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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. You can also watch

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Speaker 1: the video version of the History of Curby 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. All right, so Jeff here, we.

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Speaker 2: Are here, we are I'm Jeff Garland, I'm Susiasman, and

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Speaker 2: we are doing the history of Kurby Your Enthusiasm.

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Speaker 1: And this is season three, episode seven. Yeah, the corpse

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Speaker 1: sniffing Dog.

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Speaker 3: Yes.

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Speaker 1: And we start out with Larry interviewing for a new

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Speaker 1: chef because he's fucked up every chef already. And the

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Speaker 1: guy is bald, and we see right away Larry.

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Speaker 2: Is just in Gomez. Second city.

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Speaker 4: Another second city.

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Speaker 2: Yep. Lovely gentleman and very telling.

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Speaker 1: Larry immediately feels an affinity for him because of the baldness.

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Speaker 1: Look at you, Look at you?

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Speaker 5: You wh when'd you start?

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Speaker 3: Wasn't it?

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Speaker 2: I started losing when I was fifteen.

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Speaker 5: Fifteen, Wow, earlier than me.

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Speaker 3: Yeah, a little bit earlier.

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Speaker 2: I actually like it. Yeah me too. Yeah, I just

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Speaker 2: got a little sunscreen on.

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Speaker 3: It's fine. Yeah, a lot of sunscreen, right, you can't

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Speaker 3: go outside.

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Speaker 2: With all the sunscreen exact.

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Speaker 1: Oh, absolutely, And they talk about the disparaging the guys

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Speaker 1: with the hats up guys with the hat.

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Speaker 2: That comes from Larry wrote a piece but I can't

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Speaker 2: remember where, but it was basically about being bald, and

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Speaker 2: the line that killed me is the hat has to

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Speaker 2: come off sometime, and.

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Speaker 1: He says it in this episode, the hat has to

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Speaker 1: come off sometimes, and what do you Then you're fooling people.

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Speaker 1: They think they're going out with a guy with hair

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Speaker 1: and then they find out he's bald. You're misrepresenting yourself.

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Speaker 1: So he's connecting with this guy, which is important. Monoxidil,

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Speaker 1: no transplant, no two pay.

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Speaker 3: Then Larry says, surprise, up the two pay people. Yeah.

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Speaker 5: I mean, if I'm going to be a sick megalomaniac

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Speaker 5: right to round up people who I.

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Speaker 3: Hated, they would be on my list, I would say

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Speaker 3: get the two pay people.

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Speaker 2: Absolutely to me, that's really funny. But he upped it

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Speaker 2: by saying Hitler's henchman. They should have gone around and

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Speaker 2: grab people's hair to see.

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Speaker 1: To see if they're wearing a two pay hilarious. So

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Speaker 1: we see that he has an infinity with this guy,

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Speaker 1: and it's important for things that happen, not in this

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Speaker 1: episode but later on in the season.

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Speaker 2: But also there's never a moment where he goes, you're hired.

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Speaker 2: We find that out later. I got this great chef

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Speaker 2: right right, which is really cool.

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Speaker 1: But we know seeing this interview that he's going to

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Speaker 1: hire him because he so loves the guy.

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Speaker 4: Because he's bald. That's all he needs. He doesn't care

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Speaker 4: about the food. He cares that he's bulld well.

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Speaker 2: He gets called out on it in a minute.

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Speaker 3: Yeah.

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Speaker 1: Next they are out to dinner with Stu and susan

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Speaker 1: browdie Don Stark and Amy A Kena, right, and we've

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Speaker 1: met the browdies before.

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Speaker 4: There was a whole incident prior that every.

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Speaker 1: Time the check came, Stu would get up and go

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Speaker 1: to the bathroom, et cetera, et cetera. And they start

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Speaker 1: to talk about that their kids want a dog and

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Speaker 1: no freaking puppy because Stue never says fucking. He only

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Speaker 1: says freaking, which is really annoying. And Larry tells them

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Speaker 1: Jeff is looking to get rid of his German shepherd, Oscar,

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Speaker 1: because I got Oscar when we were split up for protection,

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Speaker 1: and now you're back in the house and you're highly

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Speaker 1: allergic to Oscar and what a great dog he is,

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Speaker 1: and he is a great dog.

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Speaker 4: That was a beautiful dog.

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Speaker 1: And the wine comes and Stu starts with his whole

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Speaker 1: michig gos with the sniffing and the gargling and the

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Speaker 1: swirling and the you know, the nonsense.

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Speaker 3: This is like an elephant stick his head in the pot.

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Speaker 1: How are you watching this routine?

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Speaker 3: Stop it?

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Speaker 2: No, I'm sorry, corks.

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Speaker 3: Surely we need to send this back.

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Speaker 4: It's like an elephant sticking his head in the pond.

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Speaker 2: Larry, Yeah, I didn't remember that this was setting up for.

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Speaker 3: For later, for later.

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Speaker 2: This is the thing. Larry and I have a lot

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Speaker 2: in common, you know. I guess there our money is

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Speaker 2: maybe a difference and we look at something's different. But

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Speaker 2: we have a very honest relationship. And just like we

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Speaker 2: talked about the last episode about not going to bar

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Speaker 2: Mitzvah's the idea of Larry collecting wine or me collecting

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Speaker 2: wine and having a wine room, which he probably does

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Speaker 2: in his house. I don't know what he used does, yeah,

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Speaker 2: but it might have been there when he might have

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Speaker 2: been there, yes, yeah, but the idea that he and

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Speaker 2: I would smell the cork swish it around, because when

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Speaker 2: I drank I would never do that, even a nice

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Speaker 2: bottle of wine.

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Speaker 3: I knew nothing.

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Speaker 2: I still know nothing. He knows nothing. And there's that

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Speaker 2: curiosity of why the fuck are people into this?

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Speaker 1: Well they are very much so, as you know, and

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Speaker 1: Stu Browdie is very into it and clearly pretentious. And

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Speaker 1: he sends the wine back. He says it's corked. He

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Speaker 1: sends it back and Larry tastes. Larry says it's fine.

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Speaker 1: He doesn't like the whole idea. Susan asks about the restaurant,

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Speaker 1: and Larry says, and this struck me.

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Speaker 4: I'm not allowed to talk about it. She gets bored.

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Speaker 1: She gets bored so easily, and I know that was

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Speaker 1: coming from real life. I'm not allowed to talk about Seinfeld.

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Speaker 2: Oh my god. Sari and Marla my ex. Oh, they've

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Speaker 2: heard all my stories. They cannot take it.

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Speaker 4: Well, it is an issue in a marriage.

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Speaker 1: We've heard all these stories before, and well, we all

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Speaker 1: have our stock stories that we tell.

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Speaker 2: No no hold on. We have our stock stories that

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Speaker 2: we tell. They not so much. We you and I

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Speaker 2: and any other comedian has our things that we like talking.

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Speaker 1: But I know what Jef note, Jimmy has his stock stories,

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Speaker 1: myad and it takes a tremendous amount of effort for

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Speaker 1: me when we're out to dinner with somebody and he

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Speaker 1: starts telling one of his stories that I've heard many

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Speaker 1: many times, to sit there.

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Speaker 4: And shut up. It takes a tremendous effort.

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Speaker 2: That's the hard part of a relationship.

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Speaker 4: That's right.

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Speaker 2: I haven't broken through that with my girl, Sari.

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Speaker 4: It is one of the difficult things in a marriage.

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Speaker 2: So frustrating. And by the way, when I start with

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Speaker 2: the beginning of one of those things, even though I'm

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Speaker 2: not heading there, she tunes out.

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Speaker 4: You've got a new audience.

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Speaker 1: It's you know, oh with Sari, no, with whoever you're

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Speaker 1: telling the story. The unfortunate thing is your partner is

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Speaker 1: an old audience and they have to hear it again and.

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Speaker 2: They're sick of it. It's not like Seinfeld, where people

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Speaker 2: want to hear their favorites. It's like, exactly, please shut

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Speaker 2: the fuck up.

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Speaker 1: So Larry mentions he's hired a new chef, and Cheryl's

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Speaker 1: the one who says he only likes him because he's bold, right,

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Speaker 1: and then the check comes and Stu picks it up,

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Speaker 1: makes a big deal about it, and then Larry.

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Speaker 4: This is a very interesting episode.

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Speaker 1: It is Larry thanks Stu and does not thank Susan,

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Speaker 1: and Susan is, well, you know what about me, You're

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Speaker 1: going to thank me too.

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Speaker 2: This has to be from real life by the way,

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Speaker 2: it either happened to him or it happened to him

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Speaker 2: kind of like that.

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Speaker 1: And then it was like boom, Well it becomes an issue.

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Speaker 1: From Susan's point of view, it's our money. Yes, he works,

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Speaker 1: but it's our money. And I'm a part of a couple,

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Speaker 1: and you thank me too, and I agree with her

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Speaker 1: bottom Larry's.

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Speaker 2: Agree with her. Larry is just ridiculously.

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Speaker 1: Larry's point of view, he's the one who works. It's

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Speaker 1: not her money and she doesn't deserve it.

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Speaker 4: Thank you. I disagree with him on this.

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Speaker 2: You agree with you, Yes, completely agree with you. It's

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Speaker 2: totally inappropriate. And not only that they have children, correct,

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Speaker 2: so it's especially inappropriate because.

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Speaker 4: She's taking care of the kids.

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Speaker 2: Whoever's taking care of the kids, man or woman. And

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Speaker 2: I went through a period where I was not getting work.

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Speaker 2: And so James, my son, my oldest for when his

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Speaker 2: baby years into like early toddler. Marla worked as a

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Speaker 2: casting director. I couldn't find a job to save my life.

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Speaker 2: You took care of James, so I saw firsthand how

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Speaker 2: much work, but I knew it, and so you know what,

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Speaker 2: I got a comparison. It's like a movie producer. What

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Speaker 2: I mean by that, if you're a producer of a movie,

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Speaker 2: you're like, not executive. That's TV and that usually means.

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Speaker 4: Creative, a line producer, but a movie is not.

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Speaker 2: Called a line producer. That's what the producer does. They

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Speaker 2: oversee everything, and the line producer works for them. You

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Speaker 2: are in charge of all the shit that happened, everything, everything,

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Speaker 2: and it is hard, and a director it's easier job

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Speaker 2: after writer, even though those jobs take great skill in

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Speaker 2: terms of the shit work. That's the producer. I'm glad

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Speaker 2: if I taught anybody that, yeah, the mother, the wife

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Speaker 2: does the shit work, does the work that allows or

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Speaker 2: the husband that allows the other to do their.

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Speaker 1: Thing, to do the thing and make money and also

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Speaker 1: frequently be out in the world enjoying themselves, interacting with

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Speaker 1: other people, while the caretaker is just talking to a

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Speaker 1: two year old. It's a rough job. One of my

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Speaker 1: favorite lines is when Cheryl says.

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Speaker 2: Honey is our mind? Well this, I've earn the money,

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Speaker 2: so what do you do?

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Speaker 4: You pay her salary and she buy things.

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Speaker 2: She spends the money that I've earned.

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Speaker 5: She didn't work.

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Speaker 2: I earned the money. Loving you is my job. I

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Speaker 2: earn the money.

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Speaker 3: It's just a fact.

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Speaker 4: Loving you is my job, Larry.

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Speaker 2: Which, by the way, it is it is. That's the reality.

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Speaker 2: Because love comes and goes in a marriage. It does

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Speaker 2: you always, on a bottom line, love them deeply. But

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Speaker 2: in terms of romantic love, good buy one loves the

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Speaker 2: other more switches and you both love each other crazy.

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Speaker 2: Those are the great times. The dangerous times are when

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Speaker 2: you both can't stand each other because if you don't

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Speaker 2: hold out, you're gonna get divorced or split up. Because

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Speaker 2: that's the dangerous period. And those happened, of course, you know.

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Speaker 2: So that is Cheryl's job, no doubt about it, and

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Speaker 2: a hard one with Larry.

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Speaker 1: Yes, and a whole fight and sus and it's our

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Speaker 1: money and Susan is nonplussed.

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Speaker 4: And that's that scene.

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Speaker 2: Oh, by the way, I also want to say one

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Speaker 2: more thing, because we've got scenes coming up with Amy

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Speaker 2: playing a more extreme version of this. She is great

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Speaker 2: at playing a difficult woman above an annoying, difficult, mean woman.

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Speaker 2: And she is the sweetest woman ever. I love her.

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Speaker 2: But boyle boy, can she play that part?

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Speaker 4: It's cooled acting.

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Speaker 2: But she also can play soft parts. You know, she

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Speaker 2: was a mother on the Brooklyn Bridge TV series and

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Speaker 2: she's done a lot of movies where she's not that,

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Speaker 2: but on our show, she played that to the hilt.

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Speaker 2: And yet I had so much fun with her. And

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Speaker 2: she's a wonderful person. I just want to add that.

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Speaker 1: And we cut to the restaurant with Mike York and

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Speaker 1: Ted Danson and I had the opportunity to speak to

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Speaker 1: Michael Yorke remotely and let's hear how he felt about

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Speaker 1: working on Curby Enthusiasm.

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Speaker 4: We'll be right back. Stay tuned.

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Speaker 3: Okay, we're back.

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Speaker 1: So Michael Jeff can't be here today, so it's just

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Speaker 1: you and me. What are your memories of shooting this

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Speaker 1: season season three on Curb Your Enthusiasm? How did you

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Speaker 1: get this job to begin with?

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Speaker 3: Well, Jelly, I got the job. It was from my wife.

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Speaker 3: Oh really, She started watching the shows and said, this

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Speaker 3: is something you really will to look into. It's such

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Speaker 3: folid new different. So she called my agent the currently

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Speaker 3: that little trick, and after that I was a ted

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Speaker 3: down some investors.

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Speaker 1: In Bobo's So I was in Had you done any

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Speaker 1: improv before that? Yeah, you had, because you're known as

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Speaker 1: as you know, you're a real actor.

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Speaker 4: You know, we're just comedians. You were a real actor.

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Speaker 1: I remember seeing you in Romeo and Juliet when I

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Speaker 1: was a teenager.

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Speaker 3: Hello, yes, well, well thank you. It's it's a strange

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Speaker 3: business that we do. I mean, I love improvising. Some

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Speaker 3: movies you get a chance to do that. Others you

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Speaker 3: stick to the script.

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Speaker 1: Yeah Shakespeare. He's a little hard to improvise with Shakespeare. Yeah.

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Speaker 3: It's a bit presumption ste isn't it.

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Speaker 1: And what do you remember about being on set about

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Speaker 1: about working on the show.

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Speaker 3: Well, I remember I love being with Larry. I don't

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Speaker 3: know why I find myself being very passive aggressive to him,

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Speaker 3: and I guess it's twenty years ago. There certain things

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Speaker 3: that weren't going right.

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Speaker 1: And at the restaurant, yeah yeah, yeah, well he was

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Speaker 1: fucking everything up, Michael, he was fucking everything up. Left

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Speaker 1: and right firing the chefs and having the corpse sniffing.

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Speaker 3: Dog in there. And boy, I'm so glad that you

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Speaker 3: reminded me of that y and that's why I was

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Speaker 3: a bit aggressive with him.

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Speaker 1: But you know, the thing is when you're aggressive, because

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Speaker 1: you have that beautiful English accent, it doesn't sound aggressive

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Speaker 1: like when I'm aggressive with my New York accent.

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Speaker 3: Oh. But anyway, it was fun to do one of

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Speaker 3: those jobs where you look forward to going to work

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Speaker 3: every day. See where it's going to turn up. Yeah,

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Speaker 3: and it was. As you know, so much of the

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Speaker 3: responsibility lies in the actor, right coming up with something worthwhile.

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Speaker 3: So I think my favorite scene is the opening of

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Speaker 3: the restaurant.

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Speaker 4: The restaurant, Sure.

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Speaker 3: The chepherd Duretts. That was subvine And I found myself

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Speaker 3: saying these filthy lines in a very Shakespearean way. That's

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Speaker 3: what I mean. From you, it sounds classy. Do you

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Speaker 3: remember what it was that you said when you had

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Speaker 3: to curse? Well, I can't repeat it. This is the

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Speaker 3: Family Show. No it's not. I think you said something

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Speaker 3: about Bollocks. Sounds so Shakespearean, Madam Bollocks. Do you do

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Speaker 3: you recall what you said, or no, I know. It

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Speaker 3: was every foul word I could you could think of

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Speaker 3: ships I'm not gonna do it again being paid for

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Speaker 3: it anyway. So I loved my brief encounter with Larry

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Speaker 3: and his friends and co conspirators. Yeah, and I went

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Speaker 3: off to make a film in the Croatia. And by

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Speaker 3: the way, one weekend, drove up to Venice for a

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Speaker 3: bit of our and our and there was a went

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Speaker 3: to a lovely.

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Speaker 4: Restaurant Venice, Italy, not Venice, California.

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Speaker 3: Oh yeah, no, last Serenissima. So anyway, there was this

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Speaker 3: woman in the restaurant who gave me a funny look

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Speaker 3: and started swearing in the most feared apple blue way.

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Speaker 3: And I'm a bit shot and she said, well, if

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Speaker 3: you can say it, I don't. Then I knew that

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Speaker 3: the episode must have been aired, right, that's hilarious.

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Speaker 4: And did that happen to you a lot?

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Speaker 1: Did you get a lot of feedback from the episode

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Speaker 1: just anecdotally?

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Speaker 3: People loved it? Yeah, because he was so naughty. I mean, Larry,

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Speaker 3: his great gift is being able to put in the

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Speaker 3: words imagine actually saying it for them, So he doesn't

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Speaker 3: great service.

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Speaker 1: Yes, I agree, he says what people are thinking but

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Speaker 1: afraid to say.

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Speaker 3: Yes yes, and they need someone right now.

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Speaker 1: And you know, you were such a great piece of

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Speaker 1: casting because you know, Michael Yorke, this amazing actor with

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Speaker 1: a British accent, with this group, with this crazy group,

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Speaker 1: was so incongruous that it worked beautifully.

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Speaker 4: You know, it just worked so beautifully.

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Speaker 3: Well, thank you for saying that, Susie, and congresations to

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Speaker 3: you for my jog being involved in this monstrous good.

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Speaker 1: Well, we're on season twelve now, I know. And you

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Speaker 1: shot season three yeah, way back. It was two thousand

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Speaker 1: and two through two thousand and.

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Speaker 3: Three around there.

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Speaker 1: And yeah, I actually have a picture of you and

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Speaker 1: I at the wrap party. I should have found that

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Speaker 1: to show you. Well, Listen, you've always been one of

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Speaker 1: my favorites, from d'Artagnan to Tibblt to Cabaret to You've

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Speaker 1: had an amazing career and this was a small blip,

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Speaker 1: but it was memorable your season on Curve.

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Speaker 3: Major blip. Thank you. Would you greet Barry from me

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Speaker 3: in pact?

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Speaker 4: Yes?

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Speaker 1: Absolutely, I'll see him on Monday, I absolutely will.

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Speaker 4: I'll send your love.

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Speaker 3: Do. I told him yesterday that you were coming on.

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Speaker 3: I was with him, I had lunch with him yesterday.

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Speaker 1: I told him that you were coming on, and his

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Speaker 1: face lit up at the mention of your name.

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Speaker 3: It's such a great face too.

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Speaker 4: As is yours, Michael, as is yours? Well, one time maybe,

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Speaker 4: but are you still handsome?

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Speaker 3: You're coming to me in Rochester, Minnesota? Really? Well?

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Speaker 4: Yeah, I'm at the Mayo Clinic.

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Speaker 3: Okay. I got some day rare disease which they treating,

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Speaker 3: saving my life. So very grateful.

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Speaker 1: So the prognosis is good. Yeah, that's fantastic. I'm happy

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Speaker 1: to hear it.

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Speaker 3: But you know, one thing it did was take away

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Speaker 3: my balance and my memory. Ah, that's right. I'm so

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Speaker 3: great to do this with your Susie. Sure mind the

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Speaker 3: happening in the bounce to get it back, to load

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Speaker 3: up the memory I did. Well. Luckily you can watch

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Speaker 3: all that stuff and remember, I know you can look

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Speaker 3: forward to you.

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Speaker 4: So great to talk to you, Michael.

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Speaker 2: Be well.

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Speaker 3: I'm glad you're getting treatment and you're going to be fine.

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Speaker 3: Thank you, Susie. Much love to you, and keep warm

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Speaker 3: in Minnesota. Yes, yeah, anyway, much love.

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Speaker 1: Much love to you, Michael, and I will send your

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Speaker 1: love to Larry on Monday.

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Speaker 4: Great, so it was lovely to reconnect to Michael. He's

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Speaker 4: an amazing man.

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Speaker 1: So now Larry brings up how come this no partitions

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Speaker 1: in the urinals?

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Speaker 4: Larry is always.

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Speaker 1: Obsessed with this defecation and the urination and always that stuff.

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Speaker 2: By the way, you know what he doesn't find funny.

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Speaker 2: He doesn't find scatological humor funny.

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Speaker 3: I know he doesn't like.

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Speaker 2: A diarrhea punchline or what have you. He fucking hates it.

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Speaker 2: I know Letterman hates it too.

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Speaker 1: And lu DiMaggio says in this it's not a bus station,

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Speaker 1: another line that I love about, you know, people looking

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Speaker 1: at you and in the urinals.

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Speaker 4: Yeah, they're opening in three days.

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Speaker 1: And then Jeff shows up with Oscar Susie's tiling.

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Speaker 2: But but I also want to say this, Jim Stall, Yes,

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Speaker 2: Susie Knockamora part of the team Second City to keep going.

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Speaker 1: Jeff shows up with Oscar Susie's tiling something and they

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Speaker 1: had to get the dog out of the house and

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Speaker 1: Oscar starts sparking. We have established that Oscar is a

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Speaker 1: corpse sniffing dog that he used to work for what

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Speaker 1: the fire department. I think or something. He's a for

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Speaker 1: the Place Corps sniffing dog.

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Speaker 2: And we find out in this episode he's fully credential.

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Speaker 2: That's what the cop says.

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Speaker 1: And he starts digging at something in the kitchen, smelling

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Speaker 1: something goes crazy, and next week cut to the cops

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Speaker 1: are there and there might be a dead body under

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Speaker 1: the floor for all they know, because he is a

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Speaker 1: corpse sniffing dog and they're going to need to dig

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Speaker 1: up the floor and the restaurant's supposed to open in

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Speaker 1: three days.

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Speaker 2: We hold on one of the cops, not Second City,

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Speaker 2: Kate Flannery, who I knew from Chicago. She was heavily

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Speaker 2: involved in the Annoyance Theater in Chicago, which was a

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Speaker 2: wonderful place that I also worked at. Kate Flannery, even

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Speaker 2: though her dialogue was cut from the scene, she didn't

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Speaker 2: say anything in the episode. But Kate Flannery went on

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Speaker 2: to great success on the TV show of the Office.

400
00:20:34,359 --> 00:20:37,240
Speaker 2: This was one of her first jobs, and it's just

401
00:20:37,320 --> 00:20:39,720
Speaker 2: fun to see her there. And I'm sure if people

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Speaker 2: watch this episode from.

403
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Speaker 1: The office, that's a fun thing about these early seasons

404
00:20:45,440 --> 00:20:47,600
Speaker 1: is seeing all these people that people then got to

405
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Speaker 1: know that they didn't know at the time. And Jeff says,

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Speaker 1: if there's a dead body under there, where fucked. And

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Speaker 1: then Larry tells Jeff that the browdies are looking for

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Speaker 1: a dog, and Jeff says, well, my daughter's in love

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Speaker 1: with this dog. And Larry says he explain to her

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Speaker 1: and Jeff then you then take your special whistle and

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Speaker 1: you blow the whistle and Oscar comes, Larry starts, Larry

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Speaker 1: starts petting Oscar.

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Speaker 3: Oh my god, that's Oscar. Look at that it came.

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Speaker 2: I can't believe that you really love it. A good boy.

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Speaker 3: It's nice to be affectioned to something German. You don't

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Speaker 3: get the opportunity that off, you know.

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Speaker 4: And he says, it's nice to be affectionate to something German.

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Speaker 2: But I also want to say, well, that's a great line,

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Speaker 2: and it made me laugh. If we haven't established this,

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Speaker 2: this is really big. Larry David loves dogs.

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Speaker 4: Oh yes he does.

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00:21:36,040 --> 00:21:38,520
Speaker 2: I mean he adores dogs.

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Speaker 1: He used to have a dog named Oscar, which is

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Speaker 1: probably why Oscar's named Oscar.

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Speaker 4: Yeah, we're all big dog people.

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Speaker 2: Yeah, I've got a couple, but he melts around dogs.

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00:21:49,040 --> 00:21:52,399
Speaker 2: When I brought Sage to set, my dog who's a

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00:21:52,400 --> 00:21:55,880
Speaker 2: white cockapoop who I stole from the Goldbergs. I actually

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Speaker 2: did another story another time, but he was all over

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Speaker 2: her because and I split a we share a trailer with,

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Speaker 2: you know, and he was all over Sage on the ground.

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Speaker 2: Oh like talking in ways, it brings out a side that.

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Speaker 1: People has two dogs that he's obsessed with.

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Speaker 4: Yeah, okay.

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00:22:14,280 --> 00:22:17,000
Speaker 1: And then we're at our house and you are talking

436
00:22:17,040 --> 00:22:19,960
Speaker 1: to Sammy, our daughter, and I have to say, she

437
00:22:20,320 --> 00:22:22,600
Speaker 1: was so fucking adorable, that little girl.

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Speaker 4: Oh my god.

439
00:22:23,760 --> 00:22:26,399
Speaker 2: And by the way, later on when she was on

440
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Speaker 2: the show, she didn't really love acting anymore. She was

441
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Speaker 2: just doing it to But back then she was fucking adorable.

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00:22:33,680 --> 00:22:35,120
Speaker 4: And she's got seven at the time.

443
00:22:35,160 --> 00:22:35,760
Speaker 3: She was great.

444
00:22:35,800 --> 00:22:39,080
Speaker 2: In this scene, a seven year old pretending to be drunk.

445
00:22:39,400 --> 00:22:40,800
Speaker 3: Are you chewing gum?

446
00:22:40,840 --> 00:22:43,880
Speaker 1: And she's talking to you and Daddy doesn't feel good?

447
00:22:43,960 --> 00:22:45,800
Speaker 4: And who are you gonna choose? She chooses Oscar.

448
00:22:46,160 --> 00:22:49,439
Speaker 5: So you have to decide between whether you want Daddy

449
00:22:50,119 --> 00:22:50,640
Speaker 5: or Oscar.

450
00:22:52,160 --> 00:22:54,159
Speaker 3: Mm Oscar.

451
00:22:55,119 --> 00:22:57,280
Speaker 5: You know, what what I'm saying is that if you

452
00:22:57,320 --> 00:23:02,239
Speaker 5: say Oscar, Daddy won't be here. I know, you know,

453
00:23:03,960 --> 00:23:06,600
Speaker 5: but you're choosing Oscar. I'm your dad.

454
00:23:08,119 --> 00:23:15,760
Speaker 3: I just love that dog. Mm hmmm. I have to

455
00:23:15,800 --> 00:23:18,400
Speaker 3: go to a bathroom.

456
00:23:17,800 --> 00:23:18,880
Speaker 4: And she loves the dog.

457
00:23:18,920 --> 00:23:20,800
Speaker 1: And then I recall because I was the other day

458
00:23:20,800 --> 00:23:22,400
Speaker 1: when she said I have to go to the bathroom.

459
00:23:22,480 --> 00:23:24,639
Speaker 4: She really did have to go to the bathroom, and

460
00:23:24,720 --> 00:23:27,320
Speaker 4: it ended the scene. It was like a perfect and.

461
00:23:27,240 --> 00:23:29,560
Speaker 2: We cut to her going up the steps, you know,

462
00:23:29,640 --> 00:23:31,960
Speaker 2: like to her room or the upstairs bathroom. But that

463
00:23:32,160 --> 00:23:35,320
Speaker 2: was shot obviously after she went to a bathroom, but

464
00:23:35,480 --> 00:23:36,400
Speaker 2: she really did.

465
00:23:37,920 --> 00:23:39,359
Speaker 4: Was just acting. She was like, I have to go

466
00:23:39,400 --> 00:23:40,200
Speaker 4: to the bathroom.

467
00:23:40,680 --> 00:23:44,360
Speaker 2: But by the way, what was beautiful about that? Natural

468
00:23:44,960 --> 00:23:47,240
Speaker 2: gave us a button on the scene. That scene was over.

469
00:23:47,440 --> 00:23:50,439
Speaker 1: Yeah, we'll be right back, stay tuned.

470
00:24:01,000 --> 00:24:02,119
Speaker 3: Okay, we're back.

471
00:24:02,880 --> 00:24:05,280
Speaker 1: So now we're back at the crime scene at the

472
00:24:05,320 --> 00:24:08,800
Speaker 1: restaurant and it's all dug up. There's piles of rubble

473
00:24:09,119 --> 00:24:11,400
Speaker 1: and you just see that. It's like a nightmare. There's

474
00:24:11,400 --> 00:24:15,080
Speaker 1: no way they're opening in three days. And Oscar found

475
00:24:15,440 --> 00:24:19,880
Speaker 1: a bra. Nobody a bra. He's a bra sniffing dog,

476
00:24:19,960 --> 00:24:23,639
Speaker 1: as Larry says, and everything the electrics dug up, and

477
00:24:23,680 --> 00:24:25,320
Speaker 1: the gas and the plumbing, and it's going to be

478
00:24:25,320 --> 00:24:27,639
Speaker 1: three weeks to a month before they can even open

479
00:24:27,680 --> 00:24:28,320
Speaker 1: the restaurant.

480
00:24:28,520 --> 00:24:30,840
Speaker 2: And by the way, I forget the gentleman's name who

481
00:24:30,880 --> 00:24:34,280
Speaker 2: plays that person. He's been in so many films too.

482
00:24:34,760 --> 00:24:38,080
Speaker 2: Actually an excellent character actor. He's wonderful and that must

483
00:24:38,119 --> 00:24:41,280
Speaker 2: have been before he started working a lot, because to

484
00:24:41,320 --> 00:24:42,400
Speaker 2: have him for that part.

485
00:24:42,280 --> 00:24:44,159
Speaker 4: That was there is twenty years ago. It's two thousand

486
00:24:44,160 --> 00:24:45,200
Speaker 4: and three that we shot this.

487
00:24:45,440 --> 00:24:49,240
Speaker 1: Yeah, and Larry finds the silver lining now that they

488
00:24:49,280 --> 00:24:50,480
Speaker 1: have to wait three weeks to a.

489
00:24:50,440 --> 00:24:52,680
Speaker 4: Month before they can open up. Now they could get the.

490
00:24:52,600 --> 00:24:55,080
Speaker 1: Splash guards for the YearIn als Well, by the way,

491
00:24:55,400 --> 00:24:59,200
Speaker 1: if I may, Everyone is furious that it's going to

492
00:24:59,280 --> 00:25:03,080
Speaker 1: take an extra mon but Larry's very happy just in general.

493
00:25:03,400 --> 00:25:06,159
Speaker 2: But then it occurs to him we can now have

494
00:25:06,280 --> 00:25:10,439
Speaker 2: the dividers and he's animal splash guard. Dad, Hey, let

495
00:25:10,440 --> 00:25:10,919
Speaker 2: me ask you this.

496
00:25:10,920 --> 00:25:13,560
Speaker 5: Can we get the do we get the splash guards

497
00:25:13,600 --> 00:25:14,360
Speaker 5: in the urinal now?

498
00:25:14,480 --> 00:25:14,640
Speaker 3: Oh?

499
00:25:14,680 --> 00:25:16,480
Speaker 5: Yeah, what do you think I'll do that?

500
00:25:20,080 --> 00:25:21,080
Speaker 3: Blessing in disguise.

501
00:25:21,760 --> 00:25:24,800
Speaker 1: Then Jeff comes running up to tell Larry Sammy chose

502
00:25:24,840 --> 00:25:28,920
Speaker 1: Oscar and he's staying at the w hotel and Larry is, uh,

503
00:25:29,560 --> 00:25:32,480
Speaker 1: you know, coming to the rescue. He says, I got

504
00:25:32,480 --> 00:25:34,320
Speaker 1: something to take care of, and.

505
00:25:34,440 --> 00:25:37,640
Speaker 2: But hold on, hold on. You have to understand in

506
00:25:37,720 --> 00:25:40,440
Speaker 2: that scene two things I want to talk about whenever

507
00:25:40,480 --> 00:25:43,439
Speaker 2: I get really angry. Larry laughs, and there's even a

508
00:25:43,520 --> 00:25:47,680
Speaker 2: moment in there of him laughing, going, you gotta calm down.

509
00:25:48,080 --> 00:25:50,560
Speaker 2: But he laughed. I remember he laughed all through that scene.

510
00:25:50,600 --> 00:25:53,120
Speaker 2: But there's something more important to me than I want

511
00:25:53,119 --> 00:25:55,520
Speaker 2: to point out. So he says to me when he leaves,

512
00:25:55,520 --> 00:25:58,320
Speaker 2: You're at the W Hotel. Yeah, I'm at the W Hotel.

513
00:25:58,760 --> 00:26:02,360
Speaker 2: If I only knew what I did was the company

514
00:26:02,400 --> 00:26:05,000
Speaker 2: I forgot their name. They owned the W Hotel. I

515
00:26:05,000 --> 00:26:06,640
Speaker 2: don't remember what the name of the companies. They owned

516
00:26:06,640 --> 00:26:09,680
Speaker 2: a bunch of hotels. I did a gig for them,

517
00:26:09,680 --> 00:26:14,280
Speaker 2: a corporate gig at the W Hotel in Westwood, and

518
00:26:14,359 --> 00:26:17,520
Speaker 2: it was outdoors, which is a horrible place to stand up.

519
00:26:17,680 --> 00:26:18,960
Speaker 4: Let me explain that to people.

520
00:26:19,000 --> 00:26:21,600
Speaker 1: Why that's so horrible, Okay, Because if you go into

521
00:26:21,600 --> 00:26:24,040
Speaker 1: comedy clubs, you'll notice it. It's always a low ceiling

522
00:26:24,040 --> 00:26:28,040
Speaker 1: because laughs hover, and laughs are contagious, So a low ceiling,

523
00:26:28,080 --> 00:26:30,399
Speaker 1: the laughs hover and it rolls through the room. In

524
00:26:30,640 --> 00:26:36,080
Speaker 1: a outdoor venue, the laughs go and it's horrible. It's

525
00:26:36,080 --> 00:26:36,840
Speaker 1: a horrible thing.

526
00:26:37,320 --> 00:26:41,160
Speaker 2: But also playing the theater like Rerice Hall at UCLA,

527
00:26:41,280 --> 00:26:43,040
Speaker 2: the ceiling is a million miles.

528
00:26:43,040 --> 00:26:45,679
Speaker 1: When you do these roasts with the grand ballrooms with

529
00:26:45,720 --> 00:26:48,840
Speaker 1: these big high ceilings that are all so horrible, it's tough.

530
00:26:49,200 --> 00:26:52,080
Speaker 2: The only place that I've performed at in that kind

531
00:26:52,080 --> 00:26:56,600
Speaker 2: of environment is the Greek theater, and that, for whatever reason, works.

532
00:26:56,880 --> 00:26:58,200
Speaker 2: There's an intimacy to the.

533
00:26:58,160 --> 00:26:59,960
Speaker 4: Greek because the Greeks knew how to do it.

534
00:27:02,080 --> 00:27:05,040
Speaker 2: Yes they did. But here's my story about the w hotel.

535
00:27:05,320 --> 00:27:10,160
Speaker 2: I'm outdoors and I'm struggling. It's really hard outside. They're

536
00:27:10,200 --> 00:27:10,960
Speaker 2: not digging me.

537
00:27:11,560 --> 00:27:11,800
Speaker 3: Well.

538
00:27:11,920 --> 00:27:16,119
Speaker 2: At some point, somebody cue the person not saying we

539
00:27:16,240 --> 00:27:19,679
Speaker 2: need to show the comedian respect. The waiters come out.

540
00:27:19,720 --> 00:27:23,280
Speaker 2: They were singing waiters. They came out in a formation.

541
00:27:23,760 --> 00:27:27,000
Speaker 2: These are like twenty waiters going through the crowd, but

542
00:27:27,200 --> 00:27:28,080
Speaker 2: circling and.

543
00:27:28,080 --> 00:27:29,639
Speaker 3: Dancing during your act.

544
00:27:29,920 --> 00:27:33,080
Speaker 2: Yes, it was one of the worst shows I've ever

545
00:27:33,160 --> 00:27:37,520
Speaker 2: had for numerous reasons. And there was a balcony where

546
00:27:37,520 --> 00:27:40,240
Speaker 2: two people were watching in the building across the street,

547
00:27:40,680 --> 00:27:43,240
Speaker 2: and I could see them laugh when I went have

548
00:27:43,359 --> 00:27:46,480
Speaker 2: you ever seen anything like this? I saw them laugh hard.

549
00:27:47,080 --> 00:27:49,680
Speaker 2: No one in the audience. I'm like, do you realize

550
00:27:49,680 --> 00:27:53,399
Speaker 2: what's going The audience had no empathy from there, because

551
00:27:53,400 --> 00:27:55,359
Speaker 2: I had. I was at the end. I had to

552
00:27:55,359 --> 00:28:00,560
Speaker 2: wrap up during this death death. The people who before

553
00:28:00,640 --> 00:28:04,280
Speaker 2: the show said, not only would you get paid, which

554
00:28:04,359 --> 00:28:07,040
Speaker 2: was a hefty check tonight that they had to pay me,

555
00:28:07,440 --> 00:28:10,400
Speaker 2: but we're gonna give you VIP and all our hotels.

556
00:28:10,720 --> 00:28:13,200
Speaker 2: You pay the lowest price, we'll give you the best room.

557
00:28:13,480 --> 00:28:16,159
Speaker 2: It was like this whole thing, you'll be this and

558
00:28:16,200 --> 00:28:20,200
Speaker 2: we'll do this. It was like Wow. After that show,

559
00:28:20,320 --> 00:28:22,560
Speaker 2: I went. My dressing room was a hotel room, which

560
00:28:22,600 --> 00:28:26,239
Speaker 2: often happens when you worked at hotels. Nobody came up

561
00:28:26,240 --> 00:28:29,120
Speaker 2: to the room. And when I left, I saw all

562
00:28:29,160 --> 00:28:31,240
Speaker 2: those people. None of them would look at me, let

563
00:28:31,240 --> 00:28:35,119
Speaker 2: alone talk to me. And so if I only knew,

564
00:28:35,160 --> 00:28:37,320
Speaker 2: I wish I could go back in time and not

565
00:28:37,520 --> 00:28:41,920
Speaker 2: use W Hotel. Say I'm at the Marriott, the Hilton, anything.

566
00:28:41,640 --> 00:28:43,520
Speaker 4: You know, but for this show, you were at the

567
00:28:43,640 --> 00:28:44,360
Speaker 4: W Hotel.

568
00:28:44,760 --> 00:28:45,080
Speaker 3: I know.

569
00:28:45,520 --> 00:28:48,800
Speaker 2: But nonetheless, it was like when I saw it, it

570
00:28:48,920 --> 00:28:50,520
Speaker 2: caused pain in my stomach.

571
00:28:50,680 --> 00:28:53,680
Speaker 1: Okay, so Lara shows up at our house and Sammy

572
00:28:53,760 --> 00:28:56,680
Speaker 1: answers the door, and she's drinking a thing of grape juice.

573
00:28:56,720 --> 00:28:59,040
Speaker 1: She says, Mommy's next door and Daddy's not there.

574
00:28:59,280 --> 00:29:01,720
Speaker 2: And by the way, this is one of those situations

575
00:29:02,160 --> 00:29:04,719
Speaker 2: completely normal and comfortable for her invite.

576
00:29:05,120 --> 00:29:09,280
Speaker 1: She's not our whole life. Yeah, yes, he's like uncle Larry.

577
00:29:09,800 --> 00:29:12,680
Speaker 1: So Sammy's drinking grape juice and she says, do you

578
00:29:12,720 --> 00:29:14,920
Speaker 1: want some? And Larry says yes, and he follows her

579
00:29:14,920 --> 00:29:17,800
Speaker 1: into the kitchen and he sees an open bottle of

580
00:29:17,840 --> 00:29:21,920
Speaker 1: red wine, and she decides he's gonna sniff the cork

581
00:29:22,000 --> 00:29:24,480
Speaker 1: and he's gonna gargle, and he's gonna do the whole

582
00:29:24,560 --> 00:29:28,800
Speaker 1: mcgilla to Fruity to Oaki, and he starts to talk

583
00:29:28,840 --> 00:29:32,120
Speaker 1: to Sammy about Oscar and getting rid of Oscar. Is

584
00:29:32,160 --> 00:29:34,360
Speaker 1: there another animal? Do you want a rabbit? Do you

585
00:29:34,440 --> 00:29:37,800
Speaker 1: want a pony, a turtle, a hamster? You could torture

586
00:29:37,840 --> 00:29:40,240
Speaker 1: a hamster? How great it is to have a hamster

587
00:29:40,320 --> 00:29:43,000
Speaker 1: that you could torture a little bit. And then Larry

588
00:29:43,080 --> 00:29:45,320
Speaker 1: sees on the table the dog whistle. He gets up

589
00:29:45,360 --> 00:29:49,360
Speaker 1: to pick up the dog whistle, and Sammy then inadvertently

590
00:29:49,760 --> 00:29:52,760
Speaker 1: picks up Larry's glass of wine that she thinks is

591
00:29:52,800 --> 00:29:56,440
Speaker 1: grape juice and she downs the whole thing. Next week,

592
00:29:56,480 --> 00:30:00,480
Speaker 1: cut to a drunk, totally drunk Sammy, which she did brillilliantly.

593
00:30:02,280 --> 00:30:08,880
Speaker 3: Come on, Sammy, what do you say? Oh, Oscar.

594
00:30:10,240 --> 00:30:13,080
Speaker 4: Daddy?

595
00:30:14,000 --> 00:30:20,120
Speaker 1: She was first year old drugs drug slurin where I

596
00:30:20,280 --> 00:30:21,400
Speaker 1: want Daddy?

597
00:30:21,920 --> 00:30:25,000
Speaker 4: I want daddy sluring a word.

598
00:30:25,240 --> 00:30:30,000
Speaker 2: Larry, by the way, his character completely oblivious to the

599
00:30:30,080 --> 00:30:32,680
Speaker 2: new one of my daughter being drug.

600
00:30:32,680 --> 00:30:35,560
Speaker 1: And he's just happy that he saved the day, he

601
00:30:35,680 --> 00:30:38,640
Speaker 1: fixed everything. Then he's in a car on the phone

602
00:30:38,640 --> 00:30:41,080
Speaker 1: with you and with Oscar in the seat, and he says,

603
00:30:41,160 --> 00:30:44,200
Speaker 1: you go home, everything's taken care of and he's the hero.

604
00:30:44,720 --> 00:30:47,840
Speaker 1: And then he's at the browdies and Susan answers the

605
00:30:47,880 --> 00:30:50,560
Speaker 1: door and she's immediately have something to say to me, Larry,

606
00:30:50,720 --> 00:30:52,560
Speaker 1: And then Larry's like, I guess you're going to have

607
00:30:52,600 --> 00:30:54,600
Speaker 1: to continue to wait if it's a thank you. You know,

608
00:30:54,640 --> 00:30:56,680
Speaker 1: he's not giving in to her at all, and she

609
00:30:56,840 --> 00:30:59,360
Speaker 1: won't take the dog until he thanks her. But then

610
00:30:59,400 --> 00:31:01,600
Speaker 1: her son show up and see the dog and go

611
00:31:01,800 --> 00:31:03,880
Speaker 1: crazy for the dog, and they fall in love with

612
00:31:03,920 --> 00:31:11,200
Speaker 1: the dog, and she has to give in and take Oscar, please, Oscar. Okay, okay,

613
00:31:11,400 --> 00:31:15,280
Speaker 1: all right, boys, okay.

614
00:31:20,200 --> 00:31:20,680
Speaker 2: He says, no.

615
00:31:20,800 --> 00:31:24,959
Speaker 4: Mind and he leaves Oscar there.

616
00:31:25,360 --> 00:31:28,320
Speaker 2: I thought it was after this scene that he calls

617
00:31:28,400 --> 00:31:30,160
Speaker 2: me and says everything's taken care of.

618
00:31:30,440 --> 00:31:33,120
Speaker 1: Well, no, he says that before and then he gives

619
00:31:33,120 --> 00:31:36,080
Speaker 1: her the dog and then he drives up the driveway

620
00:31:36,120 --> 00:31:39,080
Speaker 1: and we hear that spaghetti western music and it's The

621
00:31:39,200 --> 00:31:40,120
Speaker 1: Doll revisited.

622
00:31:40,400 --> 00:31:43,800
Speaker 2: And by the way, can I say you were amazing

623
00:31:44,120 --> 00:31:48,440
Speaker 2: in that scene. You were just so note perfect. You

624
00:31:48,480 --> 00:31:51,960
Speaker 2: were perfect in that scene with everything he said. Your

625
00:31:52,000 --> 00:31:56,520
Speaker 2: responses were at a high angry level, but every word

626
00:31:56,560 --> 00:31:59,360
Speaker 2: out of your mouth was a gem. It was beautiful.

627
00:31:59,600 --> 00:32:02,760
Speaker 1: And because the most important thing in improv is listening.

628
00:32:02,880 --> 00:32:06,120
Speaker 1: As you know, yes, so you can't have anything pre planned.

629
00:32:06,680 --> 00:32:09,280
Speaker 1: You know, she stinks like a fucking whine up.

630
00:32:09,360 --> 00:32:12,000
Speaker 2: By the way, I'll go I'll go on record to

631
00:32:12,120 --> 00:32:19,160
Speaker 2: say that in life, listening is an essential quality every relationship,

632
00:32:19,240 --> 00:32:21,680
Speaker 2: the skill that you need to have. That's right, but

633
00:32:21,720 --> 00:32:24,400
Speaker 2: I'm saying is a human being listening is so important.

634
00:32:24,400 --> 00:32:25,680
Speaker 2: But it's extra important in.

635
00:32:25,800 --> 00:32:28,880
Speaker 1: Improv because as people already know. But I think every

636
00:32:28,960 --> 00:32:31,640
Speaker 1: now and then we could reiterate we don't have a script.

637
00:32:31,920 --> 00:32:35,640
Speaker 1: We have an outline and we improvise all of the dialogue.

638
00:32:36,000 --> 00:32:38,800
Speaker 1: So he says to me, I thought she had a

639
00:32:38,880 --> 00:32:43,120
Speaker 1: speech impediment. That that's the level of him understanding children.

640
00:32:43,360 --> 00:32:46,440
Speaker 1: She was drunk and he thought she had a speech impediment.

641
00:32:46,560 --> 00:32:50,080
Speaker 2: You know, so Larry, Oh, by the way, he says

642
00:32:50,160 --> 00:32:53,080
Speaker 2: the line after you say speech and me, he says,

643
00:32:53,200 --> 00:32:54,960
Speaker 2: I thought it was a speech impediment. And you're like,

644
00:32:55,000 --> 00:32:57,760
Speaker 2: you've known her her whole life. And then he says,

645
00:32:58,040 --> 00:32:59,640
Speaker 2: I thought she had a speech impediment.

646
00:33:00,000 --> 00:33:02,600
Speaker 4: I've known the kid since she was born, and she.

647
00:33:02,880 --> 00:33:05,840
Speaker 1: Suddenly developed a speech and peditate.

648
00:33:06,080 --> 00:33:06,920
Speaker 2: We was so puzzling.

649
00:33:07,040 --> 00:33:08,360
Speaker 3: Oh, listen before.

650
00:33:08,200 --> 00:33:10,400
Speaker 1: I fuck you stole the dog, she said, Oh, I'm

651
00:33:10,480 --> 00:33:13,920
Speaker 1: hysterical that her dog is gone.

652
00:33:15,120 --> 00:33:19,000
Speaker 2: Yes, that's me for him to go there is just

653
00:33:19,040 --> 00:33:22,240
Speaker 2: another thing. That's a great scene. Yeah, you're yelling.

654
00:33:22,280 --> 00:33:25,000
Speaker 4: Scenes are always I quite enjoy them, I have to say.

655
00:33:25,320 --> 00:33:28,760
Speaker 2: And like I said, you've gotten nuanced in different things.

656
00:33:28,960 --> 00:33:31,520
Speaker 2: You'll go at it suddenly, but we can see the

657
00:33:31,680 --> 00:33:33,560
Speaker 2: build and then you go at it.

658
00:33:33,560 --> 00:33:36,040
Speaker 1: It's important not to you know, to have levels. You

659
00:33:36,040 --> 00:33:38,200
Speaker 1: don't want to just be up people all the time.

660
00:33:38,160 --> 00:33:41,640
Speaker 2: Right right, But this is what you were given early on,

661
00:33:42,280 --> 00:33:44,520
Speaker 2: is to be up here. We had a scene with

662
00:33:44,640 --> 00:33:47,920
Speaker 2: Larry coming to the door and you were like, oh, okay,

663
00:33:48,160 --> 00:33:50,920
Speaker 2: but then you lost your shit. But later on there's

664
00:33:51,120 --> 00:33:54,880
Speaker 2: nuanced of it. They're very difficult scenes to film for

665
00:33:55,040 --> 00:33:59,520
Speaker 2: one reason. They take a long time because Larry, when

666
00:33:59,560 --> 00:34:02,160
Speaker 2: you yell on Larry, he doesn't just break fun.

667
00:34:02,320 --> 00:34:03,280
Speaker 4: He gets the giggles.

668
00:34:03,400 --> 00:34:06,959
Speaker 2: He no, he doesn't get the giggles. He loses his

669
00:34:07,080 --> 00:34:10,200
Speaker 2: shit as you're yelling at him. And I'm gonna say,

670
00:34:10,239 --> 00:34:14,120
Speaker 2: on Rickard, nothing makes him laugh harder than when you

671
00:34:14,320 --> 00:34:17,920
Speaker 2: lose your shit. Nothing. So let's say this scene should

672
00:34:17,960 --> 00:34:21,880
Speaker 2: take forty minutes to shoot, it'll take an hour.

673
00:34:22,200 --> 00:34:25,240
Speaker 1: You know. I always think that my character must remind

674
00:34:25,320 --> 00:34:28,600
Speaker 1: him of like his third grade teacher or something, or

675
00:34:28,680 --> 00:34:31,440
Speaker 1: somebody that yelled at him all the time. Is what

676
00:34:31,520 --> 00:34:33,080
Speaker 1: my character must remind him of.

677
00:34:33,680 --> 00:34:38,040
Speaker 2: I think, if I may, that that's possible. But you're

678
00:34:38,080 --> 00:34:41,279
Speaker 2: not giving yourself enough credit for just being on the

679
00:34:41,440 --> 00:34:43,440
Speaker 2: surface fucking hilarious.

680
00:34:43,680 --> 00:34:45,120
Speaker 4: That's all, thank you, Jeffrey.

681
00:34:45,600 --> 00:34:48,280
Speaker 1: So now he has to go back to the browdies

682
00:34:48,400 --> 00:34:52,120
Speaker 1: and get Oscar back because I am fucking pissed, and

683
00:34:52,280 --> 00:34:56,280
Speaker 1: he says, first of all, I was wrong. Of course,

684
00:34:56,800 --> 00:34:59,240
Speaker 1: you've got kids, it's a full time job.

685
00:34:59,280 --> 00:35:00,359
Speaker 4: I was dead wrong.

686
00:35:00,680 --> 00:35:06,640
Speaker 1: Elaborate, elaborate, on and on, and she's touched, she's moved.

687
00:35:06,920 --> 00:35:11,040
Speaker 2: And then the moment after she's moved, you realize he's

688
00:35:11,080 --> 00:35:14,560
Speaker 2: set himself up, he's made his bad and now we'll

689
00:35:14,560 --> 00:35:16,120
Speaker 2: come the destruction.

690
00:35:16,000 --> 00:35:18,719
Speaker 1: Exactly, and you know it watching it, you know as

691
00:35:18,719 --> 00:35:21,759
Speaker 1: an audience, exactly what's going on. And she talks out

692
00:35:21,760 --> 00:35:24,120
Speaker 1: the dog is great, the kids love the dog.

693
00:35:24,200 --> 00:35:25,200
Speaker 4: He's so sweet.

694
00:35:25,680 --> 00:35:28,000
Speaker 1: And then he says the owner of the dog wants

695
00:35:28,040 --> 00:35:31,640
Speaker 1: him back, and you know her kids, meaning Sammy, is

696
00:35:31,680 --> 00:35:34,600
Speaker 1: broken up about it. And she asked, well why, and

697
00:35:34,680 --> 00:35:36,839
Speaker 1: Larry says, well, the daughter was drunk when she said

698
00:35:36,840 --> 00:35:41,160
Speaker 1: he could take the dog. And Susan Brady says, leave right.

699
00:35:40,960 --> 00:35:43,720
Speaker 2: Now, leave or I'm calling them police.

700
00:35:43,920 --> 00:35:45,399
Speaker 3: I'm sorry not getting me the dog.

701
00:35:45,600 --> 00:35:47,279
Speaker 4: No, I am not really going to.

702
00:35:47,200 --> 00:35:48,200
Speaker 3: Disappoint my dog.

703
00:35:48,200 --> 00:35:49,680
Speaker 5: You really going to disappoint a little girl?

704
00:35:49,680 --> 00:35:52,080
Speaker 1: Oh, Larry, do you go back and tell her to

705
00:35:52,120 --> 00:35:54,560
Speaker 1: have another drink because she's not getting her dog back?

706
00:35:54,640 --> 00:35:56,720
Speaker 4: Okay, tell her to have another drink.

707
00:35:57,239 --> 00:35:58,640
Speaker 3: I love what she says, well.

708
00:35:58,520 --> 00:36:02,920
Speaker 2: By the way, if she wasn't so vindictive, the door

709
00:36:03,040 --> 00:36:06,000
Speaker 2: would have been closed and he wouldn't have gotten knocks

710
00:36:06,000 --> 00:36:10,800
Speaker 2: an Oscar back. But because she's yelling vindictive things at Larry,

711
00:36:11,440 --> 00:36:13,440
Speaker 2: he thinks of it and he blows the whistle.

712
00:36:13,560 --> 00:36:16,680
Speaker 1: So walks away and he realizes he has the dog whistle,

713
00:36:16,960 --> 00:36:20,560
Speaker 1: and he blows the whistle and Oscar comes running out.

714
00:36:21,080 --> 00:36:22,479
Speaker 4: And I love that.

715
00:36:22,440 --> 00:36:25,400
Speaker 1: Last scene where Larry pulls up to our house and

716
00:36:25,440 --> 00:36:26,239
Speaker 1: then we see Jim.

717
00:36:26,880 --> 00:36:28,280
Speaker 4: It's a high, high shot.

718
00:36:28,520 --> 00:36:32,839
Speaker 2: Well no, but hold on, it's set up so slowly. Yeah,

719
00:36:32,840 --> 00:36:35,120
Speaker 2: but I mean this is beautiful because it takes his time.

720
00:36:35,440 --> 00:36:39,560
Speaker 2: I get out of my car, suitcase, jacket over my shoulder.

721
00:36:39,920 --> 00:36:42,680
Speaker 2: I'm at the door and I hear someone pull up.

722
00:36:42,719 --> 00:36:46,120
Speaker 2: I turn I lay my stuff down, I walk out.

723
00:36:46,280 --> 00:36:50,839
Speaker 2: I see Oscar. And the minute I see Oscar, I

724
00:36:50,920 --> 00:36:52,280
Speaker 2: know I turn around.

725
00:36:52,680 --> 00:36:55,280
Speaker 4: I grab my suitcase luggage.

726
00:36:55,360 --> 00:36:58,760
Speaker 2: Yeah, and I turn around and I'm walking out. That's

727
00:36:58,840 --> 00:37:02,120
Speaker 2: when this sky shot where you've seen the whole story,

728
00:37:02,160 --> 00:37:05,360
Speaker 2: the turn back, the walking to my car and leaving,

729
00:37:05,680 --> 00:37:07,960
Speaker 2: and that's the end of the show. I thought that

730
00:37:08,040 --> 00:37:08,319
Speaker 2: was a.

731
00:37:08,280 --> 00:37:09,640
Speaker 4: Thing of it, and you know it was.

732
00:37:10,080 --> 00:37:14,760
Speaker 1: This is one of those very well crafted half hours.

733
00:37:15,160 --> 00:37:18,160
Speaker 2: Doubt Yes, the last two episodes are two of my favorites.

734
00:37:18,360 --> 00:37:22,319
Speaker 2: Very well and the special section. And by the way,

735
00:37:22,640 --> 00:37:26,000
Speaker 2: credit to Andy Ackerman, the director, because Larry is not

736
00:37:26,280 --> 00:37:29,440
Speaker 2: ever going to say something like hey, put a camera

737
00:37:29,520 --> 00:37:29,919
Speaker 2: up there.

738
00:37:30,200 --> 00:37:32,240
Speaker 4: That's not his thing. He's not camera savvy.

739
00:37:32,440 --> 00:37:32,560
Speaker 3: No.

740
00:37:32,680 --> 00:37:36,200
Speaker 2: Yeah, so Andy Akerman had to have thought of that.

741
00:37:36,360 --> 00:37:39,120
Speaker 1: And I think it was a terrific ending because nothing

742
00:37:39,160 --> 00:37:41,280
Speaker 1: needed to be said. You know, it was a silent

743
00:37:41,400 --> 00:37:44,239
Speaker 1: movie moment and we got it all and it was

744
00:37:44,320 --> 00:37:46,759
Speaker 1: just like a poor jeff.

745
00:37:46,960 --> 00:37:50,480
Speaker 2: It is set a thousand words. Yes, yes, yes, yes,

746
00:37:50,880 --> 00:37:53,200
Speaker 2: Now I want to say that I'd like for a

747
00:37:53,320 --> 00:37:54,160
Speaker 2: stand that way.

748
00:37:54,280 --> 00:37:56,400
Speaker 4: There you go. But we have no wide shots. We

749
00:37:56,440 --> 00:37:57,799
Speaker 4: have a still camera here.

750
00:37:58,120 --> 00:37:58,319
Speaker 3: No.

751
00:37:58,560 --> 00:38:00,640
Speaker 2: But it means just you can say thank you and

752
00:38:00,680 --> 00:38:01,160
Speaker 2: then stop.

753
00:38:01,239 --> 00:38:04,520
Speaker 1: Thank you, Jeffrey, no, thanks, thank you for listening me.

754
00:38:04,760 --> 00:38:06,879
Speaker 1: This has been Susie and jeff.

755
00:38:06,719 --> 00:38:11,200
Speaker 2: No, that's all time. My point is go silent, thank them,

756
00:38:11,520 --> 00:38:13,520
Speaker 2: say nothing else. We'll cut out.

757
00:38:20,760 --> 00:38:24,040
Speaker 1: The History of Current Enthusiasm is a production of iHeart Radio.

758
00:38:24,160 --> 00:38:28,239
Speaker 1: For more podcasts from iHeart Radio, visit the iHeart Radio Map,

759
00:38:28,320 --> 00:38:31,280
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows,