he said right after. And it was so good. I like when he said, and in the end, the love you take. And he said, is that true? Yeah.

Is that true? And you go, yeah, I like that. You played that so well, by the way, in the sketch because I rewatched it the other day. And I was like, look at Paul. He plays this perfectly. You could screw that side up too, but you did great. There's a couple of things. That was like my favorite SNL thing. And then I did a thing with Martin Short.

Yes, I watched that last night where you're penning the triangle. I really love that. And Martin Short was trying to break you. I mean, he was so committed screaming at you that you can't sing, screaming at Paul McCartney, quote, unquote.

Hilarious. It's hilarious. And then that was such a cool transition and the thing opens and then you go and play Christmas time. Yeah. That was so, will you be at SNL on the 50th? I guess, have you picked out what you're going to wear? That's in three years time. Yeah.

I'm going to wear beetle boots. You know what? If you are, I'm going to wear some too. I'm going to wear some too. I want to be 5'10 1⁄2". I'll take 5'9 1⁄2", whatever. We want to be 2 1⁄2 up. But anyway, Paul's...

This has been such a pleasure. I really enjoyed it. Yeah, Paul, thank you. Every time I see your show, you give a thousand percent for people to go see it. It's such a great, everyone, everyone, they know all the songs, sing along and it's such a blast. Look forward to seeing you again, buddy. Yeah. Yeah. Okay, man. Thanks a lot. Thank you, boys. I love you. We can say it. We could say it now. Love you too. Bye-bye. Bye.

Hey, what's up, flies? What's up, fleas? What's up, people that listen? We want to hear from you and your dumb questions. Questions, ask us anything. Anything you want. You can email us at flyonthewallatcadence13.com. All right, Dana, we got a little AMA, ask us anything. Let's do it. AMA, which means... A-U-A. Master... Ask us anything. Ask us anything? Wouldn't that be ask...

- It's usually ask me. - Us, U-S-H-P-A-U-A. Ask us anything, what's the M for? - It was ask me anything, that's the term. - Oh, ask me anything? - But it's us. - I don't trust this. - Jose Sanchez Fornier. Fornier, I knew a kid named Fornier. - Jose Sanchez. - From Puerto Rico. - So Sanchez is his middle name? - I don't know. - His last name is Fornier? - Shit, that should be the question. - Fornier. - The question is love the podcast. I like they start with that, it's smart. - Thank you, Jose. - You're both great interviewers.

We found out that was a lie. This is good. The lie detector. That was a lie. We're not great at interviews. He says, have you always been that way or was it something you developed as your career evolved? Keep up the great work. Geez. Well, first of all, I've got to take a moment. I'm getting vapors just accepting the premise that we're both great interviewers and how do we possibly do it and keep up the great work? This guy's the nicest. We got to send him a fly on the wall coffee mug.

Yeah, we got to get our merch going. We don't have. That's a real question. Where's the merch? Do we get questions about merch?

Yes. Okay. David, you want to answer this first? Cause I have my own answer. I think we are okay interviewers, but we're good at talking over each other and we're good at laughing at our own jokes. And I think that is important. If a great interviewer is talking about yourself and over talking your guests, if you ask them a question, if that's the definition of a great interviewer, then we are David. Exactly. We had to take a cutting off class. Uh,

We said, whenever they're about to say something really interesting, make sure you stop them in their tracks. When we have a guest in the studio, sometimes I just want to reach out, grab their neck, and just start squeezing when they shut up. Shut up. Because I want to talk. No one's here to listen to you. But I've learned to temper that violence. Yeah. I'm verbally violent.

Sometimes the guest leaves and Dana and I do another half hour. I go, did they take off? Well, sometimes we don't roll cameras or mics, but David will just interview each other over and over. So, Jose, thank you for asking. You started with a flattering thing and ended with a compliment. So we're not all sarcastic. I do find sarcasm a new word.

I really find people fascinating and I like interviewing people. And I think everybody's got a story. And so if you like it, I think we're improving and learning as we go. But if you like it and say it's great, I'll take it. But we're not there yet. Honestly, we do actually try to not talk over each other and not to cut people off. But we get excited and we don't want long pauses and –

I don't know. Well, podcasting is about authenticity. And so we authentically overlap each other and talk over them and interrupt them. So we're just being very podcasty. But I noticed, David, just a personal observation that your research level has kind of gone up. It has gone up. Yeah, you got a lot of questions. So we're both learning. We've only done 360, 365 of these. How many have we done? Yeah.

Probably 50. But I would just say we're a work in progress. Thanks for the good cheer, Jose, and we'll try to get better. And we already took our class on how to answer questions longer, so we're really doing well there. Thank you, Jose. We'll see you on the cast. Ask another question someday, Jose. Oh, boy. Oh, boy. Oh, boy. Oh, boy.

This has been a podcast presentation of Cadence 13. Please listen, then rate, review, and follow all episodes. Available now for free wherever you get your podcasts. No joke, folks. Fly on the Wall has been a presentation of Cadence 13, executive produced by Dana Carvey and David Spade, Chris Corcoran of Cadence 13, and Charlie Finan of Brillstein Entertainment. The show's lead producer is Greg Holtzman with production and engineering support from Serena Regan and Chris Basil of Cadence 13.