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Speaker 1: You can watch the original episode we'll be discussing in

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Speaker 1: every other episode of HBO's Curby Your Enthusiasm, including the

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Speaker 1: new and final season, on Max.

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Speaker 2: You can also watch the video.

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Speaker 1: Version of the history of Curby Your Enthusiasm podcast on

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Speaker 1: Max and YouTube as well.

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Speaker 2: Links available in the episode description.

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Speaker 3: Hi everybody, This is Jeff Garland and.

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Speaker 2: And I'm Susie Esmin.

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Speaker 3: She is Susie Esmund.

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Speaker 2: Well, i'll tell you it feels pretty good these days.

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Speaker 3: Yeah, you know, young people. I want to be Susie Esmay.

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Speaker 3: All right, So we are on episode six, the.

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Speaker 2: Wire, the Wire.

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Speaker 3: Yeah, all right, So here's what I'm gonna say. I

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Speaker 3: didn't say this last recording. Last episode was when we

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Speaker 3: first got our footing, Episode five. For what the show

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Speaker 3: became and what the show is, explain well, last episode.

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Speaker 2: The interior Decorator.

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Speaker 3: Yeah, the interior decorator. But okay, there was a producer

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Speaker 3: named Nat Hiken. This is in the fifties.

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Speaker 1: Or Hiken created a Sergeant Bilko are you.

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Speaker 3: I know we've lost a lot of you at this point.

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Speaker 3: But the point being is he wrote in a style

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Speaker 3: where it was like dominoes, you push the dominoes that

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Speaker 3: go in a million different directions. You don't know how

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Speaker 3: it's going to end, and things with the dominoes that

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Speaker 3: twists and turns. There's only one writer who writes that.

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Speaker 1: Way, Larry David, who was influenced very much influenced.

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Speaker 3: By Nat Hiken. By the way, I'm influenced by Nat Hiking,

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Speaker 3: but not like Larry that was.

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Speaker 1: And then his influence goes way back to seinfeldt Oh

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Speaker 1: most definitely.

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Speaker 3: But what I'm saying is last episode, at least up

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Speaker 3: until that point, was one of those domino episodes where

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Speaker 3: it goes all around, you don't know where it's coming back. Now,

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Speaker 3: this episode, it clicks and it never stops from here

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Speaker 3: until where we're at the show. Now, this is the

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Speaker 3: episode that's started what.

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Speaker 1: We are, that established what Curve is going to be

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Speaker 1: and what most people don't know. If you go back

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Speaker 1: and you look, you go to a museum of Broadcasting

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Speaker 1: or something like that, and you go look at pilot

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Speaker 1: episodes of.

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Speaker 3: Old Museum of Media or something.

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Speaker 1: Maybe whatever, but you look at pilot episodes of old

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Speaker 1: beloved sitcoms, you should.

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Speaker 3: Be the museum of television and.

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Speaker 2: It was still the block from where we are.

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Speaker 3: Now but they don't. They change the names.

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Speaker 1: So and you look at the pilot episodes and it's

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Speaker 1: so fun. I've done it several times. The pilot episodes

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Speaker 1: are nothing like what the series ended up being. The

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Speaker 1: characters are because it takes time to find itself, but it's.

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Speaker 3: And which normally shows are not allowed that time. They're

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Speaker 3: canceled before they do find themselves. I think the most

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Speaker 3: famous one is actually signed for I wanted to kill

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Speaker 3: that early on. But that's the thing, like our pilot

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Speaker 3: of this show of yes, the special pilot and the

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Speaker 3: episodes to follow, we're all finding our way. And by

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Speaker 3: the way, if someone says, what about AMCO or whatever

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Speaker 3: that episode is, yeah, that was actually our third episode.

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Speaker 3: It got moved.

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Speaker 1: Oh oh okay, I didn't know that. All right, Well

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Speaker 1: we'll get to that.

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Speaker 3: I'll discover more about it and maybe answer questions as

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Speaker 3: to why I.

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Speaker 1: Got And this episode, the Wire was the first time

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Speaker 1: that we have Larry Charles directing. Yes, Larry Charles was

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Speaker 1: involved in the other episodes because he was an executive

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Speaker 1: were in the time.

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Speaker 2: It was not season two. He came on as it

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Speaker 2: was two or three.

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Speaker 3: But I actually I didn't have to beg Larry, but

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Speaker 3: it was my idea for sure, saying can we bring

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Speaker 3: Larrry Charles on? He brings so much to it.

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Speaker 1: And Larry Charles came from Seinfeld and Mad About You

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Speaker 1: and several others.

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Speaker 3: He created one of the most one of the greatest

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Speaker 3: comedies of all time.

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Speaker 2: Borat Boratt, Yeah no, but.

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Speaker 3: His mind is he's a brilliant dude, and I love

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Speaker 3: the guy and I wish you worked on the show now,

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Speaker 3: that would be so much fun.

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Speaker 1: I had never met him up until the day that

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Speaker 1: we we'll get to that sign I'm Mad About You.

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Speaker 3: He was a furnisher I'm Mad About You, which I

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Speaker 3: was on. And also at the end of the episode,

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Speaker 3: I'm like that episode was really well directed, and I

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Speaker 3: saw Larry Charles and I smiled, Yeah.

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Speaker 1: Well, I remember it was Larry Charles because that was

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Speaker 1: my first real yeah episode, which we'll get to.

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Speaker 3: And by the way, Larry Charles quite often where's pajama bottoms?

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Speaker 2: He does wear pajama bottoms quite often, like almost always.

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Speaker 3: I know. But nonetheless, he is a groovy dude.

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Speaker 1: So we start the episode with you, Jeff on the phone.

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Speaker 1: You sponsored a fresh Air front kid and he set

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Speaker 1: fire to the canteen and the cabin at the camp.

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Speaker 3: So I think this is the first mistake of the show. Okay,

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Speaker 3: because I just said how we're moving in a new direction.

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Speaker 3: The way I talked on the phone to you was

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Speaker 3: as if I'm talking to a businessman, a client. There

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Speaker 3: was no emotion.

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Speaker 2: By the way. I didn't even think you were talking

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Speaker 2: to me.

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Speaker 3: That's how much it came off.

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Speaker 2: Yeah, well you were talking to the camp.

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Speaker 3: We hadn't this episode it comes, but we really haven't

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Speaker 3: established how terrified Larry and I are of you. And

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Speaker 3: so it's ironic that the episode starts because this episode

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Speaker 3: is where we find out. But yeah, it was a

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Speaker 3: terrible choice and it was a terrible choice to put

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Speaker 3: in the show.

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Speaker 2: Are the things we've learned on our way.

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Speaker 3: No, that's not talking about shows. So even this show,

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Speaker 3: there's mistakes. You figure it. But I made the first one.

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Speaker 2: And you know, you say something, you try to do

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Speaker 2: something nice, and Larry says, I got out of business. Hilarious.

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Speaker 3: Well, by the way, first off, he sees a woman

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Speaker 3: about to be hit by a car. He doesn't pull

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Speaker 3: her out of the way. He just yells out.

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Speaker 4: Watch out, and she said, don't don't tell me what

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Speaker 4: to do.

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Speaker 3: I gotta tell you that is just hilarious. That is hilarious.

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Speaker 3: The fact that he thought of that, He's so fucking funny.

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Speaker 1: So then Cheryl and Larry want to bury an unsightly

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Speaker 1: wire Cheryl Cheryl wants to which you know, was something

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Speaker 1: that probably happened in real life.

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Speaker 2: From his first I would get like something. I don't

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Speaker 2: blame her. I hate those wires.

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Speaker 1: They want to bury a wire in the backyard, but

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Speaker 1: not all the neighbors were on board with it. They

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Speaker 1: have to get approval from the neighbors, and if you've

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Speaker 1: ever had to go through this process, it is a

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Speaker 1: huge pain in the air, right, So they have to

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Speaker 1: meet the neighbors who are reluctant, and it is Dean

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Speaker 1: and phyllis. Dean played by Wayne Fetterman, and phyllis played

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Speaker 1: by what is her name?

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Speaker 3: Ducy Webb?

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Speaker 2: Lucy Webb.

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Speaker 3: Lucy Webb. I knew from I don't I didn't know

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Speaker 3: her person before that. She was on a show called

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Speaker 3: Not Necessarily the News, which I believe was on HBO.

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Speaker 3: And then Wayne Fetterman.

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Speaker 1: I met Wayne Fetterman in nineteen eighty four, at the

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Speaker 1: comic strip.

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Speaker 3: Okay, I met Wayne Fetterman in nineteen eighty two at

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Speaker 3: the comic strip in Florida, in Florida. And by the way,

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Speaker 3: he grew up in Like I'm from Chicago, but I

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Speaker 3: moved to South Florida and I lived in a town

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Speaker 3: called Plantation. My best friend's older brother was close friends

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Speaker 3: with Wayne Fetterman. Daddy No No, which is so crazy.

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Speaker 3: We both grew up in the same town in Florida,

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Speaker 3: you know. And Wayne.

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Speaker 2: Wayne was a stand up comic that we came up with.

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Speaker 3: Oh, by the way, everybody loves everybody know, nobody who

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Speaker 3: doesn't love Wayne Sweetheart. It's very funny. And by the way,

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Speaker 3: you know who he worked with closely was Gary Shanling.

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Speaker 3: I didn't know that very close with Gary, yep.

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Speaker 2: And did he write for him?

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Speaker 3: He wrote a lot for Gary. I don't know how

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Speaker 3: much stand up wise, but a lot of stuff that

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Speaker 3: Gary did.

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Speaker 1: Well.

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Speaker 2: He's here.

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Speaker 1: He plays Dean Winstock wayde and I were in an

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Speaker 1: improv group together at the comic strip.

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Speaker 2: Did you know that? Yes?

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Speaker 3: I did Monday Nights?

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Speaker 2: Was it Monday Nights? So tell us how you got

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Speaker 2: this part on kerb.

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Speaker 4: Well it's partly to this guy to the left. I

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Speaker 4: think he recommended me as my.

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Speaker 3: I recommended him, and I got no arm.

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Speaker 4: But here's the thing that Jeff forgets. I first auditioned

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Speaker 4: for the role of the blind guy. I don't know

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Speaker 4: what episode that's after this, No, it's not. I auditioned.

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Speaker 4: And again, I can do a lot of things in

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Speaker 4: show business. Blind I studied with Stella Adler.

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Speaker 3: By the way, I know for sure I recommended you

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Speaker 3: for that. You know, there are certain people that I

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Speaker 3: would recommend because of how wonderful they are, not knowing

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Speaker 3: they're exactly right for the role. But maybe I don't know.

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Speaker 3: And he was.

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Speaker 2: Playing the blind guy. I forgot his name, but he

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Speaker 2: was terrific.

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Speaker 3: Yeah, no, he was. He was truly fantastic. Yeah yeah.

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Speaker 4: And he had to move the furniture numerous James.

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Speaker 2: So that scene with Richard yeah, so.

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Speaker 4: And again this is first season, so I had only

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Speaker 4: seen the show, the one with Judy Tole, the Big

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Speaker 4: Special and whatever it was.

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Speaker 3: So this is what.

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Speaker 4: So I go in for the blind guy.

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Speaker 3: I don't.

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Speaker 4: I do the best I can, but I don't get it.

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Speaker 4: And to tell the truth, when I didn't get that

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Speaker 4: I was thinking, is this going to be the Seinfeld situation?

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Speaker 4: Because I always wanted to be on Sign and you

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Speaker 4: never were, never were. So then when it was like

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Speaker 4: two episodes later, they brought me back as a guy

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Speaker 4: who's in love with Julia Louis Dreyfus.

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Speaker 3: By the way, this I know how to do. By

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Speaker 3: the way, know how to do. You blasted it out

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Speaker 3: of the Thank you you were so you were And

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Speaker 3: these things don't happen often, but there are always people

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Speaker 3: who will cross the line with favors, with you know,

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Speaker 3: not knowing what favor is, right, Oh my god, And

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Speaker 3: you nailed that. You nailed that. It was awesome, Thank you,

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Speaker 3: thank you. So that was it.

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Speaker 4: So we went in and you were there that day

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Speaker 4: you weren't, but I know that episode is famous for

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Speaker 4: your character.

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Speaker 1: Yeah, well that was my first real Susie Green moment

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Speaker 1: right in that episode.

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Speaker 4: That was the fat fuck moment and all of that,

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Speaker 4: and those like people are like, what that.

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Speaker 3: Wasn't that the one with the fresh air fund? Yeah?

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Speaker 4: Yeah, it's an exsanely good episode.

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Speaker 2: The Wire was the first episode that I took on.

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Speaker 3: A really you're not the one with the bracelet.

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Speaker 1: Before that, was a great episode, but this was when

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Speaker 1: you really started to feel this.

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Speaker 3: Is boil boy. Yes, you were part of that.

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Speaker 2: You know how a show takes a while to gel

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Speaker 2: and find it.

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Speaker 4: They were still shadowing video. If I'm not mistaken, I'm like, oh.

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Speaker 3: No, no, this was shot at this point on whatever

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Speaker 3: the most advanced digital was.

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Speaker 4: I don't want to hear something else. I do remember

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Speaker 4: about that day. I remember the day pretty vivid one.

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Speaker 3: Day, all that stuff, because it's a lot.

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Speaker 4: Of it was still I think it was. I went

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Speaker 4: back for the second scene where I come back and Juli.

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Speaker 2: Twenty three years ago.

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Speaker 4: Yeah, I know, I remember. Tell us what I know.

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Speaker 4: You've done hundreds of about these episodes. I've done too,

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Speaker 4: so I remember that vividly.

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Speaker 2: Tell us what you remember well.

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Speaker 4: I remember the multiple sweaters we tried on because I

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Speaker 4: had to be wearing a bad sweater was part of

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Speaker 4: the thing. I also remember talking to a now I'm

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Speaker 4: blanket on his name, the director, the guy with the

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Speaker 4: beard episode Whitey was there, and also that the name

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Speaker 4: Dean Weinstock was named after Lotus Winstock.

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Speaker 1: The comedian.

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Speaker 4: I never knew you never knew that. No, Okay, breaking

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Speaker 4: news here on iHeartRadio.

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Speaker 2: We'll be right back. Stay tuned. Okay, we're back. Tell

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Speaker 2: people who Loto Swinestock is.

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Speaker 3: Well.

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Speaker 4: She's famous for being Lenny Bruce's last girlfriend. She's a comedian,

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Speaker 4: I would say, almost an alt kind of comedian, but.

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Speaker 3: Also in her day, very popular.

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Speaker 4: Very popular comedian, comedy store act and wore yellow and

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Speaker 4: that was the thing you like to wear yellow on stage.

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Speaker 3: Your nickname was Bananas come over here, Bananas go ahead.

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Speaker 4: So she was just, you know, a comedian. In fact,

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Speaker 4: I think she was working and in fact it's in

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Speaker 4: my book pre Comedy Store. Obviously she was around the sixties.

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Speaker 4: Lenny Bruce dies in sixty six, so she was doing

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Speaker 4: stand up in l She was a pioneer before the

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Speaker 4: Comedy Store, which.

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Speaker 3: Opened in seventies. Where she was playing it.

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Speaker 4: Well, yeah, there was a little room in Beverly Hills.

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Speaker 4: There was a place, there was this something cafe obviously

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Speaker 4: place out on the Santa Monica Peer and so anyway,

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Speaker 4: so all of those little leadbetters before it became the

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Speaker 4: Comedy Store Westwood.

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Speaker 3: Room and I want to plug his book.

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Speaker 2: Yeah, I was just going to say, what is the

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Speaker 2: book comedy?

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Speaker 3: Tell me the comedy book, and then I can also

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Speaker 3: mention the other.

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Speaker 4: Okay, the book is called The History of Stand Up

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Speaker 4: from Mark Twain to Dave Chappelle. So we start around

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Speaker 4: eighteen fifty eight and go right till today and just

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Speaker 4: tell the history of it, right. And it's not like

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Speaker 4: an interview book where yeah, you're so perfect to write

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Speaker 4: a booklet. And it's very short. It's one hundred and

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Speaker 4: fifty pages.

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Speaker 3: Like I really like.

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Speaker 1: When you say that, how did you get the history?

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Speaker 1: You just your memories? You research.

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Speaker 4: I teach a class on it at USC Oh I

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Speaker 4: didn't know that. Yeah, I'm perfect.

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Speaker 3: Like is it the history of comedy?

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Speaker 4: History stand up? Different than the of course?

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Speaker 3: Of course I are talking to young people. I got

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Speaker 3: their futures, and I'm no Lucian. I encourage Lucien encouraged

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Speaker 3: only No. But I'm going to single somebody out who

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Speaker 3: told you you're funny in the front row. Everything you're

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Speaker 3: saying not funny. I wouldn't do.

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Speaker 2: Wait, continue with the book.

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Speaker 4: So that's the book. It's very short. The guy from

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Speaker 4: the New York Times Jason him and lost his mind

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Speaker 4: about it. The Vulture did a thing. So it's just

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Speaker 4: a book.

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Speaker 3: About that. I don't you love to stand up? I

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Speaker 3: recommend the book because mostly it includes me.

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Speaker 2: Does it include me?

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Speaker 3: Yes?

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Speaker 4: Yes, yes, yes, I could not include yes I didn't know. No, no.

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Speaker 4: But it's mainly about how it evolved from pre vaudeville

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Speaker 4: to vaudeville to nightclubs to coffee houses, which is where

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Speaker 4: Carl Wars spelt Porsche spelled Miami Beach Vegas. And then

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Speaker 4: of course we were part of the comedy club starts

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Speaker 4: in sixty three with the improv but in seventy two

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Speaker 4: the comedy Store opens and Catcher out in Star opens.

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Speaker 3: Oh wow. The eighties, yeah, yeah.

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Speaker 2: And we were all very lucky to be part of

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Speaker 2: the boom.

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Speaker 3: I agree with very lucky.

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Speaker 4: Nineties. That was just a timing, right, even though I

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Speaker 4: have to say, let me ask you this when you

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Speaker 4: were started, because we all started at the same time, right,

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Speaker 4: did you feel like there were a lot of people

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Speaker 4: even then doing comedy and was hard to get in?

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Speaker 3: No? No, Well for me, I know this, and you

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Speaker 3: weren't much older than me when I startled when we met,

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Speaker 3: which was in eighty four, So for me personally, when

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Speaker 3: I started, the only other people around my age were

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Speaker 3: Eddie Murphy and Dana Gould, two or three other people

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Speaker 3: what's his name, bobcat Golfwaite. Like nowadays, I think there's

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Speaker 3: at least one thousand people under the age of twenty

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Speaker 3: five doing stand up, and so whether there's one hundred

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Speaker 3: or ten thousand comedians, there's still wanting to be about

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Speaker 3: twenty funny ones. It's an exaggeration, but I agree.

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Speaker 1: So back then, I felt like back then that we

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Speaker 1: were a very small community and that we knew everybody.

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Speaker 1: You walk into a club, you knew every comic. Wherever

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Speaker 1: you went with you were a theater.

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Speaker 3: Here's how small it was. When people appeared on TV,

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Speaker 3: comedians in the clubs would gather around the TV and

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Speaker 3: be happy for him. Nobody was like, oh screw wow.

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Speaker 2: Some some were happy.

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Speaker 3: Later maybe that was the case, but at the beginning,

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Speaker 3: I don't remember that. And I remember being in the

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Speaker 3: comic strip the night that Letterman show first there.

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Speaker 4: That's why I'm a night show or the morning show.

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Speaker 3: The night show. The morning show was going.

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Speaker 1: But that being said, when watch it still was always

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Speaker 1: difficult to get spots, and getting spots was the most important.

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Speaker 4: They want to There was compensation, gold there was just

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Speaker 4: a lot of you.

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Speaker 3: There was just a lot by the way, I have

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Speaker 3: to now when we hang out next, I have to

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Speaker 3: have to just keep pulling them out of you.

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Speaker 1: And what the audience, our audience needs to understand is

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Speaker 1: that spots are everything. The only way to be a

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Speaker 1: good comic is to get a lot of stage time.

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Speaker 2: And you you had.

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Speaker 1: To compete for those spots. And I remember he was

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Speaker 1: talking about the commic stript. I remember was it Monday.

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Speaker 2: We would call to get the spots for the week.

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Speaker 1: And you would be so disheartened if you maybe only

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Speaker 1: had one spot or no spots, and then I feel

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Speaker 1: like that's it. My career is over, and it was

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Speaker 1: all about getting this spot.

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Speaker 3: I'm going to guarantee that when people called in there

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Speaker 3: may have been forty to fifty comics. Now, a dairy

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Speaker 3: young comedian to get into the comedy store, it is

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Speaker 3: near impossible, is that true? Yes? And I'm just talking

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Speaker 3: about the comic store. I'm talking about all clubs because

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Speaker 3: there's so and road clubs too. There are so many

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Speaker 3: comedians now that it is hard.

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Speaker 1: To get I think the point that Wayne's making is

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Speaker 1: even though there were less of us, it's still felt

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Speaker 1: very competitive.

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Speaker 3: Extraordinarily competitive, and I felt the competition, but it didn't

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Speaker 3: mean you were You weren't happy unless somebody was an asshole.

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Speaker 3: But there weren't a lot of assholes back and there.

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Speaker 2: Were so there was quite a few.

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Speaker 3: Did you know, quite a few.

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Speaker 4: Yeah, I'm not gonna name name.

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Speaker 2: Also for mere different.

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Speaker 4: Also I'm from Florida, Like I'm a very like, easy

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Speaker 4: going guy. You've known me a long time.

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Speaker 3: You knew that true portable palm tree and you were

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Speaker 3: Jimmy Buffetshert.

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Speaker 4: But you know that was new to me to be

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Speaker 4: in New York in such an aggressive environment where it was.

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Speaker 1: Also for me, it was a little bit different. If

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Speaker 1: you recall they would only put one woman. They would never.

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Speaker 3: That's why you're a pioneer, because they would never.

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Speaker 1: There was there was number you know, there was joy

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Speaker 1: and we were all supportive general.

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Speaker 2: All of us.

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Speaker 4: Susie Sasma was there, Susie Sorrow Sorrow, I'm talking about Larson.

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Speaker 3: Yes, his name Sorrow was in the but.

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Speaker 1: There there, but there was, there were, there were There

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Speaker 1: were enough that it was competitive because they would only

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Speaker 1: put one woman on a show.

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Speaker 2: Abby Stein, Sure.

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Speaker 4: But who's the one who did Betty Davis. What was

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Speaker 4: Nancy Parker? There was a Nancy Redman who did a.

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Speaker 3: There was.

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Speaker 1: My point was they would they would only put one

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Speaker 1: of us on the mail mail mail, and they would

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Speaker 1: only put one woman. They would never put two women

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Speaker 1: back to back. Ever, where can we find this book?

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Speaker 1: When there's a line called Amazon, it's on the web, Okay,

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00:18:20,040 --> 00:18:21,880
Speaker 1: it's called Amazon dot com.

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Speaker 2: It is called The History of Stand Up Comedy.

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Speaker 4: The History stand Up from Mark Twain to Dave Chappelle.

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Speaker 1: And by Wayne Fetterman. You are, yeah, of course they have.

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Speaker 3: But by the way, also a great book on Pete Marravich.

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Speaker 2: And what was the other book you wrote, Pete Marrivin.

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Speaker 4: Yeah, that's a basketball player that I wrote around now

410
00:18:41,200 --> 00:18:42,600
Speaker 4: you're two thousand, Oh you do.

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Speaker 2: Of course, I'm a sports girl.

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Speaker 3: Yeah that's okay, Yeah, that helps her.

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Speaker 4: I wrote, they co wrote, co wrote the Authorized Biography

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Speaker 4: of Pete Maravich and it was an insane experience.

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Speaker 3: Wow.

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Speaker 4: That was the start of Wayne Fetterman going from I'm

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Speaker 4: talking about myself. Now, all I wanted to do in

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Speaker 4: life is stand up and act. When I started when

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Speaker 4: you met me, and that's all I didn't want to

420
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Speaker 4: be on writing staff. They never had a packet anything

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Speaker 4: like that, any of those things.

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Speaker 3: Remember the packets.

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Speaker 2: What's the packet?

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Speaker 3: The packet is you go, by the way, I delivered

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Speaker 3: Louis c. K's packet to Conan because we had theer

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Speaker 3: and I and I used to be roommates with Conan.

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Speaker 3: So I'm like, oh, Louis K and my managers said,

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00:19:26,600 --> 00:19:28,800
Speaker 3: we in this packet. I'm going to deliver it rat

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Speaker 3: package package packet and everything's in there.

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Speaker 2: Let's go back to Wayne and Fetterment.

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Speaker 3: Well, by the way, it's our show with Wayne. It's

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Speaker 3: not an interview, it's a conversation.

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Speaker 2: We'll be right back. Stay tuned. Okay, we're back. Tell

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Speaker 2: me what you remember about Kerk.

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Speaker 4: Besides the sweaters, and then talking to Bob Whitey about

436
00:20:00,880 --> 00:20:03,560
Speaker 4: what we're doing, which is and I'll always remember what

437
00:20:03,600 --> 00:20:05,840
Speaker 4: he said to me. He goes, it's like we start

438
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Speaker 4: with the rock and then we're gonna polish it and

439
00:20:07,920 --> 00:20:11,040
Speaker 4: do it numerous times, and then by the end we'll

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Speaker 4: have what we want.

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Speaker 3: And so he's alluding to a diamond, and I would disagree.

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Speaker 4: No, he didn't use diamond. I think it was like

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Speaker 4: a marble or something like that.

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Speaker 3: But like it was that exchange is so awesome.

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Speaker 4: So but the point was like, don't worry about it.

446
00:20:29,720 --> 00:20:32,800
Speaker 4: Obviously everyone knows there's no lines in it. So that's

447
00:20:32,960 --> 00:20:36,880
Speaker 4: I can't say this more clearly, is that that's right

448
00:20:36,960 --> 00:20:39,280
Speaker 4: up my alley. I don't have to worry about saying

449
00:20:39,280 --> 00:20:41,760
Speaker 4: the line correctly. I don't have to worry about the

450
00:20:41,760 --> 00:20:44,040
Speaker 4: timing of it. I don't have to worry about their line.

451
00:20:44,320 --> 00:20:46,439
Speaker 4: I don't have to react in the moment, which is

452
00:20:46,440 --> 00:20:49,679
Speaker 4: something Jeff and I talked about for years with what

453
00:20:49,800 --> 00:20:51,920
Speaker 4: great improv is is obviously listening.

454
00:20:52,200 --> 00:20:53,440
Speaker 3: Yeah, I know what I was gonna say to you,

455
00:20:53,880 --> 00:20:56,560
Speaker 3: because you were great in those things from the get go.

456
00:20:57,200 --> 00:20:59,800
Speaker 3: And there's two questions. I'll start with the second question.

457
00:21:00,359 --> 00:21:03,120
Speaker 3: Did Larry break up a lot from what you were doing? Yeah? See,

458
00:21:03,119 --> 00:21:06,360
Speaker 3: that's the thing that we try and explain that, considering

459
00:21:06,359 --> 00:21:09,560
Speaker 3: he knows Wayne and Wayne's tickling him making him laugh.

460
00:21:09,960 --> 00:21:12,560
Speaker 3: I remember him losing it, but yeah, he lost it

461
00:21:12,560 --> 00:21:14,119
Speaker 3: when you would say things. Yeah.

462
00:21:14,160 --> 00:21:17,960
Speaker 4: So anyway, because I can play passive aggressive, it's part

463
00:21:17,960 --> 00:21:20,800
Speaker 4: of me because I'm not aggressive aggressive. Have you ever

464
00:21:20,840 --> 00:21:24,800
Speaker 4: seen you've known me thirty ever get up and someone's nothing.

465
00:21:25,040 --> 00:21:27,840
Speaker 4: But I can be passive a little bit, so I

466
00:21:27,880 --> 00:21:29,640
Speaker 4: knew that guy right away. It was just like, oh,

467
00:21:29,720 --> 00:21:31,879
Speaker 4: this is the worst guy in the world under the

468
00:21:31,920 --> 00:21:33,880
Speaker 4: guise of being the nicest guy in the world. Right,

469
00:21:33,920 --> 00:21:34,680
Speaker 4: that's the whole thing.

470
00:21:35,640 --> 00:21:36,120
Speaker 3: Helpful.

471
00:21:36,160 --> 00:21:38,680
Speaker 4: I'm helpful, I can do this for you.

472
00:21:39,080 --> 00:21:40,400
Speaker 2: I have information.

473
00:21:40,600 --> 00:21:43,399
Speaker 4: Well, yeah, you know, he was just cracking up, and

474
00:21:43,440 --> 00:21:46,120
Speaker 4: he just kept saying, do more of that, do more

475
00:21:46,320 --> 00:21:46,879
Speaker 4: do a little.

476
00:21:47,080 --> 00:21:49,920
Speaker 3: By the way, when someone's kicking ass in their role,

477
00:21:50,200 --> 00:21:56,040
Speaker 3: he gets so excited. He's so happy because you're what

478
00:21:56,160 --> 00:21:59,639
Speaker 3: he wanted. He pictured you doing physician and when it

479
00:21:59,680 --> 00:22:03,000
Speaker 3: Matt by the way, a lot of his laughter is

480
00:22:03,040 --> 00:22:06,560
Speaker 3: thinking about how absurd what he wrote is and if

481
00:22:06,600 --> 00:22:09,879
Speaker 3: that matches the character comes out that he.

482
00:22:10,080 --> 00:22:13,040
Speaker 1: But but but also he wrote it and he's pictured it.

483
00:22:13,320 --> 00:22:16,040
Speaker 1: But then somebody like Wayne comes along and brings it

484
00:22:16,080 --> 00:22:16,880
Speaker 1: to another level.

485
00:22:17,440 --> 00:22:20,520
Speaker 4: But also I was with also mind my blanket on

486
00:22:20,520 --> 00:22:23,480
Speaker 4: her name who played my wife. She's hilarious. Yeah the

487
00:22:23,600 --> 00:22:26,600
Speaker 4: hill Web, Yeah, Lily Web. I sorry, Lucy, because I'm

488
00:22:26,640 --> 00:22:28,240
Speaker 4: just happy to be working with her. To tell you

489
00:22:28,320 --> 00:22:31,200
Speaker 4: the truth very much, And it was just very easy,

490
00:22:31,560 --> 00:22:33,119
Speaker 4: and he kept cracking up with you.

491
00:22:33,240 --> 00:22:36,960
Speaker 3: By the way, you gave a ton of opportunities for

492
00:22:37,280 --> 00:22:41,600
Speaker 3: Julia Louis Dreyfuss, who is a delightful, wonderful human being,

493
00:22:42,000 --> 00:22:44,800
Speaker 3: and you gave her so many soft balls to get

494
00:22:44,840 --> 00:22:48,840
Speaker 3: angry at. I remember that. It just was you gave

495
00:22:48,880 --> 00:22:52,440
Speaker 3: her just a full color palette. Here, paint your picture.

496
00:22:52,840 --> 00:22:54,680
Speaker 3: It was amazing to see.

497
00:22:54,880 --> 00:22:58,400
Speaker 4: Yeah, there is also amazing moment in that where Lucy

498
00:22:58,520 --> 00:23:02,480
Speaker 4: invites Larry over for dinner at our house and he

499
00:23:02,680 --> 00:23:05,919
Speaker 4: just is so furious at us that he goes, I

500
00:23:06,000 --> 00:23:08,800
Speaker 4: can't there's something wrong with my stomach. I don't know

501
00:23:08,840 --> 00:23:11,920
Speaker 4: if you remember this moment that actually made me laugh

502
00:23:11,960 --> 00:23:16,840
Speaker 4: because it was so the boiling, the boiling underneath and

503
00:23:16,920 --> 00:23:19,320
Speaker 4: him trying to be nice because we need the lawyer

504
00:23:19,400 --> 00:23:21,639
Speaker 4: to take care of your thing and get the wire.

505
00:23:21,840 --> 00:23:23,760
Speaker 4: So it was like, yeah, here's the other thing I

506
00:23:23,800 --> 00:23:26,320
Speaker 4: remember in the final scene, I come back and I

507
00:23:26,440 --> 00:23:27,480
Speaker 4: found his book.

508
00:23:27,800 --> 00:23:31,280
Speaker 3: I don't know if which By the way, that was

509
00:23:31,400 --> 00:23:34,119
Speaker 3: totally Larry and a lot of comedians. I still carry

510
00:23:34,160 --> 00:23:36,879
Speaker 3: paper in my Pockecorse with a pen, but that was

511
00:23:36,920 --> 00:23:40,120
Speaker 3: his actual book. That wasn't a prop Oh really, Yeah,

512
00:23:40,320 --> 00:23:41,880
Speaker 3: by the way, is really surprised.

513
00:23:41,960 --> 00:23:44,160
Speaker 1: I know, I'm I was very surprised that he would

514
00:23:44,200 --> 00:23:45,480
Speaker 1: actually give up his book.

515
00:23:45,520 --> 00:23:49,159
Speaker 3: But he does it on his phone now and I

516
00:23:49,200 --> 00:23:52,439
Speaker 3: can't believe it really, but he's make up. Yeah, because

517
00:23:52,480 --> 00:23:55,760
Speaker 3: I've been with him. You couldn't calm him down when

518
00:23:55,760 --> 00:23:56,560
Speaker 3: he lost the book.

519
00:23:56,720 --> 00:23:59,560
Speaker 4: He was so yeah, because he says that's the hardest

520
00:23:59,560 --> 00:24:00,840
Speaker 4: part of the his book.

521
00:24:01,119 --> 00:24:03,119
Speaker 2: I'm shocked that he would use this.

522
00:24:03,680 --> 00:24:10,000
Speaker 1: Yeah, so that that we're learning from Wayne Fettermant.

523
00:24:10,400 --> 00:24:12,719
Speaker 4: So it was this original book and this is just

524
00:24:12,720 --> 00:24:15,479
Speaker 4: the neurosis of an actor. Okay, just you know, I'm

525
00:24:15,480 --> 00:24:18,479
Speaker 4: always trying to police people. So we do that scene,

526
00:24:18,960 --> 00:24:21,359
Speaker 4: make out a check, you know, just hey, there was

527
00:24:21,400 --> 00:24:24,439
Speaker 4: a reward, you know, I do the whole. It just

528
00:24:24,480 --> 00:24:27,159
Speaker 4: says to the el David, I put it two and

529
00:24:27,200 --> 00:24:31,080
Speaker 4: two together is a shoe, so you know, all obviously

530
00:24:31,119 --> 00:24:35,159
Speaker 4: it's right. A week later, I get a call we

531
00:24:35,240 --> 00:24:37,760
Speaker 4: may have to reshoot a curb.

532
00:24:38,200 --> 00:24:43,199
Speaker 3: I was like, oh, I fucked up reaction. I don't know.

533
00:24:44,560 --> 00:24:46,440
Speaker 4: Yeah, I was like, what did I do? I thought

534
00:24:46,480 --> 00:24:50,160
Speaker 4: I nailed it. I thought this was okay, and then

535
00:24:50,440 --> 00:24:52,320
Speaker 4: later on they were like, now we're going to keep it.

536
00:24:52,400 --> 00:24:56,200
Speaker 4: And then I realize why because in one of the shots,

537
00:24:56,320 --> 00:24:59,320
Speaker 4: the window shade is closed once and then it's open

538
00:25:00,040 --> 00:25:02,400
Speaker 4: because they can't knew anything, And I saw that they

539
00:25:02,760 --> 00:25:04,320
Speaker 4: had to edit around it, and I was like.

540
00:25:05,160 --> 00:25:08,040
Speaker 1: Wayne, I just think it's so interesting that you immediately

541
00:25:08,080 --> 00:25:10,560
Speaker 1: went to which we all do, I fucked up?

542
00:25:11,160 --> 00:25:16,360
Speaker 3: Well, I was you.

543
00:25:16,640 --> 00:25:18,960
Speaker 1: I would think, you know, if I even here, if

544
00:25:19,000 --> 00:25:21,359
Speaker 1: I even here, we have to do another take. I

545
00:25:21,400 --> 00:25:23,760
Speaker 1: always think it's because I fucked up, not because there's

546
00:25:23,760 --> 00:25:27,240
Speaker 1: a boom shadow, when it's usually because there's a boom shadow,

547
00:25:27,280 --> 00:25:27,960
Speaker 1: you know, but.

548
00:25:27,960 --> 00:25:30,600
Speaker 4: We all we were all a boom shadow.

549
00:25:30,640 --> 00:25:32,119
Speaker 2: We're all deeply insecure.

550
00:25:32,440 --> 00:25:35,200
Speaker 3: By the way, I am not insecure with Curb. That's

551
00:25:35,240 --> 00:25:38,560
Speaker 3: the only place I'm completely comfortable besides a stand up

552
00:25:40,119 --> 00:25:43,240
Speaker 3: any other project. Other people directing, I'm not involved with

553
00:25:43,240 --> 00:25:46,320
Speaker 3: the storytelling you're producing, and I'm not one of the cast.

554
00:25:46,760 --> 00:25:47,040
Speaker 4: It's a.

555
00:25:48,560 --> 00:25:48,800
Speaker 3: Guest.

556
00:25:49,320 --> 00:25:50,360
Speaker 4: Did you started out?

557
00:25:50,359 --> 00:25:50,639
Speaker 3: Can I?

558
00:25:50,720 --> 00:25:52,359
Speaker 1: Well, I was just gonna say, how what was it

559
00:25:52,440 --> 00:25:54,280
Speaker 1: like to work with Julia in that scene?

560
00:25:54,480 --> 00:25:57,480
Speaker 4: Well, first of all, we were outside the door, so

561
00:25:57,520 --> 00:26:00,520
Speaker 4: she has to come in first. So we're waiting outside

562
00:26:00,560 --> 00:26:02,520
Speaker 4: and we're like, you know, kid is seen a little bit,

563
00:26:02,560 --> 00:26:04,760
Speaker 4: and then she goes in. Then I knock and come

564
00:26:04,800 --> 00:26:07,199
Speaker 4: in later, and she's like, you missed the appointment, And

565
00:26:07,240 --> 00:26:10,200
Speaker 4: then I go all lawyerly, Well, this is just a disagreement.

566
00:26:10,280 --> 00:26:11,960
Speaker 4: You saw that as a meeting. I saw that as

567
00:26:12,000 --> 00:26:14,600
Speaker 4: a horrible moment in my life, all written out of

568
00:26:14,600 --> 00:26:17,960
Speaker 4: my brain, all of it, every line. So it's so satisfying,

569
00:26:18,400 --> 00:26:21,480
Speaker 4: and you know, it's just cracking. You know, she's to me,

570
00:26:21,640 --> 00:26:28,159
Speaker 4: she's Lucille Ball level committing. I know that sounds like it,

571
00:26:28,440 --> 00:26:33,200
Speaker 4: but I just feeling she's.

572
00:26:33,040 --> 00:26:35,080
Speaker 2: A terrific communication terrific.

573
00:26:35,320 --> 00:26:37,320
Speaker 4: I mean her worked it on Seinfeld.

574
00:26:37,400 --> 00:26:38,520
Speaker 3: How about her working on Veep?

575
00:26:38,760 --> 00:26:40,320
Speaker 2: When he did the scene with her, it was just

576
00:26:40,359 --> 00:26:41,720
Speaker 2: post Seinfeld.

577
00:26:41,640 --> 00:26:45,040
Speaker 4: Right, yeah, And I just thought she was the glue

578
00:26:45,040 --> 00:26:46,400
Speaker 4: that held that show together.

579
00:26:46,640 --> 00:26:48,560
Speaker 3: I thought, oh no, no, no, she was the glue

580
00:26:48,560 --> 00:26:49,760
Speaker 3: on Seinfeld.

581
00:26:49,440 --> 00:26:54,280
Speaker 4: Nanocally and just I'm a knight.

582
00:26:54,359 --> 00:26:58,119
Speaker 2: You know. So in a way you were emulating your characters.

583
00:26:58,200 --> 00:27:00,280
Speaker 4: I mean, but I don't I don't really have that

584
00:27:00,480 --> 00:27:03,920
Speaker 4: with actresses and actors. Yeah then I don't. I don't

585
00:27:03,920 --> 00:27:09,320
Speaker 4: go goog But no, maybe for like like doctor J

586
00:27:09,720 --> 00:27:10,360
Speaker 4: or something, you.

587
00:27:10,320 --> 00:27:14,000
Speaker 3: Know, in that way that we're working with now and

588
00:27:14,080 --> 00:27:18,120
Speaker 3: worked last season Tracy Omen. When I'm doing a scene

589
00:27:18,160 --> 00:27:20,639
Speaker 3: with her, I cannot believe I'm there she is, especially

590
00:27:20,680 --> 00:27:24,280
Speaker 3: when she's in that character, I can just believe I'm

591
00:27:24,280 --> 00:27:28,640
Speaker 3: working with And she's also gifted at that level gifted, but.

592
00:27:28,640 --> 00:27:31,240
Speaker 2: She's she's really fascinating to watch.

593
00:27:32,760 --> 00:27:36,160
Speaker 3: The fascination comes up with stuff where you go, how

594
00:27:36,200 --> 00:27:39,080
Speaker 3: did someone think of that? And it's Larry level stuff.

595
00:27:39,400 --> 00:27:42,080
Speaker 4: Yeah, but once they did the show, I don't know

596
00:27:42,080 --> 00:27:45,520
Speaker 4: if you know this, when the Emmy nominations went out,

597
00:27:45,640 --> 00:27:48,280
Speaker 4: like that show was up for consideration the wire. They

598
00:27:48,280 --> 00:27:51,920
Speaker 4: were really pushing. It didn't get nominated. It's fine, doesn't matter,

599
00:27:52,240 --> 00:27:55,159
Speaker 4: But I kept getting compliments from people, especially as the

600
00:27:55,200 --> 00:27:56,760
Speaker 4: show became this.

601
00:27:56,720 --> 00:27:59,840
Speaker 1: Thing, and which it was not really in the first right,

602
00:28:00,040 --> 00:28:02,280
Speaker 1: we didn't know, but it's it was under the rat

603
00:28:02,920 --> 00:28:03,600
Speaker 1: I've talked.

604
00:28:03,359 --> 00:28:06,919
Speaker 3: About this before. HBO referred to us as their little

605
00:28:06,920 --> 00:28:10,720
Speaker 3: experimentally you're kidding. After the first season, and I've mentioned

606
00:28:10,720 --> 00:28:13,320
Speaker 3: this before, we're the longest running show in the history

607
00:28:13,359 --> 00:28:18,760
Speaker 3: of HBO, right, right, so that that your little experimental show.

608
00:28:20,080 --> 00:28:23,960
Speaker 1: We were very much under the radar that first few seasons,

609
00:28:24,200 --> 00:28:25,240
Speaker 1: two or three, right.

610
00:28:25,560 --> 00:28:29,520
Speaker 3: Until until we followed the Sopranos. Right season there became

611
00:28:29,600 --> 00:28:31,600
Speaker 3: ninety minutes of delightfulness experience.

612
00:28:31,880 --> 00:28:35,560
Speaker 4: But this is the honest truth. It's my favorite thing

613
00:28:35,600 --> 00:28:36,720
Speaker 4: I've ever done.

614
00:28:36,920 --> 00:28:37,879
Speaker 3: Honest and truth.

615
00:28:38,000 --> 00:28:40,960
Speaker 2: All right, Okay, okay say it again.

616
00:28:41,000 --> 00:28:42,280
Speaker 3: Wait, I apologize.

617
00:28:42,280 --> 00:28:46,360
Speaker 4: This is in my opinion, it's my favorite thing I've

618
00:28:46,360 --> 00:28:48,239
Speaker 4: ever done any show business. And you can look at

619
00:28:48,240 --> 00:28:51,760
Speaker 4: my my IMDb. I'm almost at one hundred. I'm hummering

620
00:28:51,760 --> 00:28:53,200
Speaker 4: around ninety two. I look every day.

621
00:28:53,320 --> 00:28:58,000
Speaker 3: I'm at sixteen. I never looked.

622
00:28:57,880 --> 00:28:58,680
Speaker 2: I look every day.

623
00:28:58,880 --> 00:29:02,120
Speaker 4: So all the things I played Larry Sanders brother, I

624
00:29:02,160 --> 00:29:04,560
Speaker 4: have a Stan Sanders. I've been in his stepbrothers. I've

625
00:29:04,560 --> 00:29:06,480
Speaker 4: been in a lot of like things.

626
00:29:06,200 --> 00:29:07,240
Speaker 2: And this was your favorite.

627
00:29:07,400 --> 00:29:09,400
Speaker 4: You know, I think he blaced me all the time,

628
00:29:09,400 --> 00:29:11,360
Speaker 4: and I always say it. I always think.

629
00:29:11,320 --> 00:29:13,920
Speaker 2: One of the reasons why, and correct me if I'm wrong.

630
00:29:14,720 --> 00:29:15,400
Speaker 2: A couple of reasons.

631
00:29:15,440 --> 00:29:17,640
Speaker 1: First of all, you're working with Larry, You're working with

632
00:29:17,960 --> 00:29:20,640
Speaker 1: that brain. But also the fact that you get to

633
00:29:20,720 --> 00:29:24,840
Speaker 1: have so much creative input by writing your own scenes,

634
00:29:24,880 --> 00:29:28,120
Speaker 1: by writing your writing whatever.

635
00:29:28,160 --> 00:29:29,240
Speaker 2: But you're writing it.

636
00:29:29,600 --> 00:29:32,120
Speaker 3: You ding ding ding, It's as if it's written, So.

637
00:29:32,120 --> 00:29:34,440
Speaker 1: You are so a part of the creative process and

638
00:29:34,520 --> 00:29:36,760
Speaker 1: the creation of this show in a way that you're

639
00:29:36,800 --> 00:29:37,880
Speaker 1: not when you have a script.

640
00:29:38,160 --> 00:29:40,040
Speaker 4: And also I like what I see and a lot

641
00:29:40,040 --> 00:29:42,240
Speaker 4: of times I see myself act I'm like, oh, I

642
00:29:42,280 --> 00:29:42,880
Speaker 4: can see that.

643
00:29:42,960 --> 00:29:45,600
Speaker 3: They always hate myself. You know that, except for Curb,

644
00:29:46,280 --> 00:29:48,640
Speaker 3: I cannot stand away. Do you like I'm in Babylon

645
00:29:48,760 --> 00:29:51,360
Speaker 3: right now? Yeah, I've seen it, big movie. Yeah, yeah,

646
00:29:51,400 --> 00:29:53,440
Speaker 3: And I get mixed. People love it or hate it

647
00:29:53,440 --> 00:29:56,680
Speaker 3: with to me, I know I will hate my performance

648
00:29:57,120 --> 00:29:59,440
Speaker 3: and I might hate the movie. And I don't want

649
00:29:59,480 --> 00:30:01,680
Speaker 3: to hate the movie because I love the film.

650
00:30:01,400 --> 00:30:03,920
Speaker 4: That I hate my performance. What about you, Sizzy.

651
00:30:04,280 --> 00:30:06,240
Speaker 1: The thing I can't watch is I can't watch one

652
00:30:06,240 --> 00:30:09,280
Speaker 1: I myself, Like if I'm on a talk show or something,

653
00:30:09,320 --> 00:30:11,200
Speaker 1: or if I'm doing stand up, that I cannot bear.

654
00:30:11,640 --> 00:30:14,280
Speaker 1: I love to watch Curb because it's so funny.

655
00:30:14,400 --> 00:30:16,200
Speaker 4: Take Away Curb, I'm saying, when you when I.

656
00:30:16,120 --> 00:30:18,240
Speaker 1: See myself, I can't stand it.

657
00:30:18,400 --> 00:30:19,000
Speaker 3: What do you see?

658
00:30:19,040 --> 00:30:19,760
Speaker 2: What do I just.

659
00:30:21,800 --> 00:30:22,320
Speaker 3: Explain it?

660
00:30:22,560 --> 00:30:22,960
Speaker 2: I can't.

661
00:30:22,960 --> 00:30:26,680
Speaker 1: Well, it never feels it feels false. It feels it

662
00:30:26,720 --> 00:30:28,720
Speaker 1: feels it feels false.

663
00:30:28,720 --> 00:30:29,440
Speaker 3: You're critical.

664
00:30:30,400 --> 00:30:34,800
Speaker 1: No, No, it's not about It's.

665
00:30:33,120 --> 00:30:36,600
Speaker 2: Not about that. It's about what you're seeing, you're seeing yourself.

666
00:30:37,200 --> 00:30:40,520
Speaker 1: You're not inhabiting the character in the same way that

667
00:30:40,600 --> 00:30:43,600
Speaker 1: you are in Curb and Curb. You know, I put

668
00:30:43,640 --> 00:30:46,160
Speaker 1: on those outfits and I become her. I don't even

669
00:30:46,200 --> 00:30:49,400
Speaker 1: think about it. I just become her, whereas other things

670
00:30:49,520 --> 00:30:56,520
Speaker 1: I see acting, I see.

671
00:30:52,280 --> 00:30:55,720
Speaker 2: You know, and I don't see that in Curb ever.

672
00:30:57,800 --> 00:30:57,920
Speaker 1: Thing.

673
00:30:58,440 --> 00:31:01,360
Speaker 3: That's why I always say, actually, thrown up. I've had

674
00:31:01,360 --> 00:31:04,120
Speaker 3: to leave the theater and go throw up in my performance.

675
00:31:04,440 --> 00:31:05,280
Speaker 3: Not making up that.

676
00:31:06,400 --> 00:31:08,840
Speaker 1: Wayne, You're gonna come back and talk about your your

677
00:31:09,040 --> 00:31:10,280
Speaker 1: next year season seven.

678
00:31:11,000 --> 00:31:14,000
Speaker 3: I love I love it, Joy.

679
00:31:14,960 --> 00:31:18,640
Speaker 1: And you were amazing as Dean Winstock and you got

680
00:31:18,680 --> 00:31:22,200
Speaker 1: every nuance of that character so perfectly, don't you agree, Jeff?

681
00:31:22,240 --> 00:31:26,160
Speaker 4: I mean, just plad that Lotus Winstock is connected to

682
00:31:26,240 --> 00:31:27,280
Speaker 4: it in a way as well.

683
00:31:27,360 --> 00:31:29,880
Speaker 3: It makes me very happy. Yeah. I love stuff like that.

684
00:31:30,200 --> 00:31:34,480
Speaker 2: Thank you, You're welcome. We'll be right back. Stay tuned

685
00:31:44,720 --> 00:31:48,480
Speaker 2: and we're back. Okay. So Larry Wicks, Yeah that.

686
00:31:48,480 --> 00:31:51,960
Speaker 3: Was a good interruption story. Yeah, I'm really hopeful.

687
00:31:52,480 --> 00:31:55,360
Speaker 1: So it begins between Larry and Susie. Then Larry and

688
00:31:55,440 --> 00:31:59,080
Speaker 1: Jeff go to a restaurant. Susie's mad Dean is shrewd.

689
00:31:59,640 --> 00:32:03,520
Speaker 1: Jeff wants to fire Dean, LD begs Jeff to keep Dean.

690
00:32:04,360 --> 00:32:05,840
Speaker 2: You're a prick. Why did I write that?

691
00:32:06,400 --> 00:32:06,560
Speaker 3: Oh?

692
00:32:06,600 --> 00:32:07,920
Speaker 2: Because he says Dean is a prick.

693
00:32:08,000 --> 00:32:11,400
Speaker 1: You're a prick, as though it's a good thing as

694
00:32:11,400 --> 00:32:11,920
Speaker 1: a manager.

695
00:32:11,920 --> 00:32:14,160
Speaker 3: You're by the way, here's an unusual point that you're

696
00:32:14,200 --> 00:32:17,360
Speaker 3: not bringing up. Larry says, the cutoff time is ten thirty,

697
00:32:18,120 --> 00:32:21,040
Speaker 3: and you answer, and Tom, we have kids. That there's kids,

698
00:32:21,080 --> 00:32:21,760
Speaker 3: your kids.

699
00:32:21,840 --> 00:32:24,800
Speaker 1: I know I did notice that with an s yeah, kids,

700
00:32:24,840 --> 00:32:27,760
Speaker 1: But that everything changed, I know, you know, because Sammy

701
00:32:27,880 --> 00:32:28,320
Speaker 1: was a boy.

702
00:32:28,720 --> 00:32:32,120
Speaker 3: Right, Oh yeah, originally Sammy was a boy. That's right, okay.

703
00:32:32,280 --> 00:32:35,080
Speaker 1: And then you know, Larry begs Jeff to keep Dean

704
00:32:35,160 --> 00:32:37,640
Speaker 1: because he needs Dean otherwise his marriage is going to

705
00:32:37,680 --> 00:32:40,120
Speaker 1: fall apart. And then you tell Larry that the kid

706
00:32:40,160 --> 00:32:41,880
Speaker 1: wants to stay with us.

707
00:32:41,920 --> 00:32:44,440
Speaker 3: Which is insane, but believe it is insane.

708
00:32:44,480 --> 00:32:48,520
Speaker 1: Believable character, Yes, yes, because you're just sweet and lovable.

709
00:32:49,000 --> 00:32:52,720
Speaker 1: Then next scene, Julia and Larry show up a Dean

710
00:32:52,760 --> 00:32:56,400
Speaker 1: in Phyllis's and Phyllis is hysterical crying.

711
00:32:57,080 --> 00:32:58,080
Speaker 2: It's so funny, I.

712
00:32:58,000 --> 00:33:01,479
Speaker 3: Mean, like her mess here is running great. I mean

713
00:33:01,480 --> 00:33:04,320
Speaker 3: it was a great makeup job and a great performance.

714
00:33:04,400 --> 00:33:06,880
Speaker 1: And it turns out her cat died, yes, which like

715
00:33:07,000 --> 00:33:09,240
Speaker 1: Larry could care fucking lesson about her cat.

716
00:33:09,280 --> 00:33:11,120
Speaker 3: And you know when you lose a cat or a

717
00:33:11,160 --> 00:33:17,520
Speaker 3: dog or it's really overwhelmingly sad. It really is. If

718
00:33:17,680 --> 00:33:21,840
Speaker 3: whenever I lose Sage, no, it's really gonna kick me in.

719
00:33:22,000 --> 00:33:23,080
Speaker 2: But Larry could care less.

720
00:33:23,080 --> 00:33:25,080
Speaker 3: I mean he was so but Larry is such a

721
00:33:25,240 --> 00:33:27,239
Speaker 3: in real life. Larry is a dog person. He is

722
00:33:27,400 --> 00:33:28,520
Speaker 3: he loves his dogs.

723
00:33:28,560 --> 00:33:31,440
Speaker 1: But Jane is not there because Deane's with Jeff. And

724
00:33:31,480 --> 00:33:35,000
Speaker 1: then a brutal discussion about the cat dying, the details

725
00:33:35,000 --> 00:33:37,640
Speaker 1: of you know, I had a neighbor who, every time

726
00:33:37,720 --> 00:33:40,000
Speaker 1: she would come to our house would tell us the

727
00:33:40,080 --> 00:33:43,840
Speaker 1: history of every dog's death that she ever had, God

728
00:33:43,960 --> 00:33:46,880
Speaker 1: and dies. And then she would come over a few

729
00:33:46,880 --> 00:33:49,440
Speaker 1: months later and I would hear again the details of

730
00:33:49,600 --> 00:33:51,760
Speaker 1: every dog's death that she ever had.

731
00:33:52,320 --> 00:33:53,840
Speaker 2: She relived it every time.

732
00:33:53,920 --> 00:33:57,440
Speaker 3: Well she needed to let it out.

733
00:33:58,680 --> 00:34:01,200
Speaker 1: And then Phyllis brings out the cam quarter and you know,

734
00:34:01,360 --> 00:34:03,120
Speaker 1: no good could you know this is going to be

735
00:34:03,160 --> 00:34:06,400
Speaker 1: a fucking nightmare the cam quarter and Phyllis tell me

736
00:34:06,440 --> 00:34:09,759
Speaker 1: about Jerry Seinfeld. Larry says he's a eunuch. He has

737
00:34:09,880 --> 00:34:11,640
Speaker 1: no testical testicles.

738
00:34:11,880 --> 00:34:12,120
Speaker 2: You know.

739
00:34:12,440 --> 00:34:15,120
Speaker 1: Another thing that struck me about this is that in

740
00:34:15,160 --> 00:34:18,319
Speaker 1: this episode, in an earlier episode, there was a lot

741
00:34:18,360 --> 00:34:22,279
Speaker 1: of Seinfeld mentioning, which kind of went by the wayside

742
00:34:22,280 --> 00:34:23,440
Speaker 1: in later seasons.

743
00:34:23,760 --> 00:34:25,600
Speaker 2: It was more present in this season.

744
00:34:25,719 --> 00:34:26,960
Speaker 3: We weren't trying to fill oh, I.

745
00:34:26,960 --> 00:34:28,960
Speaker 1: Know, but it was more present, and I guess it

746
00:34:29,080 --> 00:34:31,160
Speaker 1: was just a timing thing because it was right after

747
00:34:31,320 --> 00:34:31,960
Speaker 1: and by the way.

748
00:34:31,840 --> 00:34:35,520
Speaker 3: What was also interesting in this episode where something happened

749
00:34:35,560 --> 00:34:38,719
Speaker 3: for the very first time because Larry most of the

750
00:34:38,760 --> 00:34:41,319
Speaker 3: time is a victim of circumstance and then he makes

751
00:34:41,360 --> 00:34:44,200
Speaker 3: it worse. Well, here Julia is doing him a favor

752
00:34:44,440 --> 00:34:47,000
Speaker 3: and I'm watching her in the scene and she's Larry.

753
00:34:47,360 --> 00:34:48,400
Speaker 2: Yeah, she's Larry.

754
00:34:48,440 --> 00:34:52,480
Speaker 3: She's being put on upon, just not want to be there.

755
00:34:53,000 --> 00:34:56,080
Speaker 1: So Larry calls Jeff Dean is still there. Julia wants

756
00:34:56,120 --> 00:34:58,759
Speaker 1: to buy the bracelet again. So the bracelet comes back

757
00:34:59,000 --> 00:35:00,120
Speaker 1: the two episodes, but.

758
00:35:00,400 --> 00:35:03,480
Speaker 3: Only two episodes. We mentioned it last episode before this,

759
00:35:04,040 --> 00:35:07,480
Speaker 3: and then it gets to hear and it's a real callback.

760
00:35:07,520 --> 00:35:11,520
Speaker 3: Like I don't think we've ever done an individual storyline

761
00:35:11,520 --> 00:35:14,480
Speaker 3: that has nothing to do with the season forget two episodes,

762
00:35:14,520 --> 00:35:15,360
Speaker 3: three episodes.

763
00:35:15,400 --> 00:35:17,439
Speaker 2: Yeah, I don't think so either, but we'll see.

764
00:35:17,520 --> 00:35:19,759
Speaker 3: There might have been a callback, you know, when I'm

765
00:35:19,800 --> 00:35:22,680
Speaker 3: bald that he mentioned something. I'm just trying to think

766
00:35:22,680 --> 00:35:25,160
Speaker 3: of the times where I shaved my head was shaved.

767
00:35:25,320 --> 00:35:27,840
Speaker 3: I don't know, but this was really unusual to me.

768
00:35:28,239 --> 00:35:31,480
Speaker 2: But again, this is season one, right, it's finding itself.

769
00:35:32,200 --> 00:35:34,400
Speaker 1: Julia wants to buy the bracelet's the same bracelet he

770
00:35:34,400 --> 00:35:37,960
Speaker 1: wanted to buy for Cheryl, and you know, Larry realizes

771
00:35:38,000 --> 00:35:39,960
Speaker 1: that he's got to figure out how to get this bracelet,

772
00:35:40,000 --> 00:35:41,759
Speaker 1: and Julia is going to have to come back over

773
00:35:42,280 --> 00:35:45,480
Speaker 1: and Larry doesn't want to impose. But then Larry realizes

774
00:35:45,560 --> 00:35:49,040
Speaker 1: he lost his notebook and he calls Julia it's ten

775
00:35:49,120 --> 00:35:52,120
Speaker 1: to ten. It's before the cutoff time because now he

776
00:35:52,160 --> 00:35:55,280
Speaker 1: realizes Susie says the cutoff time is ten. Well, Julia's

777
00:35:55,320 --> 00:35:58,080
Speaker 1: cutoff time is of course nine thirty, right, And then

778
00:35:58,160 --> 00:36:01,120
Speaker 1: Larry shows up at Julia in Brad's house and it's

779
00:36:01,200 --> 00:36:04,200
Speaker 1: late and he's looking for his notebook and they do

780
00:36:04,280 --> 00:36:07,640
Speaker 1: not want him there at all. That's really her husband,

781
00:36:07,840 --> 00:36:10,120
Speaker 1: Brad yet Hall, by the.

782
00:36:10,080 --> 00:36:10,920
Speaker 2: Way, they met at.

783
00:36:10,840 --> 00:36:15,080
Speaker 3: Northwestern and then they were in the Practical Theater Company,

784
00:36:15,080 --> 00:36:17,480
Speaker 3: which was next to the Second City, same kind of work,

785
00:36:17,480 --> 00:36:20,160
Speaker 3: and then she went on initially to Nisonal and he

786
00:36:20,239 --> 00:36:22,759
Speaker 3: became a writer. He was on Essenal too. We're still

787
00:36:22,800 --> 00:36:26,200
Speaker 3: married and their son played basketball at Northwestern University. These

788
00:36:26,239 --> 00:36:27,840
Speaker 3: are fun facts for young adults.

789
00:36:27,920 --> 00:36:31,360
Speaker 1: Okay, go ahead, and Larry goes through Brad's desk. Larry's

790
00:36:31,400 --> 00:36:34,520
Speaker 1: being really intrusive and ridiculous, and you can see they're

791
00:36:34,520 --> 00:36:35,920
Speaker 1: getting angry or a by the.

792
00:36:35,920 --> 00:36:38,480
Speaker 3: Way, it's at this moment when I'm watching the episode

793
00:36:38,480 --> 00:36:41,040
Speaker 3: and watching how Larry handles it and what he goes

794
00:36:41,080 --> 00:36:43,239
Speaker 3: through and to asking the kid like the whole thing,

795
00:36:43,560 --> 00:36:46,960
Speaker 3: and all I'm thinking is how does Larry David do this?

796
00:36:47,040 --> 00:36:49,239
Speaker 3: How does he come up with this? And he's so

797
00:36:49,600 --> 00:36:53,319
Speaker 3: fucking brilliant that it just blows my mind. I know,

798
00:36:53,520 --> 00:36:57,040
Speaker 3: even the little scenes just are like wow, and it's connected.

799
00:36:57,400 --> 00:36:59,880
Speaker 3: And it's the same thing with Nat Hiken, who I mentioned.

800
00:37:00,080 --> 00:37:03,440
Speaker 3: It's these dominoes where you go where how that's why

801
00:37:03,560 --> 00:37:04,520
Speaker 3: Larry Larry David.

802
00:37:04,600 --> 00:37:06,120
Speaker 2: And then also what a good actor he is.

803
00:37:06,280 --> 00:37:09,359
Speaker 3: No, he's excellent, and he's he's always getting better, which

804
00:37:09,400 --> 00:37:11,359
Speaker 3: he He got mad at me once for telling him

805
00:37:11,360 --> 00:37:13,200
Speaker 3: that he got like maybe season two. I go, you're

806
00:37:13,239 --> 00:37:16,239
Speaker 3: getting so much better. Well, it wasn't good before he was.

807
00:37:16,440 --> 00:37:18,640
Speaker 3: I'm not even making it. He was really upset with me.

808
00:37:19,120 --> 00:37:22,400
Speaker 3: But the thing about working with Larry David and so

809
00:37:22,560 --> 00:37:26,120
Speaker 3: closely is such an honor for me. That's like, you know,

810
00:37:27,000 --> 00:37:30,680
Speaker 3: me working with Michael Jordan, except I'm not Scottie Pippen.

811
00:37:31,200 --> 00:37:34,640
Speaker 3: I'm Dennis Rodman. I get the rebounds, I pass it off.

812
00:37:34,920 --> 00:37:37,240
Speaker 3: Scotty Pippen, Is you Scotty Pippen?

813
00:37:37,320 --> 00:37:38,600
Speaker 2: Is JB I never.

814
00:37:40,480 --> 00:37:43,200
Speaker 3: Yeah, Okay, I just did a whole bulls thing, But

815
00:37:43,280 --> 00:37:46,560
Speaker 3: that is really true. I'm working with one of the

816
00:37:46,600 --> 00:37:50,240
Speaker 3: greatest of all time, certainly the greatest showrunner of modern times.

817
00:37:50,280 --> 00:37:51,040
Speaker 2: I would agree with that.

818
00:37:51,160 --> 00:37:53,680
Speaker 3: You know, we all comedy. I'm saying we both are.

819
00:37:53,920 --> 00:37:55,200
Speaker 2: I mean, it's it's amazing.

820
00:37:55,280 --> 00:37:57,799
Speaker 3: No, it's amazing, and I'm lucky to work with you.

821
00:37:58,000 --> 00:38:00,160
Speaker 1: And I'm lucky to work with you and Brad and

822
00:38:00,160 --> 00:38:03,400
Speaker 1: and Julia kick him out. And then Larry comes to

823
00:38:03,600 --> 00:38:07,040
Speaker 1: our house in the middle of my tirade.

824
00:38:07,480 --> 00:38:09,319
Speaker 3: I want to go back again, as I usually do,

825
00:38:09,520 --> 00:38:11,520
Speaker 3: because this is big and that I want you to

826
00:38:11,560 --> 00:38:13,920
Speaker 3: talk about it, but you and I also thought after

827
00:38:13,960 --> 00:38:17,440
Speaker 3: that scene with Brad and Julia and I thought, God,

828
00:38:17,480 --> 00:38:21,359
Speaker 3: bless Julia for doing her show the same way that

829
00:38:21,719 --> 00:38:24,719
Speaker 3: she did the favor for Larry.

830
00:38:24,520 --> 00:38:26,440
Speaker 2: Larry with the wire.

831
00:38:27,000 --> 00:38:29,680
Speaker 3: It's pretty much a similar thing of Larry going, will

832
00:38:29,680 --> 00:38:31,839
Speaker 3: you please come on the show? I wrote this for you,

833
00:38:32,360 --> 00:38:34,320
Speaker 3: and he wrote sign for what she's going to say no,

834
00:38:34,600 --> 00:38:36,239
Speaker 3: although she loved the you.

835
00:38:36,200 --> 00:38:40,440
Speaker 1: Know, but also I know season one, but it's not

836
00:38:40,600 --> 00:38:45,120
Speaker 1: Diane Keaton. It's a different relationship because Larry created an

837
00:38:45,480 --> 00:38:48,520
Speaker 1: iconic character for her. Yes, that she did for what

838
00:38:48,600 --> 00:38:51,440
Speaker 1: was it nine seasons or whatever, and I'm sure she

839
00:38:51,600 --> 00:38:55,400
Speaker 1: was extremely but she did for that before.

840
00:38:55,320 --> 00:38:58,160
Speaker 3: We even had the Seinfeld thing. She was the one

841
00:38:58,160 --> 00:39:01,000
Speaker 3: who did the show I think three times before the

842
00:39:01,040 --> 00:39:03,560
Speaker 3: Steinfeld episode of the other guest appearances.

843
00:39:03,800 --> 00:39:06,360
Speaker 1: So she's a doll by the way she is, and

844
00:39:06,800 --> 00:39:10,920
Speaker 1: extremely talented comedic actress, extremely talented.

845
00:39:10,680 --> 00:39:15,480
Speaker 3: Crazy talent, so actually with deep, actual crossed over and

846
00:39:15,480 --> 00:39:17,880
Speaker 3: to brilliant. Yeah, I was in awe of watching her

847
00:39:17,920 --> 00:39:18,160
Speaker 3: on that.

848
00:39:18,280 --> 00:39:22,120
Speaker 1: Okay, so now Larry walks in and the fresh air

849
00:39:22,280 --> 00:39:26,319
Speaker 1: fun kid that you brought into our house, robs us

850
00:39:26,360 --> 00:39:29,960
Speaker 1: blind yep, and I am going crazy on you. And

851
00:39:30,000 --> 00:39:32,720
Speaker 1: this is the first time you see the Susie Jeff

852
00:39:32,840 --> 00:39:36,839
Speaker 1: Larry relationship and Susie being this is the reason why

853
00:39:36,840 --> 00:39:39,240
Speaker 1: he hired me. Was this scene. This was the scene

854
00:39:39,280 --> 00:39:42,080
Speaker 1: he had in mind when he hired me. And I

855
00:39:42,120 --> 00:39:45,839
Speaker 1: have a question here from Anna, our producer. Where did

856
00:39:45,840 --> 00:39:48,720
Speaker 1: the personality of Susie come from? Was it decided on before?

857
00:39:48,880 --> 00:39:51,080
Speaker 1: Did it come out when the scene was improvised? I

858
00:39:51,120 --> 00:39:55,040
Speaker 1: will tell you the only direction I got from Larry

859
00:39:55,200 --> 00:39:58,360
Speaker 1: or Larry Charles, who was directing the episode, was Larry

860
00:39:58,440 --> 00:40:00,600
Speaker 1: David said to me, I want you to rip Jeff

861
00:40:00,600 --> 00:40:03,279
Speaker 1: a new asshole. That was the only direction he gave

862
00:40:03,320 --> 00:40:05,200
Speaker 1: to me. And I thought, well, you know I could

863
00:40:05,239 --> 00:40:08,200
Speaker 1: do that. I've been in relationships before, and so that's

864
00:40:08,200 --> 00:40:11,960
Speaker 1: the only direction I've ever gotten on this character. I'm

865
00:40:12,160 --> 00:40:15,600
Speaker 1: just instinctively, and you understand this. I looked at the

866
00:40:15,600 --> 00:40:18,239
Speaker 1: house and the decor and it was all this very

867
00:40:18,320 --> 00:40:21,120
Speaker 1: modern and black leather, and if you recall that house,

868
00:40:21,560 --> 00:40:24,440
Speaker 1: and I just decided who the character was. I just

869
00:40:24,480 --> 00:40:26,759
Speaker 1: decided how she dressed. I decided who she was. I

870
00:40:27,280 --> 00:40:29,560
Speaker 1: saw what you were doing, and who would be married

871
00:40:29,600 --> 00:40:32,040
Speaker 1: to you? And this character, and that was it. There

872
00:40:32,040 --> 00:40:34,279
Speaker 1: was no more thought that went into it. So I'm

873
00:40:34,280 --> 00:40:36,759
Speaker 1: screaming at you and yelling at you and cursing and

874
00:40:36,880 --> 00:40:39,399
Speaker 1: fuck you and blah blah blah. And then Larry keeps

875
00:40:39,400 --> 00:40:41,120
Speaker 1: pulling me over and says, go do it more, do

876
00:40:41,160 --> 00:40:42,640
Speaker 1: it more. And I thought I was doing a lot,

877
00:40:42,800 --> 00:40:45,759
Speaker 1: and again another take, screaming, yelling, fuck you, fuck you,

878
00:40:46,360 --> 00:40:48,719
Speaker 1: and then he pulls me aside and he says, I

879
00:40:48,760 --> 00:40:51,600
Speaker 1: want you to make fun of Jeff's fat and I said, la,

880
00:40:52,000 --> 00:40:53,640
Speaker 1: I don't want to like to do that. That's not

881
00:40:53,719 --> 00:40:57,120
Speaker 1: my style of comedy to make fun of somebody's look

882
00:40:57,200 --> 00:40:59,560
Speaker 1: So I hate that and stand up, you know, when

883
00:40:59,600 --> 00:41:01,399
Speaker 1: you go to somebody in the audience for what they

884
00:41:01,440 --> 00:41:04,360
Speaker 1: look like, it's horrible. So it's not my style. And

885
00:41:04,440 --> 00:41:06,600
Speaker 1: some people do do that, you know. And I was

886
00:41:06,600 --> 00:41:08,160
Speaker 1: like on him and he was like, just do it,

887
00:41:08,200 --> 00:41:10,040
Speaker 1: just do it. He knows you're just acting. I was like,

888
00:41:10,120 --> 00:41:13,480
Speaker 1: it's not nice. Jeff's my friend. You aren't even thinking,

889
00:41:13,520 --> 00:41:16,320
Speaker 1: you know why, because you were a fat fucking asshole.

890
00:41:16,360 --> 00:41:17,040
Speaker 2: That's what you want.

891
00:41:17,200 --> 00:41:19,080
Speaker 1: So that's the first time I called you a fat

892
00:41:19,120 --> 00:41:20,839
Speaker 1: fuck And then it was like the Genie was let out.

893
00:41:21,600 --> 00:41:23,480
Speaker 3: Yes, the genie was let out of the bottle. And

894
00:41:23,480 --> 00:41:25,680
Speaker 3: you did it numerous times in that scene, and if

895
00:41:25,760 --> 00:41:28,759
Speaker 3: you make times, people ask me how you don't do

896
00:41:28,800 --> 00:41:32,759
Speaker 3: it anymore on the show, And people always said, you know,

897
00:41:32,800 --> 00:41:35,480
Speaker 3: does it bother you when she calls you a fat fuck?

898
00:41:35,520 --> 00:41:38,799
Speaker 3: I go two things. I'm probably thinking about lunch. I'm

899
00:41:38,800 --> 00:41:42,080
Speaker 3: probably thinking about a friend cart. Yeah, I'm thinking about

900
00:41:42,320 --> 00:41:45,360
Speaker 3: taking a nap. I am definitely not hurt by it

901
00:41:45,360 --> 00:41:48,640
Speaker 3: because I know it's pretend. And also I would say

902
00:41:48,680 --> 00:41:51,319
Speaker 3: all the time, well, if it bothers me, she'd call

903
00:41:51,400 --> 00:41:53,279
Speaker 3: me a fat fuck. All I gotta do is lose weight.

904
00:41:53,520 --> 00:41:57,080
Speaker 1: Well, but also more importantly, the character is calling the

905
00:41:57,200 --> 00:41:58,480
Speaker 1: character a fat fuck.

906
00:41:58,719 --> 00:42:02,280
Speaker 2: It's not me, Susie Garland a fat thought.

907
00:42:02,560 --> 00:42:06,200
Speaker 3: And I completely I've never been offended.

908
00:42:06,560 --> 00:42:07,759
Speaker 2: And that was Larry's point.

909
00:42:07,840 --> 00:42:11,040
Speaker 1: Larry's point was he knows it's not you, he knows

910
00:42:11,080 --> 00:42:11,880
Speaker 1: it's the character.

911
00:42:12,239 --> 00:42:15,320
Speaker 3: Yeah, And I got to be honest many of those scenes,

912
00:42:15,600 --> 00:42:16,560
Speaker 3: I was a fat fuck.

913
00:42:16,800 --> 00:42:20,000
Speaker 1: Well in that season, I was a fuck and I

914
00:42:20,080 --> 00:42:22,359
Speaker 1: was fat, so yeah. So that was the first time

915
00:42:22,440 --> 00:42:25,680
Speaker 1: and then the character just started to develop in my mind.

916
00:42:25,880 --> 00:42:29,000
Speaker 1: It was an instinctive. You know, I hate the word,

917
00:42:29,040 --> 00:42:31,640
Speaker 1: but it was an organic thing of how I just

918
00:42:31,680 --> 00:42:34,000
Speaker 1: felt like, oh, I know who she is and I

919
00:42:34,120 --> 00:42:37,520
Speaker 1: just became her, and especially the way she dressed and

920
00:42:37,560 --> 00:42:39,520
Speaker 1: that whole thing, which got more and more as further

921
00:42:39,600 --> 00:42:42,239
Speaker 1: seasons went on. But there were so many moments in

922
00:42:42,280 --> 00:42:45,239
Speaker 1: that scene that I loved. My grandma's brooch, you know,

923
00:42:45,440 --> 00:42:48,880
Speaker 1: your baseball cards and the Mickey Mantle and all of

924
00:42:48,920 --> 00:42:50,480
Speaker 1: that stuff was just so much.

925
00:42:50,560 --> 00:42:53,560
Speaker 3: My favorite thing was at the end, you were talking

926
00:42:53,640 --> 00:42:55,920
Speaker 3: about your grandma how she got and you use the

927
00:42:55,920 --> 00:42:57,040
Speaker 3: word steering steerage.

928
00:42:57,080 --> 00:42:58,480
Speaker 2: She came over and said, Stario.

929
00:42:58,280 --> 00:42:59,800
Speaker 3: So where did she pull steerage?

930
00:43:00,320 --> 00:43:02,759
Speaker 1: She brought it over from Russia from amp she was

931
00:43:02,800 --> 00:43:05,239
Speaker 1: in steerage. That was the first time I met Larry Charles,

932
00:43:05,280 --> 00:43:08,200
Speaker 1: and I remember Larry Charles overhearing he didn't say this.

933
00:43:08,320 --> 00:43:10,600
Speaker 1: I overheard him saying, you know, I was wondering why

934
00:43:10,600 --> 00:43:13,080
Speaker 1: they brought this girl in from New York, Like why

935
00:43:13,120 --> 00:43:15,200
Speaker 1: they slept this girl in from New York for this part?

936
00:43:15,200 --> 00:43:17,400
Speaker 1: He said, But now I get it, And that was

937
00:43:17,400 --> 00:43:18,120
Speaker 1: a moment that.

938
00:43:18,080 --> 00:43:19,640
Speaker 3: Was your work before.

939
00:43:19,760 --> 00:43:21,160
Speaker 2: Yeah, exactly. So that was nice.

940
00:43:21,440 --> 00:43:24,320
Speaker 3: When Larry David approached me about you being my wife.

941
00:43:24,400 --> 00:43:28,920
Speaker 3: I couldn't. I was like, that's brilliant, let's go please.

942
00:43:29,120 --> 00:43:31,839
Speaker 1: So that was the first establishment, and it got more

943
00:43:32,120 --> 00:43:35,920
Speaker 1: the next season, and that was the establishment where you

944
00:43:35,960 --> 00:43:39,239
Speaker 1: and Larry are scared of me, horrified.

945
00:43:39,120 --> 00:43:40,920
Speaker 3: And that scene by the way, when you leave the

946
00:43:41,000 --> 00:43:46,120
Speaker 3: room and here it is really funny and like please please.

947
00:43:46,200 --> 00:43:50,120
Speaker 3: You know, whereas now he wouldn't leave, you would throw

948
00:43:50,200 --> 00:43:54,680
Speaker 3: him out corrected, he deals with all your bullshit and

949
00:43:54,680 --> 00:43:57,480
Speaker 3: he throws it back at you because you think he's

950
00:43:57,480 --> 00:43:59,360
Speaker 3: got a lot of bullshit. You've got a lot of bullshit.

951
00:43:59,640 --> 00:44:02,120
Speaker 3: And then and it'll build to where you look to

952
00:44:02,160 --> 00:44:04,480
Speaker 3: me for help. I don't give you help, and you

953
00:44:04,560 --> 00:44:07,239
Speaker 3: throw Larry out of the house. That's the rhythm of.

954
00:44:07,320 --> 00:44:10,360
Speaker 2: One of my favorite things. Yes, I'm always happy, okay.

955
00:44:10,360 --> 00:44:12,919
Speaker 2: And then he goes home and Cheryl found the first

956
00:44:12,960 --> 00:44:13,239
Speaker 2: of all.

957
00:44:13,520 --> 00:44:16,400
Speaker 1: Here's what confuses me. The bracelets supposed to be vintage.

958
00:44:16,440 --> 00:44:19,280
Speaker 1: There's like a million copies of this fuckingra by.

959
00:44:19,120 --> 00:44:22,680
Speaker 3: The way, he said, forgery or you know something, yeah,

960
00:44:22,760 --> 00:44:23,480
Speaker 3: something like that.

961
00:44:23,640 --> 00:44:26,759
Speaker 1: Cheryl found the bracelet and she goes out, She's gonna

962
00:44:26,800 --> 00:44:29,080
Speaker 1: go buy the bracelet whatever, and then Julia shows up

963
00:44:29,120 --> 00:44:32,000
Speaker 1: and Larry apologizes, and you know he had the pet.

964
00:44:32,080 --> 00:44:34,759
Speaker 1: It's nine months of ideas and he tries to explain it,

965
00:44:34,880 --> 00:44:37,840
Speaker 1: and Julia can't find her bracelet, which was the same

966
00:44:37,920 --> 00:44:41,560
Speaker 1: exact bracelet that she bought from Phyllis that Cheryl wanted

967
00:44:41,560 --> 00:44:44,160
Speaker 1: that Richard Lewis already bought for his girlfriend. Whatever, this

968
00:44:44,200 --> 00:44:47,640
Speaker 1: bracelet is complicated, and then she sees the bracelet that

969
00:44:47,719 --> 00:44:50,800
Speaker 1: Cheryl bought sitting on the table and assumes that Larry

970
00:44:50,840 --> 00:44:55,439
Speaker 1: stole her bracelet, which is just like a beautiful classic curb.

971
00:44:55,640 --> 00:45:00,880
Speaker 3: Yeah, the moment that someone sees something, they assume something.

972
00:45:01,320 --> 00:45:03,520
Speaker 3: And he goes no, no. When he starts.

973
00:45:03,239 --> 00:45:05,840
Speaker 1: Explaining, to see Julia's face because she sent a terrific

974
00:45:05,880 --> 00:45:10,160
Speaker 1: actress and just see her face of disgust. And before

975
00:45:10,200 --> 00:45:13,719
Speaker 1: she leaves, Dean shows up, Yes, and Julia has no

976
00:45:13,920 --> 00:45:14,759
Speaker 1: fucking time for him.

977
00:45:14,760 --> 00:45:15,399
Speaker 2: She's in a huff.

978
00:45:15,400 --> 00:45:17,279
Speaker 1: You know what, you come on time and she's in

979
00:45:17,320 --> 00:45:20,000
Speaker 1: a huff and she berates Dean, and then you know,

980
00:45:20,360 --> 00:45:23,160
Speaker 1: Julia leaves in a huff and Larry kicks ten out.

981
00:45:23,160 --> 00:45:26,399
Speaker 2: But before he kicks Dean out, Dean found the.

982
00:45:26,360 --> 00:45:30,239
Speaker 1: Notebook, yes, which is very very important, and there's a

983
00:45:30,280 --> 00:45:31,560
Speaker 1: reward in the notebook.

984
00:45:31,600 --> 00:45:34,560
Speaker 2: What does it say in the dollars five hundred dollars.

985
00:45:34,360 --> 00:45:37,080
Speaker 1: Which was based on the truth that Larry really did

986
00:45:37,080 --> 00:45:38,000
Speaker 1: write that in his notebook.

987
00:45:38,040 --> 00:45:41,239
Speaker 3: Yes, and then later on you'd have an email. Well

988
00:45:41,280 --> 00:45:42,799
Speaker 3: there it was email then. I don't even know if

989
00:45:42,840 --> 00:45:44,440
Speaker 3: Larry knew what email was then.

990
00:45:44,640 --> 00:45:50,680
Speaker 2: No, he's very then sure, Yeah, I remember.

991
00:45:50,760 --> 00:45:52,279
Speaker 3: I knew it before then because I was on the

992
00:45:52,320 --> 00:45:53,200
Speaker 3: cutting edge.

993
00:45:53,040 --> 00:45:54,680
Speaker 2: I might have had it. I just don't remember.

994
00:45:54,880 --> 00:45:56,560
Speaker 3: No, listen, Susie, I'm on the.

995
00:45:56,560 --> 00:45:59,480
Speaker 2: Cutting cutting mister technology.

996
00:46:01,719 --> 00:46:05,239
Speaker 3: Just ending that way of Larry getting the money and

997
00:46:05,239 --> 00:46:08,400
Speaker 3: giving UF. What's unusual, though, is the scene ends on

998
00:46:08,440 --> 00:46:09,160
Speaker 3: Wayne Fetterman.

999
00:46:09,520 --> 00:46:11,959
Speaker 1: No, the scene ends. Oh, the scene ends on Wayne

1000
00:46:11,960 --> 00:46:16,000
Speaker 1: fed The episode does not end on Way. The episode ends.

1001
00:46:17,880 --> 00:46:18,840
Speaker 2: Staring at the wire.

1002
00:46:19,000 --> 00:46:22,520
Speaker 3: Yeah. By the way, I know, Larry used to have

1003
00:46:22,560 --> 00:46:26,279
Speaker 3: a hammock that he'd lay in the backyard, and I go,

1004
00:46:26,320 --> 00:46:27,920
Speaker 3: people think you don't have trouble, so a lot of

1005
00:46:27,960 --> 00:46:31,239
Speaker 3: anxiety when you lay there. Yeah, yeah, because people think, yoh,

1006
00:46:31,280 --> 00:46:34,600
Speaker 3: you're that rich or successful, you don't have anxiety. Just

1007
00:46:34,960 --> 00:46:38,960
Speaker 3: the Shpilkey's just come with being a Jewish comedian. Okay,

1008
00:46:39,520 --> 00:46:42,480
Speaker 3: but you know, damn well, he's never gonna lay in

1009
00:46:42,520 --> 00:46:45,040
Speaker 3: the sun in a chair like that. No. If I

1010
00:46:45,120 --> 00:46:47,839
Speaker 3: asked him now, he would surprise me by saying yes,

1011
00:46:47,880 --> 00:46:48,480
Speaker 3: but you never know what.

1012
00:46:48,640 --> 00:46:51,239
Speaker 2: Larry comes out and know, well heather on the sunscreen.

1013
00:46:51,480 --> 00:46:55,480
Speaker 3: Yeah, but that's when we're working and stuff and daily

1014
00:46:56,080 --> 00:46:57,920
Speaker 3: his body laying out in the sun.

1015
00:46:58,200 --> 00:46:58,879
Speaker 2: That's fat.

1016
00:46:59,080 --> 00:46:59,480
Speaker 3: Yeah.

1017
00:46:59,560 --> 00:47:02,480
Speaker 1: Yeah, he's not an outdoor kind of guy, except playing golf,

1018
00:47:02,520 --> 00:47:06,240
Speaker 1: which he also hunts. One little note that I noticed

1019
00:47:06,239 --> 00:47:09,720
Speaker 1: watching the credits, because I like to look at the credits.

1020
00:47:09,320 --> 00:47:10,919
Speaker 3: And watch them every time.

1021
00:47:11,000 --> 00:47:14,359
Speaker 1: It's a memory of who was And I see that

1022
00:47:14,840 --> 00:47:19,080
Speaker 1: second camera operator of that episode was Patrick Thelander.

1023
00:47:19,320 --> 00:47:21,520
Speaker 3: Patrick Thelander who is now.

1024
00:47:21,320 --> 00:47:25,320
Speaker 1: Our cameraman all these years later. I didn't remember him that.

1025
00:47:25,120 --> 00:47:27,120
Speaker 3: One season or the first two. I I'll have to

1026
00:47:27,160 --> 00:47:27,520
Speaker 3: ask him.

1027
00:47:27,640 --> 00:47:28,600
Speaker 2: Yeah, we'll see him next time.

1028
00:47:28,640 --> 00:47:32,400
Speaker 3: We have Patrick, who I love, who is from Sweden. Sweden.

1029
00:47:32,880 --> 00:47:35,440
Speaker 3: He is such a wonderful presence on the set.

1030
00:47:35,560 --> 00:47:37,480
Speaker 2: Yes, we happen to have a great crew.

1031
00:47:37,640 --> 00:47:39,759
Speaker 1: We do, and it's changed over the years, but there

1032
00:47:39,800 --> 00:47:42,440
Speaker 1: are holdovers and this sum that have you know, in

1033
00:47:42,480 --> 00:47:45,120
Speaker 1: the new incarnation when we came back after the long hiatus,

1034
00:47:45,239 --> 00:47:47,719
Speaker 1: most of them no they are no, not the.

1035
00:47:48,280 --> 00:47:51,160
Speaker 3: This is our second new incarnation. We had the season

1036
00:47:51,200 --> 00:47:55,560
Speaker 3: where we came back where some people started and a

1037
00:47:55,600 --> 00:47:58,480
Speaker 3: lot of people weren't there from the past. Now the

1038
00:47:58,600 --> 00:48:01,840
Speaker 3: last two or three season since it's been the same steady,

1039
00:48:01,840 --> 00:48:02,360
Speaker 3: the same.

1040
00:48:02,280 --> 00:48:04,080
Speaker 2: Same crew exactly. That's what I'm saying.

1041
00:48:04,239 --> 00:48:05,759
Speaker 1: The point I'm trying to make us and this was

1042
00:48:05,920 --> 00:48:09,040
Speaker 1: the case in the first batch we did up to

1043
00:48:09,120 --> 00:48:11,840
Speaker 1: season eight, and then we took a six year hiatus

1044
00:48:11,880 --> 00:48:13,840
Speaker 1: and then we came back for nineteen eleven twelve. But

1045
00:48:14,000 --> 00:48:16,200
Speaker 1: the point I'm trying to make is that the crew

1046
00:48:16,480 --> 00:48:18,920
Speaker 1: always wants to come back to KURB. That we have

1047
00:48:19,040 --> 00:48:20,759
Speaker 1: a lot of repeat and a lot of times they

1048
00:48:20,880 --> 00:48:23,000
Speaker 1: leave other shows to come back to KURB.

1049
00:48:23,120 --> 00:48:25,440
Speaker 3: We've been lucky with that, and we were really lucky

1050
00:48:25,560 --> 00:48:26,440
Speaker 3: the first seven eight.

1051
00:48:26,560 --> 00:48:28,600
Speaker 2: Yes, yes, a lot of continentary because.

1052
00:48:28,400 --> 00:48:30,440
Speaker 3: It was really it was you know, they always say

1053
00:48:30,480 --> 00:48:32,920
Speaker 3: like a family. But by the way, Patrick the Cameron

1054
00:48:32,960 --> 00:48:35,480
Speaker 3: who we're just talking about. Fun fact which we've used

1055
00:48:35,480 --> 00:48:38,400
Speaker 3: in the show. What do you think Larry David discusses

1056
00:48:38,440 --> 00:48:39,439
Speaker 3: with him every day?

1057
00:48:39,680 --> 00:48:40,080
Speaker 2: Chess?

1058
00:48:40,320 --> 00:48:41,320
Speaker 3: No, he's from Sweden.

1059
00:48:41,520 --> 00:48:47,200
Speaker 1: Hockey, oh hockey, Mark Bergman, the Rangers.

1060
00:48:46,719 --> 00:48:50,680
Speaker 3: The Rangers are Larry's great He loves the other team,

1061
00:48:50,880 --> 00:48:53,920
Speaker 3: and so Patrick, being from Sweden and grew up playing hockey,

1062
00:48:54,280 --> 00:48:56,080
Speaker 3: Larry always has a million questions for him.

1063
00:48:56,440 --> 00:48:59,880
Speaker 2: They discussed some fact and that's the episode. It is.

1064
00:49:00,520 --> 00:49:05,319
Speaker 3: So we'll be back soon, very soon, next week. I

1065
00:49:05,320 --> 00:49:09,480
Speaker 3: don't know when they're running or how we'll figure it out.

1066
00:49:09,520 --> 00:49:11,080
Speaker 3: I know they'll be available to you.

1067
00:49:11,200 --> 00:49:12,359
Speaker 2: And we'll see you next time.

1068
00:49:12,400 --> 00:49:13,880
Speaker 3: We will thank you, everybody.

1069
00:49:15,160 --> 00:49:17,560
Speaker 1: The history of Curb Your Enthusiasm is a production of

1070
00:49:17,600 --> 00:49:21,440
Speaker 1: iHeart Radio. For more podcasts from iHeart Radio, visit the

1071
00:49:21,520 --> 00:49:24,680
Speaker 1: iHeart Radio Apple Podcasts, or wherever you listen

1072
00:49:24,719 --> 00:49:25,640
Speaker 2: To your favorite shows.