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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 Curb Your Enthusiasm, including the

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Speaker 1: new and final season, on Max. You can also watch

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Speaker 1: the video version of the History of Curb Your Enthusiasm

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Speaker 1: podcast on Max and YouTube as well. Links available in

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Speaker 1: the episode description. What's the show, Jeff, what's the name

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Speaker 1: of the show.

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Speaker 2: The name of the show is the History of Curb

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Speaker 2: Your Enthusiasm with Susie Esman and Jeff Garland. And she

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Speaker 2: is Susie Esman. I am Jeff Garland. This is the show.

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Speaker 1: This is the show. This is our first episode. Yes,

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Speaker 1: and we're going to talk about pre the show. Pre

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Speaker 1: the show was the so called pilot, which was actually

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Speaker 1: just a special. When it was first meeting, it was

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Speaker 1: called Larry David Kirby Your Enthusiasm.

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Speaker 2: Larry David Kirby Your Enthusiasm.

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Speaker 1: And I was not in it. So I'm going to

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Speaker 1: ask you a lot about it.

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Speaker 2: Oh, please ask me questions if you want to start

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Speaker 2: from pre curb where it started, and then all the

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Speaker 2: way through, I've got, you know, different anecdotes before we

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Speaker 2: even go into the thing.

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Speaker 1: Was this nineteen ninety nine, I believe.

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Speaker 2: It might have been starting in ninety eight. I can't remember,

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Speaker 2: but we shot it for sure in ninety nine.

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Speaker 1: Do you know what year Larry left Seinfeld?

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Speaker 2: I have no idea.

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Speaker 1: Yeah, but he had been out of Seinfeld for a

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Speaker 1: few years, the.

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Speaker 2: Last two years he was not the showrunner.

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Speaker 1: Well.

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Speaker 2: Prior to doing this, yeah, he had done two things

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Speaker 2: which were not that successful. One was the finale of Seinfeld,

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Speaker 2: where he took a lot of shit. Yeah, a lot

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Speaker 2: of shit and it was unfair. And Sour Grapes, which

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Speaker 2: I can tell you I auditioned for Sour Grapes. Believe

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Speaker 2: or not, he knows this. I auditioned for Sour Grapes,

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Speaker 2: the part of a limo driver who gets into a

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Speaker 2: fight with one of the guys. What have you? That

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Speaker 2: script from page one on had me laughing. What if

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Speaker 2: I said, page six on, that's interesting? Page one on.

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Speaker 2: I was laughing hysterically. Yeah, so hard because I imagined

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Speaker 2: it and I Larry's writing appeals to me. So when

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Speaker 2: I saw it, it was disappointing to me because it

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Speaker 2: wasn't the script. The script was the movie in my head.

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Speaker 2: And then I saw it and so some things work.

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Speaker 2: I thought it was well cast. Well, I thought everything

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Speaker 2: about it was going to do. It just doesn't By

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Speaker 2: the way, it's so hard to make a movie. It

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Speaker 2: didn't work. But so he's coming off things that. That's

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Speaker 2: why I said not too successful, although I imagine although

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Speaker 2: there are a lot of viewers, but he took a

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Speaker 2: lot of shit. Yeah, okay, So if you're jumping to

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Speaker 2: somewhere and I know there's something before that that I

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Speaker 2: want to talk about, I'll let you know.

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Speaker 1: So I just want to get you know, just just

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Speaker 1: for the record, how this all came about. I know

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Speaker 1: you and Larry were sharing an office suite, is that correct?

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Speaker 2: It was Larry David, Alan's Wybell and Billy Crystal and

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Speaker 2: was over on Maple at Castle Rock, Castle Rock, And

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Speaker 2: I was just excited to be near Larry David and

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Speaker 2: to be near Billy Crystal, and I wanted to say

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Speaker 2: I was thrilled to write with with Ellen's Ye Bell.

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Speaker 1: So where was your career at this point? I mean,

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Speaker 1: you were doing stand up for many years and you

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Speaker 1: and I first, let me just say, you and I

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Speaker 1: first met doing stand up. And that's when I first

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Speaker 1: met Larry as well at Catchurizing car. Yes, in the eighties,

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Speaker 1: and we.

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Speaker 2: Hit it off right away, right away. We were friends

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Speaker 2: like boom, and I.

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Speaker 1: Had a nickname for you. I called you Smokey.

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Speaker 2: You did call me smoky. Do you remember the reason why?

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Speaker 1: Oh that's so boy. There wasn't a reason. I just

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Speaker 1: looked at you and.

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Speaker 2: You went smoking.

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Speaker 1: You were smoking.

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Speaker 2: Can you think of a person who's less smoky than

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Speaker 2: me smoking if I had a cigar all the time.

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Speaker 1: I wasn't thinking smoky.

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Speaker 2: I remember the smoky Mountains smoke, but.

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Speaker 1: I wasn't thinking in terms of smoky like cigarettes or

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Speaker 1: any or the mountains or Smokey Robinson. I wasn't thinking.

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Speaker 1: I was just.

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Speaker 2: Although I do great versions of Smoky Robinson and the Miracles,

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Speaker 2: i'd never heard that. Naked in the mirror in the morning,

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Speaker 2: I keep going.

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Speaker 1: I don't know. I just looked. It was, you know,

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Speaker 1: the smoky the bear, you were cuddly, you're going down

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Speaker 1: the smoky.

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Speaker 2: It was, well, there you go. Yes, I'm with you.

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Speaker 1: You are lovable. That's what you were. And so I

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Speaker 1: named you smoky.

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Speaker 2: Okay, yeah, alright, so go ahead, all right. So so

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Speaker 2: also I want to add, at that point, I had

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Speaker 2: been doing parts on TV shows small parts in different sitcoms.

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Speaker 2: And I had a lot of development deals that had

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Speaker 2: gone nowhere, okay, where I was under contract for a

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Speaker 2: year to develop something and it went nowhere.

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Speaker 1: Which, by the way, I'm just going to say for

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Speaker 1: the audience is extremely frequent with development, oh very much so.

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Speaker 2: But I've been lucky that I got one after another.

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Speaker 2: I was development deal Johnson.

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Speaker 1: I mean you were you were mad about you?

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Speaker 2: Well, that's what I was about that I was. I

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Speaker 2: was a recurring I'm mad about you. But I was

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Speaker 2: on that show a lot, and I was teamed up

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Speaker 2: with alan'sy Bell to do a compat.

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Speaker 1: I don't want to tell people who Alan is for

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Speaker 1: those who don't know, Alan's Wybell was one of the

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Speaker 1: original SNL writers and he's a comedy writer and write.

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Speaker 2: That's all You're gonna say, Yes, but why Bell co

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Speaker 2: created It's Gary Shanling.

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Speaker 1: Yes, he did, yes, and he's a very well known No, he's.

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Speaker 2: He's and by the way, done something he wrote on Curb.

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Speaker 2: He was like an extra writer as your sultant. And

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Speaker 2: also he was really funny on Curb. He's just one

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Speaker 2: of the funniest.

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Speaker 1: People, very close friends.

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Speaker 2: Yes, and by the way. I couldn't love a guy

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Speaker 2: more except for Lee Kurnis sitting right to the right

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Speaker 2: of me. Yeah, he doesn't even enjoy that.

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Speaker 1: So you're doing a development deal.

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Speaker 2: With Yes, for CBS. They want us to create a

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Speaker 2: show that is a companion show to everybody loves Raymond

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Speaker 2: and Ellen and I were teamed up, you know, we're

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Speaker 2: writing whatever, and Larry would come by and we would

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Speaker 2: talk to both of us, and I would also go

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Speaker 2: into Larry's office, who had young children the same as mine,

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Speaker 2: and our bonding came. Now, I already knew Larry from

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Speaker 2: stand up and I loved him, but our bonding came

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Speaker 2: on Shirley Temple. Both our kids at that time watched

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Speaker 2: all the time. They watched the best of Shirley Temple,

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Speaker 2: all these songs, you know, the Codfish Ball, all that stuff. Yes,

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Speaker 2: Larry and I knew the words to all of them,

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Speaker 2: having so I would go in his office and start

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Speaker 2: singing one and he joined me. So it was really fun.

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Speaker 1: So Shirley Temple brought you together. And see I never

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Speaker 1: knew no.

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Speaker 2: But there's also and irony that I'll bring up in

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Speaker 2: a second. So also when Larry would come to our office.

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Speaker 2: We'd tell him how we were doing and my favorite thing.

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Speaker 2: One of the main people actors we wanted for our

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Speaker 2: show was Adam West in a key role. Is my boss.

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Speaker 1: Adam West who played Batman.

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Speaker 2: Batman, who I do an impression of, Hello, Susie, how

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Speaker 2: are you so help me? If the Joker, Riddler and

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Speaker 2: the Penguin come near you, I will have to get

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Speaker 2: Chief O'Hara. All right, anyhow, thank you. So Larry comes

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Speaker 2: in and the first thing he first joke he said,

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Speaker 2: is we're working on this. We told him our idea

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Speaker 2: for Adam West, and Larry goes, eh, I think you

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Speaker 2: can get him. That was my worst Larry impression I've

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Speaker 2: ever done. I do a good one. I do this

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Speaker 2: one stylized impression. Anyhow, one day this is I'm getting

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Speaker 2: to the core now, Okay. One day Larry came in

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Speaker 2: and asked Allan and I to go to lunch. Alan

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Speaker 2: did not want it, couldn't go. Not you didn't want to,

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Speaker 2: you know, it couldn't go. So Larry and I went

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Speaker 2: to lunch at the Cuckaroo across the street from Natan Nels.

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Speaker 2: I remember distinctly the Cuckaroo. He and I are sitting

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Speaker 2: in the back and he's asking me a lot of

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Speaker 2: questions about stand up.

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Speaker 1: Now I have a question for you, yes, because my

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Speaker 1: timeline is off. When I met Larry in nineteen eighty

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Speaker 1: five doing stand up, you aren't around yet. Then in

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Speaker 1: New York, I came up a bit after that, So

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Speaker 1: had were you around in the days when he was

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Speaker 1: hanging out the most?

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Speaker 2: Definitely the one I saw him do was look at

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Speaker 2: the audience, look around at the very beginning, go not tonight.

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Speaker 1: Yeah. I witnessed one where he looked at the audience

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Speaker 1: said I don't think so that before that.

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Speaker 2: Yeah, yes, Well, by the way, there's a boundary that

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Speaker 2: like it's I believe it's eighty six when I moved

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Speaker 2: to New York. I'm pretty sure. Okay, okay, so shortly, Yeah.

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Speaker 1: And when we met Larry, he was a stand up comic.

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Speaker 1: That's where he was.

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Speaker 2: He was a stand up comic. No hold on.

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Speaker 1: He had done Friday. He had done.

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Speaker 2: Fridays, which I used to love, but primarily I loved

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Speaker 2: him and Michael Richards and Larry used to do these

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Speaker 2: pro wrestlers who do this and it was just a

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Speaker 2: He was hilarious on that show. Everything he did and

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Speaker 2: his look, so he was someone I looked up to.

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Speaker 2: When I met him, I'm like, wow, Larry David.

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Speaker 1: Yeah. And you know what else I remember from those days.

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Speaker 1: I remember once I did a new bit or something

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Speaker 1: and he was in the room watching me, and somebody

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Speaker 1: told me it was Scott Carter actually told me afterwards

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Speaker 1: Larry thought that new bit you did was really funny.

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Speaker 1: And I remember feeling like you always wanted Larry to

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Speaker 1: think you were funny. There was a respect level there.

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Speaker 2: But by the way, the idea that I have Larry

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Speaker 2: David's number, that I say things that he thinks they're

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Speaker 2: hilarious all the time, that he laughs hard from the

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Speaker 2: stud but bullshit that I say, the non secuit is

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Speaker 2: the nonsense, Oh you're a loser. But the point is

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Speaker 2: that to have his number every single time he laughs

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Speaker 2: hard at me, I'm like, this is the coolest.

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Speaker 1: Yes, there's just something about it.

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Speaker 2: So I just want to add that's where my career was.

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Speaker 2: But something I had done previous to this moment, this

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Speaker 2: is the key thing. I had helped develop John Stewart's

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Speaker 2: Unlevined and Dennis Larry's Lock and Load.

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Speaker 1: So those were stand up.

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Speaker 2: Specials for Dennis Leary and John Stewart, two guys I

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Speaker 2: was friends with, and I used to think that I

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Speaker 2: was the co director, But as I thought about it,

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Speaker 2: you don't direct stand up, you know, and the other

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Speaker 2: person directs the cameras. So what I really was, even

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Speaker 2: though I got a credit on one as director and

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Speaker 2: one is point being is I was a I developed it.

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Speaker 2: I was a consultant, but i'd really hands on development.

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Speaker 2: I went on tour with John Stewart and Dennis. Larry

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Speaker 2: would open for them and then go sit in the back,

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Speaker 2: and then every night we would go over the note

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Speaker 2: and so I experienced the developing of a stand up

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Speaker 2: special in that way.

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Speaker 1: You know, that's an important it was important point.

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Speaker 2: And for my performance special, I had an HBO half

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Speaker 2: hour in a group of people with like this. You

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Speaker 2: had the first round and I was in the second round.

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Speaker 2: And yeah, so that was my experience. Okay, So he's

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Speaker 2: asking me questions about the current state of stand up

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Speaker 2: at that.

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Speaker 1: Point because he wanted to go back on.

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Speaker 2: He was thinking about it. He was, you know, he

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Speaker 2: wanted to get the info, you know, and you know

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Speaker 2: with Larry, there's I am enamored of his ability to ponder.

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Speaker 2: He ponders long beyond the point of uncomfortability for me,

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Speaker 2: like I'll ponder for a while and then I'll feel

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Speaker 2: pressure within myself to come up with an answer. He'll

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Speaker 2: ponder forever. So I didn't know it then, but I

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Speaker 2: know now this was part of his pondering process. Pondering process.

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Speaker 1: It's a pondering process.

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Speaker 2: By the ocean with a seashell.

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Speaker 3: We'll be right back. Stay junked, and we're back.

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Speaker 1: I just want to say a little bit about Larry's

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Speaker 1: stand up when we used to see him in the

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Speaker 1: eighties before he did Seinfeld and his stand up and

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Speaker 1: some of it is in the special with some of

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Speaker 1: my favorite parts, my favorite bits.

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Speaker 2: And by the way, yesterday I was talking with Larry

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Speaker 2: about those bits, so when they come up, I'll talk.

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Speaker 1: About it, okay, because but we all would go in

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Speaker 1: the room to watch him because his stand up was

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Speaker 1: so funny.

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Speaker 2: By the way, my dream is a comic. I swear

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Speaker 2: early on, I never thought about specials or anything. I

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Speaker 2: just wanted comedians to come in when I was on stage.

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Speaker 2: That was like a big goal.

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Speaker 1: It's a great compliment. We would all go to watch,

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Speaker 1: and part of it was that it was so funny,

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Speaker 1: and the other part was you never knew what was

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Speaker 1: going to happen.

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Speaker 2: He was so volatile by the way. Either one of

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Speaker 2: them would have been great to watch him do his stuff,

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Speaker 2: or watch him go not tonight and walk off.

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Speaker 1: Correct or something in between, where he'd see he'd be

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Speaker 1: killing and somebody would look at their watch from the middle.

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Speaker 2: Yes, but that but that includes it falling apart in

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Speaker 2: some way.

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Speaker 1: So he was fascinating to watch, fascinating to watch. So

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Speaker 1: he was so he wanted to get back on stage

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Speaker 1: handing about it. And he had never really been what

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Speaker 1: you would call a successful stand up comic, and I

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Speaker 1: think that that was something that he wanted.

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Speaker 2: And his comedy was pretty much unique to New York.

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Speaker 2: I don't even know how much stand up I know

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Speaker 2: he played the store Comedy Store some, but he wasn't

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Speaker 2: like a road comic to my knowledge. Never although I

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Speaker 2: met him when he was going to the last year

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Speaker 2: of Comisky Park in Chicago and he came in. I

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Speaker 2: was actually performing with Meanie and he can't Kevin.

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Speaker 1: Meanie, our dear friend who's no longer with us. Oh,

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Speaker 1: it was the funniest.

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Speaker 2: Made me cry. Larry showed up I remember with a

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Speaker 2: Blackhawks jacket. He had this leather, black leather arms, blackhouch chet,

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Speaker 2: which I thought was so cool. We started talking and

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Speaker 2: then he was going to like one of the last

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Speaker 2: games at Comisky Park. He was very excited. That's where

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Speaker 2: we first met. Okay, so he's asking me all these questions.

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Speaker 2: I'm telling him what's going down. He's listening, and then

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Speaker 2: it hit me boom, like it really hit me because

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Speaker 2: of my John Stewart and Dennis Leary. I go, if

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Speaker 2: you ever want to do an HBO special, I've got

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Speaker 2: an idea for a special. We could shoot you developing

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Speaker 2: a special, and then at the end, even in real time,

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Speaker 2: based on your decision, we could show a real special

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Speaker 2: or show you getting out of the special. There's my

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Speaker 2: contribution everybody, and that we improvise. Those are the two things.

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Speaker 2: Because that was my idea when we were going to

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Speaker 2: do it. I said to him, You're not gonna have

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Speaker 2: to learn lines.

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Speaker 1: We'll improvise the whole thing.

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Speaker 2: Who does the way, By the way, that's the hardest

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Speaker 2: thing that an actor does. Director, it's prep actors. It's

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Speaker 2: learning lines and comedians, it's listening to your set that

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Speaker 2: night or.

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Speaker 1: The next day, because it's it's painful.

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Speaker 2: It's painful. It's like going to the dentist. You think

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Speaker 2: that we're like ego people, like I'm going to listen

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Speaker 2: to how great I was. And by the way, you're

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Speaker 2: never as good as you thought you were. When you

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Speaker 2: listen to those tapes, you see all the flaws. Oh

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Speaker 2: my god, how did I And even when you kill,

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Speaker 2: you're like, how did I kill? What was wrong with

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Speaker 2: those people? So I said that to him, and his

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Speaker 2: eyes lit up. That's not bad, that's not bad. And

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Speaker 2: he said, let me go home and think about it.

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Speaker 2: And he went home and he thought about it, and

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Speaker 2: I told I want him to tell Marla, my wife

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Speaker 2: of your who we both love. I love I love

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Speaker 2: her for obvious reasons. It's weird that my ex wife

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Speaker 2: is my family, Like, that's right, but I love her

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Speaker 2: so much. Marla.

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Speaker 1: You could love people, and you could share so many

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Speaker 1: things with them. It doesn't mean that you need to

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Speaker 1: be living with them and married too.

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Speaker 2: By the way, who did I learn that from me? Yes?

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Speaker 2: And what did I tell Marla over and over to

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Speaker 2: have her come to terms with us splitting up. I said,

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Speaker 2: if you think I love you any iota less than

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Speaker 2: I did, you're wrong. I just feel we can't be married,

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Speaker 2: and you saved me with that.

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Speaker 1: That was the thing.

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Speaker 2: By the way, we should also explain this two things.

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Speaker 2: Number one, at this point we are two days in

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Speaker 2: on shooting season eleven, twelve twelve. Yeah. By the way,

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Speaker 2: that's me, that's you. I get things wrong. She gets.

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Speaker 2: By the way, if we talk about something and we argue,

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Speaker 2: know that she's right.

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Speaker 1: I just want to like to necessarily, by.

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Speaker 2: The way, I'm going to say this necessarily maybe okay.

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Speaker 2: And the other one was, oh, you know, you see

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Speaker 2: us in a confrontational Actually she's confrontational her character on

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Speaker 2: the show, and I want to avoid confrontation. So if

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Speaker 2: you see me confrontational on the show, that's rare. But

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Speaker 2: in as they say, real life, we couldn't be better friends.

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Speaker 2: I look at you as like a rock in my life.

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Speaker 2: You're just fucking solid for me, and we love each

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Speaker 2: other dearly. So that is kind of.

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Speaker 1: Fun and it's and it's long, you know'ship's but that's true.

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Speaker 2: Friends. You gotta disagree. You got to be mad at

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Speaker 2: You're like fuck them, No, you have to. Now it's

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Speaker 2: a real, real friendship and so and by the way,

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Speaker 2: let me also add this, everyone that's on Curb Your Enthusiasm,

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Speaker 2: the main people that you guys see every week, we

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Speaker 2: all love each other, yes, dearly, and anytime. We love

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Speaker 2: to spend time with each other offscreen, which you don't

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Speaker 2: often see. I've never had a show where there was

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Speaker 2: a connection between the performers like this show.

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Speaker 1: And there's two aspects to that. One is you, when

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Speaker 1: you're improvising, you have to try people. Yes, very very much,

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Speaker 1: by the way, very much.

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Speaker 2: So you have.

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Speaker 1: And we've been doing it for twenty two years at

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Speaker 1: this point and knew each other from I mean, there's

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Speaker 1: a long long history here, yes, with all of us.

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Speaker 2: Yes, No, it's amazing. It's just amazing. You know. I

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Speaker 2: was looking at JB yesterday and I was just thinking, man,

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Speaker 2: I love that guy. Yeah, it's interesting to be doing

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Speaker 2: the history of Curb Your Enthusiasm while we're filming a season.

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Speaker 1: That's true. Yeah, that's true.

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Speaker 2: So hopefully we get the stuff that they'll still.

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Speaker 1: Be so season twelve, we're in the middle. We just

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Speaker 1: started shooting season twelve.

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Speaker 2: Yeah, and yeah, that's right. Okay, where did I go

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Speaker 2: up a town?

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Speaker 1: So Larry then thought about it.

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Speaker 2: I thought about it, and I told Marla about it,

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Speaker 2: but I told it from the standpoint that I was

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Speaker 2: going to get to write it with Larry and direct it.

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Speaker 2: And the next day he called and said I want

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Speaker 2: to do it, and I'm like, are you kidding me?

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Speaker 2: This was a huge break for me because I went

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Speaker 2: to bed thinking this is never gonna happen.

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Speaker 1: But it was about his stand up. It wasn't at

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Speaker 1: this point about the fictitious world.

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Speaker 2: The stand up would be real as he's developing it developing,

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Speaker 2: and if he did a special at the end, that

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Speaker 2: would be real, but the stuff with all the characters

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Speaker 2: would be fictitious from the get go. That would not

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Speaker 2: be real.

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Speaker 1: Yeah, But was that aspect discussed?

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Speaker 2: Is? Oh yeah, numerous times. It's ironic when you consider

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Speaker 2: who directed it, which we'll get into. But I wanted

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Speaker 2: mine to be less of the family stuff, less of

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Speaker 2: the off stage I mean, and more of the on stage,

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Speaker 2: you know. But it expanded as we were developing it.

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Speaker 2: And it's ironic because Bob Whitey, who directed this, he's

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Speaker 2: a documentary domary and I wanted it more that way,

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Speaker 2: but it wasn't in between. It was like it was

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Speaker 2: a mock doc with real stand up segments, like there

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Speaker 2: was never this time.

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Speaker 1: Just real interviews with real people.

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Speaker 2: Hold on my and Cheryl's well, Jonna if Cherl was interviewed,

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Speaker 2: but my interviews were of course fictional.

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Speaker 1: Cheryl was not interviewed, as I recall, But you and

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Speaker 1: Cheryl were playing characters when they interviewed Jerry, and those

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Speaker 1: were real exactly. So Rick Newman, So Rick Newman, who

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Speaker 1: was on catchising story and.

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Speaker 2: By the way, the nicest comedy club. He loved comedians,

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Speaker 2: he did, and he loved to work for a man

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Speaker 2: or be around a guy who loves comedians. The only

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Speaker 2: other person I know who loves comedians George Shapiro. Well, no,

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Speaker 2: but George Shapiro was does what Lee Curry was a

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Speaker 2: manager and by the way, George Shapiro, please look him up,

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Speaker 2: please google George Shapiro. He was one of the great

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Speaker 2: loves of my life. He was a mentor, he was

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Speaker 2: a friend, and he might have been you know what,

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Speaker 2: he might have been the nicest man who ever lived,

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Speaker 2: I swear to God.

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Speaker 1: And he was involved with Seinfeld Seinfeld's manager, and he

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Speaker 1: was also wasn't he an ep Seinfeld?

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Speaker 2: Yes, yes, yes, And also he was Andy Kaufman's manager,

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Speaker 2: which I was more. Jerry Seinfeld isn't a generation before

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Speaker 2: me as a comedian, Paul Reiser. There's a whole group

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Speaker 2: of them, and I look up to them and respect them.

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Speaker 2: But Andy Kaufman, him being Andy Kaufman's manager.

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Speaker 1: Was like that.

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Speaker 2: Well that I was just and that was also a

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Speaker 2: big influence. I wasn't influenced by Jerry Seinfeld. I was

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Speaker 2: influenced by Andy Kaufman as a human being. Two off

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Speaker 2: stage of nine.

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Speaker 1: So this hybrid thing of some of it is real.

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Speaker 1: Larry David is playing Larry David, but he's actually not.

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Speaker 1: Let you know, you're playing Jeff Green.

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Speaker 2: Yes, but I want to add something here. This is

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Speaker 2: really this is interesting, I hope Larry and I after

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Speaker 2: he said yes, either the next day and within the

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Speaker 2: next day or two, we went to lunch at what

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Speaker 2: used to be called the news Room on Robertson. I

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Speaker 2: remember all the restaurants because I remember when we filmed

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00:21:55,920 --> 00:21:58,240
Speaker 2: the show. I can remember most of the restaurants where

437
00:21:58,240 --> 00:22:01,919
Speaker 2: we filmed, especially in the early years and we're talking

438
00:22:01,960 --> 00:22:03,879
Speaker 2: about the show, and this is where I got like

439
00:22:03,920 --> 00:22:07,399
Speaker 2: a bit of a shocker. He said to me, I

440
00:22:07,400 --> 00:22:09,600
Speaker 2: don't want you to direct it, and of course when

441
00:22:09,600 --> 00:22:11,960
Speaker 2: he said that, my heart said. He goes, no, you're

442
00:22:11,960 --> 00:22:15,080
Speaker 2: going to be an executive producer. And I didn't know

443
00:22:15,160 --> 00:22:18,840
Speaker 2: that executive producers in television are creative voices.

444
00:22:19,600 --> 00:22:24,160
Speaker 1: I just thought, oh.

445
00:22:22,280 --> 00:22:26,680
Speaker 2: No, but there's like like our managers might be executive

446
00:22:26,720 --> 00:22:29,000
Speaker 2: producers and they're not going to be writing the show

447
00:22:29,040 --> 00:22:31,840
Speaker 2: week in and out week out, but they're still very helpful.

448
00:22:32,040 --> 00:22:34,200
Speaker 2: So I thought, oh, he's going to take my idea

449
00:22:34,520 --> 00:22:36,040
Speaker 2: and I'm going to be kicked to the curb. Then

450
00:22:36,080 --> 00:22:38,840
Speaker 2: he says to me, oh, I want you to play

451
00:22:38,840 --> 00:22:42,040
Speaker 2: my manager, and you're perfect to play my manager. And

452
00:22:42,080 --> 00:22:44,360
Speaker 2: I was like really, and he goes yeah. Now at

453
00:22:44,359 --> 00:22:45,399
Speaker 2: this point, I didn't know it was going to be

454
00:22:45,400 --> 00:22:48,200
Speaker 2: a TV series, so I thought, oh, this will be fun. Cool,

455
00:22:48,320 --> 00:22:51,800
Speaker 2: I'll be your manager and I can started thinking about it,

456
00:22:51,880 --> 00:22:54,960
Speaker 2: not too hard, but just like thing. And then he

457
00:22:55,640 --> 00:22:58,600
Speaker 2: told me he wanted Bob. Why do you to direct it? Based?

458
00:22:58,640 --> 00:23:00,720
Speaker 2: He's known Bob for years because we knew it was

459
00:23:00,720 --> 00:23:02,360
Speaker 2: going to be a mockumentary.

460
00:23:02,000 --> 00:23:04,879
Speaker 1: Based was a documentary document.

461
00:23:04,920 --> 00:23:09,360
Speaker 2: Based on Bob's experience. He came in and so did you.

462
00:23:09,359 --> 00:23:11,920
Speaker 2: You didn't know him, No, that's how I met him.

463
00:23:12,280 --> 00:23:16,560
Speaker 2: And basically it was the three of us that were

464
00:23:16,640 --> 00:23:19,640
Speaker 2: the creative voices through the whole thing.

465
00:23:20,119 --> 00:23:21,320
Speaker 1: How long did it take to shoot?

466
00:23:22,520 --> 00:23:24,840
Speaker 2: We went to New York. Yeah, we shot some in

467
00:23:25,040 --> 00:23:29,560
Speaker 2: LA but I think it took a couple of weeks. Well,

468
00:23:29,560 --> 00:23:31,320
Speaker 2: with all the stand up, you have to add more.

469
00:23:31,680 --> 00:23:33,840
Speaker 2: So what like there'd be a particular week we would

470
00:23:33,840 --> 00:23:36,639
Speaker 2: just shoot Larry doing stand up maybe twice in that week,

471
00:23:37,160 --> 00:23:40,439
Speaker 2: you know, so and so. And also, by the way,

472
00:23:40,480 --> 00:23:42,199
Speaker 2: I want to add one more bonus thing. This is

473
00:23:42,280 --> 00:23:45,679
Speaker 2: just to put it out there. Laura used to be

474
00:23:45,680 --> 00:23:48,679
Speaker 2: fair to now Striker. I met her when she was

475
00:23:48,720 --> 00:23:52,680
Speaker 2: twenty three because she was Larry's assistant. She's a co

476
00:23:52,720 --> 00:23:56,080
Speaker 2: executive producer on the show who does great work, amazing,

477
00:23:56,200 --> 00:24:00,320
Speaker 2: amazing work, and she's she's essential for the show and

478
00:24:00,760 --> 00:24:03,520
Speaker 2: she is the only other person who's there at the beginning. Yeah,

479
00:24:03,560 --> 00:24:06,040
Speaker 2: and then Bob stopped working on the show. Yeah, and

480
00:24:06,160 --> 00:24:11,320
Speaker 2: Cheryl too, but on an everyday level, it's Laura, myself

481
00:24:11,400 --> 00:24:15,040
Speaker 2: and Larry who can say because Cheryl comes sometimes, Bob

482
00:24:15,080 --> 00:24:18,600
Speaker 2: Whitey comes sometimes, but we've been through the whole festival.

483
00:24:18,720 --> 00:24:20,720
Speaker 1: Yeah, which is quite on you. I mean, we have

484
00:24:20,920 --> 00:24:23,560
Speaker 1: you know, some crew people who've been there for all

485
00:24:23,600 --> 00:24:25,920
Speaker 1: twelve seasons. It's you know, well.

486
00:24:25,800 --> 00:24:28,480
Speaker 2: Yes, but it's a very short list. And it's let

487
00:24:28,560 --> 00:24:32,399
Speaker 2: off with Thomas. Yeah, who will be on the show

488
00:24:32,560 --> 00:24:35,840
Speaker 2: because he's fascinating and by the way, he's an inspiration

489
00:24:35,960 --> 00:24:39,400
Speaker 2: to me in terms of style and how you carry yourself.

490
00:24:39,640 --> 00:24:41,919
Speaker 2: I have learned so much from Thomas.

491
00:24:42,040 --> 00:24:43,400
Speaker 1: He's an amazing human being.

492
00:24:43,480 --> 00:24:46,399
Speaker 2: Amazing human being. But he didn't do the hour. He

493
00:24:46,440 --> 00:24:47,160
Speaker 2: did not do the.

494
00:24:47,119 --> 00:24:49,360
Speaker 1: Hour and he didn't That was the whole time on.

495
00:24:49,320 --> 00:24:50,960
Speaker 2: The first season one. This is separate.

496
00:24:51,160 --> 00:24:52,640
Speaker 1: We can we have so much to talk about because

497
00:24:52,640 --> 00:24:54,120
Speaker 1: we haven't even gotten to the episode.

498
00:24:55,160 --> 00:24:56,080
Speaker 3: We'll be right back.

499
00:24:56,280 --> 00:25:08,760
Speaker 1: Stay tuned. Okay, we're back, So you start doing this.

500
00:25:09,119 --> 00:25:11,360
Speaker 1: It was an HBO special to air on.

501
00:25:11,520 --> 00:25:14,640
Speaker 2: HBO and wanted to do stuff with Larry and you.

502
00:25:14,640 --> 00:25:17,600
Speaker 1: Pitched it to who Karen Strauss, who was the exact

503
00:25:17,600 --> 00:25:20,080
Speaker 1: on this Chris Allbreck, Chris Albreck. Okay, and we went.

504
00:25:20,000 --> 00:25:23,840
Speaker 2: Into Chris Allbreck and I swear Chris Albreck said this,

505
00:25:24,119 --> 00:25:27,280
Speaker 2: because you go in, you pitch something. Every blue moon,

506
00:25:27,400 --> 00:25:29,879
Speaker 2: someone says yes in the room. Most of the time

507
00:25:30,200 --> 00:25:33,800
Speaker 2: they say nothing, as Dorothy Parker said, you know, only

508
00:25:33,800 --> 00:25:36,720
Speaker 2: in Los Angeles can you die from encouragement. So they

509
00:25:36,720 --> 00:25:39,640
Speaker 2: say nothing with a lot of positivity. And then there

510
00:25:39,760 --> 00:25:42,960
Speaker 2: was those great executives who I respect, who say no

511
00:25:43,119 --> 00:25:45,240
Speaker 2: in the room. So you're not wasting a minute of

512
00:25:45,240 --> 00:25:48,920
Speaker 2: your thought breaks and you respect that. Chris Albreck said

513
00:25:48,960 --> 00:25:53,080
Speaker 2: these words that I never have experienced and never will again.

514
00:25:53,840 --> 00:25:55,280
Speaker 2: How can we not do this?

515
00:25:55,760 --> 00:25:59,880
Speaker 1: There you go, who has ever said that? I said that, yes,

516
00:26:00,080 --> 00:26:04,359
Speaker 1: And Chris Albrick. By the way, you know greenlit sopranos a.

517
00:26:05,840 --> 00:26:10,040
Speaker 2: Long history at the improv in New York right under understood?

518
00:26:10,040 --> 00:26:11,520
Speaker 2: Stand up, knew all the comedians.

519
00:26:11,800 --> 00:26:15,240
Speaker 1: Yeah, yeah, So you pitch it, you get your budget,

520
00:26:15,720 --> 00:26:16,840
Speaker 1: and you just start.

521
00:26:17,200 --> 00:26:19,680
Speaker 2: And by the way, our offices are. You know, there's

522
00:26:19,760 --> 00:26:23,440
Speaker 2: those towers where HBO used to be in Century City,

523
00:26:24,119 --> 00:26:26,199
Speaker 2: and if you go to the HBO office, you go

524
00:26:26,280 --> 00:26:29,240
Speaker 2: up to them. There's another episode that goes up to

525
00:26:30,040 --> 00:26:33,440
Speaker 2: these little suite of offices that nobody's in and there's

526
00:26:33,520 --> 00:26:37,560
Speaker 2: no windows and their screening room that was on our floor.

527
00:26:37,760 --> 00:26:41,879
Speaker 2: So we're in these little suite, little rooms, little boxes

528
00:26:42,080 --> 00:26:44,760
Speaker 2: that we we were in and we're developing it and

529
00:26:44,800 --> 00:26:48,800
Speaker 2: developing it. By the way, Larry finished writing it the

530
00:26:48,880 --> 00:26:51,600
Speaker 2: outline before we even got there.

531
00:26:51,640 --> 00:26:54,399
Speaker 1: Was the outline written in the way that we know

532
00:26:54,640 --> 00:26:56,600
Speaker 1: the curb out lines to be. Or was it different?

533
00:26:56,800 --> 00:26:58,760
Speaker 2: It was a little rough, but it was the same.

534
00:26:59,200 --> 00:27:01,879
Speaker 1: Let's just take this opportunity for our audience that if

535
00:27:01,880 --> 00:27:03,199
Speaker 1: they're Kurk fans, they already know this.

536
00:27:03,280 --> 00:27:05,280
Speaker 2: But by by the way, if they're not Kurk fans,

537
00:27:05,280 --> 00:27:08,119
Speaker 2: why are you listening to this? There are so many other.

538
00:27:08,160 --> 00:27:10,840
Speaker 1: But let me just say we do not have a script.

539
00:27:10,920 --> 00:27:14,360
Speaker 1: We have an outline, a very detailed outline. Each scene

540
00:27:14,840 --> 00:27:17,800
Speaker 1: is about a paragraph. There's no dialogue written, but it's

541
00:27:17,840 --> 00:27:20,800
Speaker 1: a it's a very tight outline.

542
00:27:20,880 --> 00:27:24,320
Speaker 2: Well it used to be, meaning our outlines were seven pages.

543
00:27:24,400 --> 00:27:25,840
Speaker 2: Now they're twenty five pages.

544
00:27:25,880 --> 00:27:27,720
Speaker 1: Yes, but there's still it's still the same concept.

545
00:27:27,800 --> 00:27:30,200
Speaker 2: Well, by the way, the way I keep it real

546
00:27:30,280 --> 00:27:33,720
Speaker 2: for myself, I read the outline once and then I

547
00:27:33,720 --> 00:27:36,199
Speaker 2: put it in a drawer. So when I go to set,

548
00:27:36,280 --> 00:27:38,240
Speaker 2: I just say to Jeff Schaeffer, who directs most of

549
00:27:38,280 --> 00:27:41,760
Speaker 2: the and he is the executive another executive producer.

550
00:27:41,480 --> 00:27:43,119
Speaker 1: And he creates the outlines with Larry.

551
00:27:43,240 --> 00:27:46,719
Speaker 2: Yes, this, well he has before, but really this season,

552
00:27:47,200 --> 00:27:49,520
Speaker 2: I don't think I did it your credit last season, yes,

553
00:27:50,200 --> 00:27:52,680
Speaker 2: so it was a tube but before you know anyhow,

554
00:27:52,960 --> 00:27:54,760
Speaker 2: I just walk up to Jeff before a scene.

555
00:27:55,000 --> 00:27:55,520
Speaker 1: What's the scene?

556
00:27:55,720 --> 00:27:57,600
Speaker 2: What's the scene? What am I doing? So there's no

557
00:27:57,760 --> 00:28:00,480
Speaker 2: lines to learn and that keeps me really fresh in

558
00:28:00,520 --> 00:28:02,560
Speaker 2: the moment. So if I had to look at the

559
00:28:02,600 --> 00:28:05,879
Speaker 2: outline and then go do the scene, I would see.

560
00:28:05,880 --> 00:28:09,399
Speaker 1: We don't plan anything ahead of time. It's all but

561
00:28:09,520 --> 00:28:11,920
Speaker 1: we've both worked with people that you know the pre

562
00:28:12,040 --> 00:28:13,880
Speaker 1: planning lines. I don't want to mention.

563
00:28:14,359 --> 00:28:17,359
Speaker 2: I will it's Richard Lewis. Richard Lewis when he comes

564
00:28:17,359 --> 00:28:20,280
Speaker 2: into work has index cards, like if we're in a

565
00:28:20,320 --> 00:28:22,520
Speaker 2: restaurant and you know the middle where the sugar and

566
00:28:22,560 --> 00:28:25,359
Speaker 2: the salt are those things, he'll like set it in there,

567
00:28:25,560 --> 00:28:27,639
Speaker 2: and Larry and I will sit on the opposite side

568
00:28:27,960 --> 00:28:30,760
Speaker 2: and I'll nod to Larry like yeah, he's got it again,

569
00:28:31,280 --> 00:28:33,920
Speaker 2: and then Larry will talk about it. Well, we don't

570
00:28:33,920 --> 00:28:36,000
Speaker 2: really rehearse. We just know where the cameras are going

571
00:28:36,080 --> 00:28:36,280
Speaker 2: to be.

572
00:28:36,400 --> 00:28:39,680
Speaker 1: And when we block for camera, we don't speak, no

573
00:28:39,880 --> 00:28:42,360
Speaker 1: wait until action to actually start in, so.

574
00:28:42,360 --> 00:28:44,600
Speaker 2: We just walk around to see where the cameras. So

575
00:28:44,640 --> 00:28:49,600
Speaker 2: as soon as we're start rolling, Larry rips card. I've

576
00:28:49,600 --> 00:28:52,480
Speaker 2: seen him do this too many times away from Richard,

577
00:28:52,600 --> 00:28:54,480
Speaker 2: who has a look of shock on his face and

578
00:28:54,520 --> 00:28:57,040
Speaker 2: then does a great job because you don't want to

579
00:28:57,080 --> 00:28:57,520
Speaker 2: prepare it.

580
00:28:58,800 --> 00:29:02,280
Speaker 1: And so the pilot it was the same type of outline.

581
00:29:02,440 --> 00:29:07,280
Speaker 2: Yes, Now we're more specific in our discussions after every take,

582
00:29:08,160 --> 00:29:12,240
Speaker 2: which are pretty much usually Jeff, myself and Larry. We're

583
00:29:12,840 --> 00:29:16,120
Speaker 2: very specific. And Jeff Schaefer, who holds our show together,

584
00:29:16,280 --> 00:29:20,480
Speaker 2: totally totally holds our show together. He will let Larry

585
00:29:20,480 --> 00:29:23,200
Speaker 2: and know what specifically needs to be covered, so he's

586
00:29:23,240 --> 00:29:24,440
Speaker 2: on top of it. He's got the.

587
00:29:24,360 --> 00:29:29,000
Speaker 1: Outline whole, he got the whole season in his head.

588
00:29:29,120 --> 00:29:31,800
Speaker 2: We'll look at the outlines over and over and I'll

589
00:29:31,840 --> 00:29:32,320
Speaker 2: just go.

590
00:29:32,240 --> 00:29:34,680
Speaker 1: One, what do I look at the outlines? And before

591
00:29:34,720 --> 00:29:36,000
Speaker 1: I do a scene, I look at it just so,

592
00:29:36,320 --> 00:29:38,400
Speaker 1: and I also like to know what came before and

593
00:29:38,440 --> 00:29:41,160
Speaker 1: what's coming after in terms of tone, you know, somebody

594
00:29:41,240 --> 00:29:43,360
Speaker 1: screaming and yelling at him in the scene before ways

595
00:29:43,400 --> 00:29:44,120
Speaker 1: I don't want to do that.

596
00:29:44,600 --> 00:29:48,840
Speaker 2: But here's this thing. The hour the pilot was shot

597
00:29:49,120 --> 00:29:53,840
Speaker 2: in order show it was in sequence. It was all

598
00:29:53,880 --> 00:29:58,000
Speaker 2: shot in sequence, which made the line producer he had

599
00:29:58,040 --> 00:30:00,720
Speaker 2: fireworks coming out of his head every day from anger

600
00:30:00,800 --> 00:30:01,560
Speaker 2: and confusion.

601
00:30:02,200 --> 00:30:04,760
Speaker 1: And we don't do that any longer.

602
00:30:04,800 --> 00:30:07,240
Speaker 2: No, so you knew what was coming next because we're

603
00:30:07,720 --> 00:30:09,680
Speaker 2: shut We we shot it, so the only thing that

604
00:30:09,720 --> 00:30:12,640
Speaker 2: mattered was what we just shot, because the other things

605
00:30:12,640 --> 00:30:15,640
Speaker 2: in the future. So what did we just shoot? Okay,

606
00:30:15,680 --> 00:30:18,920
Speaker 2: now we're here. Well, it's obviously it's easier to shoot

607
00:30:18,920 --> 00:30:23,040
Speaker 2: in sequence, but financially it's really you can't do that.

608
00:30:23,160 --> 00:30:24,760
Speaker 1: Well, we used to shoot a lot more in sequence

609
00:30:24,800 --> 00:30:26,200
Speaker 1: than we do more in sequence.

610
00:30:26,480 --> 00:30:28,360
Speaker 2: It was, by the way, I think we even went

611
00:30:28,400 --> 00:30:30,760
Speaker 2: into season one and season two.

612
00:30:32,040 --> 00:30:33,800
Speaker 1: More or less. Yeah, yeah, and then it give you

613
00:30:33,840 --> 00:30:36,720
Speaker 1: a lesson. It's difficult now, I think because we have

614
00:30:36,800 --> 00:30:40,840
Speaker 1: so many guest stars and then it's a schedule, right, No.

615
00:30:40,840 --> 00:30:42,560
Speaker 2: Of course, now it's totally different.

616
00:30:42,640 --> 00:30:44,160
Speaker 1: So all right, so what kind of budget did you have?

617
00:30:44,280 --> 00:30:46,680
Speaker 1: Did you know, really low, really low.

618
00:30:47,080 --> 00:30:50,880
Speaker 2: I'm guessing to shoot the whole thing if I remember correctly,

619
00:30:50,920 --> 00:30:53,840
Speaker 2: maybe half a million, four hundred thousand.

620
00:30:53,760 --> 00:30:55,160
Speaker 1: Which is low for an hour.

621
00:30:55,600 --> 00:30:57,400
Speaker 2: Well, well you low for not only an hour, but

622
00:30:57,520 --> 00:31:01,360
Speaker 2: it's going on HBO. Yeah, so that was our budget.

623
00:31:01,360 --> 00:31:05,680
Speaker 2: We also had this is the one time, you know,

624
00:31:05,720 --> 00:31:08,480
Speaker 2: how like you know you're right and you're positive that

625
00:31:08,520 --> 00:31:11,680
Speaker 2: everybody else is wrong, and then you're proven to be right,

626
00:31:11,760 --> 00:31:15,080
Speaker 2: which is rare because you go, oh no, no, they

627
00:31:15,080 --> 00:31:18,920
Speaker 2: were right, or there's a in between. This is completely

628
00:31:18,960 --> 00:31:22,840
Speaker 2: black and white on myself and the show. So we're

629
00:31:22,880 --> 00:31:26,920
Speaker 2: in a development meeting with not only HBO, but all

630
00:31:27,000 --> 00:31:31,880
Speaker 2: the tech people, the creatives, all that, and they got

631
00:31:31,920 --> 00:31:33,880
Speaker 2: to the camera's part and they started talking about what

632
00:31:33,920 --> 00:31:36,560
Speaker 2: the cameras were going to use there, and it was

633
00:31:36,600 --> 00:31:39,479
Speaker 2: a Digi Beta, which at that time was a cutting

634
00:31:39,600 --> 00:31:42,120
Speaker 2: edge and if you look at it now it looks fine,

635
00:31:42,360 --> 00:31:46,080
Speaker 2: but with four K it's horrible. And the other camera

636
00:31:46,200 --> 00:31:49,560
Speaker 2: was going to be a High eight, which for people

637
00:31:49,600 --> 00:31:51,360
Speaker 2: off the street who were going to a best buy,

638
00:31:51,720 --> 00:31:53,840
Speaker 2: that would be the best camera they could buy. But

639
00:31:53,880 --> 00:31:57,400
Speaker 2: it's nothing compared to Digi Beta. And I said, what

640
00:31:57,520 --> 00:32:00,080
Speaker 2: are we shooting on now? And so I said, we

641
00:32:00,120 --> 00:32:02,920
Speaker 2: are going to crosshoot with a Digiti Beta and a

642
00:32:03,000 --> 00:32:03,400
Speaker 2: High eight.

643
00:32:03,520 --> 00:32:05,000
Speaker 1: Were they going to do the High eight for what

644
00:32:05,120 --> 00:32:06,560
Speaker 1: like the standout.

645
00:32:07,080 --> 00:32:10,120
Speaker 2: They were doing the High eight as the other camera.

646
00:32:10,440 --> 00:32:15,400
Speaker 2: So so I recently this past week watched it again

647
00:32:15,840 --> 00:32:18,840
Speaker 2: and it is. It was glaring to me back then,

648
00:32:19,120 --> 00:32:23,480
Speaker 2: but now it's like the High eight stuff is bordering

649
00:32:23,520 --> 00:32:28,040
Speaker 2: on unwatchable because it's shining on people's heads. They're washed out.

650
00:32:28,160 --> 00:32:30,760
Speaker 2: It's horrible. And then they cut to the use of

651
00:32:30,840 --> 00:32:35,240
Speaker 2: the other camera. Everything looks great, You're not questionable. Oh

652
00:32:35,320 --> 00:32:38,200
Speaker 2: that was well, I'll tell you it was everyone else

653
00:32:38,440 --> 00:32:40,680
Speaker 2: because everyone else told me it'll be fine, It'll be fine,

654
00:32:42,640 --> 00:32:45,680
Speaker 2: including the camera. Man. I think that the DP I'm

655
00:32:45,680 --> 00:32:48,320
Speaker 2: not positive, but you just said the key thing. I

656
00:32:48,360 --> 00:32:50,680
Speaker 2: went to Larry and I begged him after out of

657
00:32:50,720 --> 00:32:52,880
Speaker 2: the meeting. I go, you got to make them use

658
00:32:52,920 --> 00:32:55,320
Speaker 2: the same camera. It's got to be digi beta. But

659
00:32:55,440 --> 00:32:58,840
Speaker 2: our budget, we can't get a second digit beta. So

660
00:32:59,040 --> 00:33:02,600
Speaker 2: but he also had no idea what I was talking about.

661
00:33:02,800 --> 00:33:06,320
Speaker 1: And he had come from a multi camera and Seinfeld

662
00:33:06,360 --> 00:33:09,000
Speaker 1: was multigam is a completely different animal than single camera.

663
00:33:09,040 --> 00:33:11,880
Speaker 2: And that's also what Fridays was right. And those were

664
00:33:11,920 --> 00:33:15,080
Speaker 2: film cameras back then, by the way, they weren't even digital.

665
00:33:15,360 --> 00:33:18,880
Speaker 2: Digital was so far from we're shooting this on digital.

666
00:33:19,080 --> 00:33:22,800
Speaker 2: We're really early on the whole digital thing. And people

667
00:33:22,880 --> 00:33:25,680
Speaker 2: back then laughed at digital like you know, and we said,

668
00:33:25,720 --> 00:33:27,560
Speaker 2: we're shooting it in digital, like I'm sorry, you know,

669
00:33:27,640 --> 00:33:29,960
Speaker 2: that type of stuff. But it would have looked good

670
00:33:30,000 --> 00:33:33,240
Speaker 2: and consistent if we use them both. And it's a nightmare.

671
00:33:33,480 --> 00:33:35,840
Speaker 2: My favorite thing. This is the last anecdote about this.

672
00:33:36,440 --> 00:33:39,640
Speaker 2: It's also the antidote from me talking. More so, it's

673
00:33:39,680 --> 00:33:44,800
Speaker 2: the antidote and the anecdote. So we're in editing early

674
00:33:44,880 --> 00:33:46,480
Speaker 2: on first day.

675
00:33:46,920 --> 00:33:47,680
Speaker 1: What does that look?

676
00:33:47,760 --> 00:33:48,240
Speaker 2: Horrible?

677
00:33:49,120 --> 00:33:49,880
Speaker 1: What's going on?

678
00:33:50,760 --> 00:33:53,080
Speaker 2: I said, do you remember the conversation I had with

679
00:33:53,120 --> 00:33:57,400
Speaker 2: you about the two cameras? No, well, I begged you

680
00:33:57,880 --> 00:34:00,920
Speaker 2: to use Digi beta and one told you it would

681
00:34:00,960 --> 00:34:04,560
Speaker 2: be okay. Bob laughed. I remember when Larry was shocked,

682
00:34:04,720 --> 00:34:09,600
Speaker 2: But I don't remember Bob's response to initially when they

683
00:34:09,640 --> 00:34:12,400
Speaker 2: said did youbate a hyatt? I he might not have

684
00:34:12,480 --> 00:34:13,080
Speaker 2: known a lot.

685
00:34:12,960 --> 00:34:15,239
Speaker 1: About that because it was like.

686
00:34:15,239 --> 00:34:17,680
Speaker 2: He would have fought with me for that. So I

687
00:34:17,719 --> 00:34:21,080
Speaker 2: don't remember. But anyhow, it was hysterical on editing.

688
00:34:21,239 --> 00:34:23,240
Speaker 1: Right now, I would just want to go back to casting.

689
00:34:23,480 --> 00:34:27,360
Speaker 2: Yes, oh, casting is another yes, Yes, So the casting

690
00:34:27,480 --> 00:34:30,040
Speaker 2: was done by a lovely woman who I knew pretty well,

691
00:34:30,120 --> 00:34:35,960
Speaker 2: named Marla Garland. And by the way, she wasn't hired

692
00:34:36,000 --> 00:34:40,280
Speaker 2: to cast it because she's my wife. I asked Larry.

693
00:34:40,640 --> 00:34:43,720
Speaker 2: She had partnered up at a certain point with Alison Jones,

694
00:34:43,880 --> 00:34:49,800
Speaker 2: who's the foremost comedy current casting. Yes, and so Marla

695
00:34:49,880 --> 00:34:54,200
Speaker 2: had done casting before, you know, And so it wasn't like,

696
00:34:54,280 --> 00:34:56,040
Speaker 2: can my wife do it? I just want to make

697
00:34:56,080 --> 00:34:58,920
Speaker 2: sure people listening. If we don't point that out, they're

698
00:34:58,960 --> 00:35:01,520
Speaker 2: going to go, oh, that's how it works. Yeah, it

699
00:35:01,560 --> 00:35:03,480
Speaker 2: did help that I was her husband, but it didn't

700
00:35:03,480 --> 00:35:08,200
Speaker 2: help because Larry doesn't like nepotism from the standpoint he

701
00:35:08,239 --> 00:35:10,880
Speaker 2: doesn't want to have to fire someone's daughter, right, you know,

702
00:35:10,960 --> 00:35:13,120
Speaker 2: which I understand I wouldn't.

703
00:35:12,880 --> 00:35:16,560
Speaker 1: So Marla was the casting person. And so who was

704
00:35:16,600 --> 00:35:17,720
Speaker 1: cast besides Cheryl?

705
00:35:18,120 --> 00:35:21,720
Speaker 2: Okay, all the other parts yea, all the other parts

706
00:35:21,719 --> 00:35:25,439
Speaker 2: were cast. But the thing that was beautiful. First off,

707
00:35:25,600 --> 00:35:28,040
Speaker 2: what Larry and I learned because we would do we

708
00:35:28,200 --> 00:35:30,239
Speaker 2: cast that we don't cast the way anymore. Now it's

709
00:35:30,560 --> 00:35:34,000
Speaker 2: people sit in because of COVID, people's self tape and

710
00:35:34,040 --> 00:35:36,440
Speaker 2: then we look at them. But it used to be

711
00:35:36,960 --> 00:35:38,799
Speaker 2: people would come in the room to do a scene

712
00:35:38,840 --> 00:35:40,759
Speaker 2: with Larry. They're doing it.

713
00:35:40,640 --> 00:35:41,200
Speaker 1: With Larry and.

714
00:35:43,120 --> 00:35:44,959
Speaker 2: So, which is important to see.

715
00:35:45,360 --> 00:35:48,520
Speaker 1: And it's very important because it's a separate skill. Being

716
00:35:48,560 --> 00:35:51,080
Speaker 1: a good actor or actress and being able to improvise

717
00:35:51,120 --> 00:35:53,719
Speaker 1: her two completely different things. And we'll have Cheryl on

718
00:35:53,800 --> 00:35:56,000
Speaker 1: and she'll talk about it herself when he casts Cheryl

719
00:35:56,520 --> 00:35:58,520
Speaker 1: because she was such the perfect person.

720
00:35:58,640 --> 00:36:01,000
Speaker 2: Oh no, I forgot to finish the first story, which

721
00:36:01,040 --> 00:36:03,880
Speaker 2: goes with this. Okay, Larry and I were in shock

722
00:36:04,760 --> 00:36:08,920
Speaker 2: at our chemistry. We had never acted together and you.

723
00:36:08,920 --> 00:36:10,600
Speaker 1: Weren't even that good friends at that point.

724
00:36:10,719 --> 00:36:14,240
Speaker 2: No, we were friends, but not that great friends. Visual Yeah, Okay,

725
00:36:14,719 --> 00:36:17,759
Speaker 2: now that's quite different. He's my brother, you know. But

726
00:36:17,960 --> 00:36:20,919
Speaker 2: back then, yeah, but we liked each other anyhow. Yeah,

727
00:36:20,960 --> 00:36:24,600
Speaker 2: we're doing these scenes and we had to talk about it,

728
00:36:24,680 --> 00:36:27,520
Speaker 2: like what the fuck is going on? Because it was

729
00:36:27,560 --> 00:36:30,160
Speaker 2: like as if we had worked together the previous twenty

730
00:36:30,239 --> 00:36:33,839
Speaker 2: years as a comedy team. It was like, wow, now

731
00:36:33,960 --> 00:36:37,920
Speaker 2: getting to Cheryl. Marla brought in a lot of great people,

732
00:36:38,200 --> 00:36:42,399
Speaker 2: people have gone on to some great success, but no

733
00:36:42,480 --> 00:36:46,240
Speaker 2: one who came in until Cheryl and post Cheryl.

734
00:36:46,640 --> 00:36:50,040
Speaker 1: Cheryl at that time was in the Groundlings, Yes, which

735
00:36:50,040 --> 00:36:54,040
Speaker 1: is an improv group, and she was she had not

736
00:36:54,200 --> 00:36:57,640
Speaker 1: really done anything. No, she was working as yes.

737
00:36:57,520 --> 00:37:01,600
Speaker 2: Working as a nannym. Wait for was it? Yeah that's

738
00:37:01,640 --> 00:37:06,160
Speaker 2: I forgot that. Wow. So anyhow she comes in and

739
00:37:06,239 --> 00:37:09,319
Speaker 2: it's something about cereal. I don't remember what it was,

740
00:37:09,360 --> 00:37:11,800
Speaker 2: the scene the chicken chicken.

741
00:37:12,120 --> 00:37:14,680
Speaker 1: I remember, she's told me it's about something about chicken.

742
00:37:14,760 --> 00:37:17,680
Speaker 2: Well, she's wrong, it was it was serial cereal. Yeah,

743
00:37:17,680 --> 00:37:20,720
Speaker 2: about the way Larry eats a cereal something along those lines.

744
00:37:21,040 --> 00:37:23,400
Speaker 2: No chicken, it was cereal, which is weird in itself.

745
00:37:24,080 --> 00:37:28,000
Speaker 2: She was the only one who made Larry nervous. She

746
00:37:28,120 --> 00:37:30,040
Speaker 2: was the only one who could keep up with him,

747
00:37:30,400 --> 00:37:34,480
Speaker 2: give it to him, no one else. That's one person.

748
00:37:34,960 --> 00:37:39,040
Speaker 2: So obviously she was hired. Yeah, that's it, you know,

749
00:37:39,360 --> 00:37:41,160
Speaker 2: she really gave it him. And of course in the show,

750
00:37:41,280 --> 00:37:42,080
Speaker 2: perfect casting.

751
00:37:42,320 --> 00:37:45,000
Speaker 1: And you and Cheryl are the only holdovers from this.

752
00:37:45,880 --> 00:37:48,560
Speaker 2: Yes, as far as act and Larry, Yes, but there

753
00:37:48,600 --> 00:37:51,680
Speaker 2: wouldn't be any of their holdovers. Yeah, we were. We

754
00:37:51,680 --> 00:37:54,800
Speaker 2: were doing the main part. So I mean, if someone

755
00:37:54,880 --> 00:37:59,000
Speaker 2: was a holdover, it's because they were so fantastic. You're like, wow,

756
00:37:59,080 --> 00:38:01,480
Speaker 2: they have to be and there were people who were great,

757
00:38:01,840 --> 00:38:06,800
Speaker 2: but nothing who would fit in with what we were doing. Okay,

758
00:38:07,160 --> 00:38:10,239
Speaker 2: we're done with this first episode and you're keeping this in.

759
00:38:10,680 --> 00:38:13,200
Speaker 2: I like shit like this in. I don't like it

760
00:38:13,239 --> 00:38:13,439
Speaker 2: out