Fly on the Wall with Dana Carvey and David Spade - Jenna Fischer

Episode Date: May 28, 2025

Office tales, apocalypse planning with Lorne, and a Will Ferrell sex scene with Jenna Fischer. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

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Famous for The Office. She's done a lot of movies and a lot of other things, but she was Pam on The Office, the smash. For all 98 seasons. Yeah. That show just kept grinding it out. Yeah. There's a spinoff now we talk about.

We don't only talk about the office, of course, she does plays, she's doing a new one we're talking about. She talks about, I asked her about Nick Swartz and about Will Ferrell, she loves SNL. And I hit her up after the interview and I think she had what we had. She's always like, she's like exactly we say, did we ask the right questions? Was I

interesting? Was I fun? We always finish and going I think we did that wrong, whatever. But she's very sweet about it. She wanted to do a good job. She listens to the show. She has her own show. The Office Ladies. And she tells some really funny stories, interesting stories about her struggles before she got on the office. And there's a whole arc of story involving Molly Shannon. And that's a very interesting thing. And sometimes when we finish the podcast, we keep our laptop open. So I ended up talking with her for a half hour afterwards. She's very easy. Well, she's easy to chat with.

So anyway, I hope you enjoy this one. Jenna Fisher. I was just asked by a producer and it's a profound question. When you're driving around a long drive, two hour drive, whatever, what's your entertainment, XM news, music, podcasting, or- Just rap.

Phone calls to pay back. You have 10 seconds. Ooh, it's not music. I do not listen to music. My first car did not have a working radio and I just got used to driving in silence and it's my preference. But now I would say news, podcasts or phone calls.

So I love the idea that you literally could go like, just the silence, two hours, three hours, just silence. Jesus, it's Jason Moore. I mean, it's nowadays. It's healthy by the way. I don't know. I drove from St. Louis, Missouri, all the way to California with no radio.

Just open windows, also no air conditioning. No air condition or hay in the trunk. My first car was really just, California with no radio. Just open windows. There's also no air conditioning. My first car was really just, it just moved you from one place to another. There was no luxury at all. But you're not old, like air conditioning. What year of car? I don't remember.

I think it was like an 86. I mean, it had, originally when it was built, had these features. They just didn't work anymore. So you do the office all those years and then you buy a used Buick from 1988. I mean, I'll talk to Corel if I have to or No.

I'm gonna call Greg Daniels. Okay, go ahead. No, no, no. So I had a Mazda three, two, three hatchback and that was the car I drove across the country. Okay. And then I upgraded to a Volkswagen Jetta and that was the car I drove across the country. And then I upgraded to a Volkswagen Jetta, which was my favorite car maybe I've ever had.

It was awesome. But then when I got my big office paycheck, I got a stupid car. Okay. Yeah, Rolls Royce. It was, I walked into a Mercedes dealership and they had a little sedan. They only made like seven of these and it had like the engine of a race car,

but in like the body of like a C-class Mercedes. So it was like cute and compact, but it, I was a hundred percent an asshole driver. Like, because I could cut around anyone. I could, it was, oh, it was great. Did you keep it? And I leased it and I gave it up after the lease. Lease.

And I went more practical. We all have that story. You want me to go first, David? Cause it's similar to yours. Okay, got a little money, some movie, whatever. Got some extra money. Went to a Mercedes dealership. Bought a convertible little Mercedes coupe.

Like, Oh wow, this is awesome. Drove it for three or four days and realized when I had the canopy up, I was looking through a plastic windshield in the back. So took it back, traded in for SLE or a big, a 420 SLE. And then I started getting people paying attention to me. I lived in the Valley when I would go to like 7-Eleven or a gas station. So then I went to Honda. I just wanted a low-fi car.

That's my story. Well, the problem with LA is that you get this awesome car and then you can only go like 32 miles an hour in it because you're always stuck in traffic. So it's kind of like after a few years, I was like, oh, the best I can do is like whip down the on-ramp. Yeah, 300 horsepower and you're just-

And then that's- Exactly. Rrrr. Yeah. Yeah. Total waste. When I moved out, I got something when I first paycheck and I went, and I had no car, so I moved out, I got something when I first paid check and I went and I had no

car so I got a car. Dana knows the story. $6,000 Honda. I didn't go flashy. I only had six. And then I drove it to the Improv and then I brought it out. I brought my buddy out to show him and it was stolen. What? How long? You had it for like a night? One day, you went one place. I had it for an hour. And Kevin Nealon drove a car eerily similar to that. I'm not saying he had anything to do with the robbery, but it was kind of weird. But my first car was a Volkswagen Bug.

Are you gonna go to first car or first car when you got an extra paycheck? Me? No, you are, we know your story. We know my story, yeah. David, you got an extra paycheck? Me? No, you are, we know your story. We know my story, yeah. David, you got it. Oh, I had my fair share because I do like cars, but my neck gives me trouble.

So every time I get a car I love, it just starts, it's just too painful. And like Jenna said, when you're starting and stopping all day, it's not like you live in the Midwest and you can floor it. And there's big parking lots. Like when you go to Wendy's in Arizona, there's like 300 parking spots.

And when you go here, there's one at Kmart. And you go, are we all sharing this? You can't believe when you get to LA, how little there's, some businesses have absolutely no parking. So I don't know what we're supposed to do. So that kind of threw me and I realized they didn't need big fancy cars. I could just tell people I had them realized I didn't need big fancy cars. I could just tell people I had them,

I didn't really need them. My first car was also a manual transmission. Oh boy. And my left foot would like truly ache at the end of like driving all day in LA because you were constantly just going like in and out of third and fourth gear. There was like, you never made it to fifth gear in this car.

God, no one has a stick anymore. No, it's a, you know, this was the cheapest car. Like the manual transmission was the cheapest car. My dad's very practical. He was like, you'll get this car. Now Jenna. I'll teach you how to drive it. Firm, but fair. This is all you need. You don't need any frills.

Yeah. In St. Louis. Yeah. You've been to St. Louis, I bet. I'm going to St. Louis to do a show. Heather, what is the city called? In St. Louis? Let's see if she's heard of it. Emose Pizza in St. Louis?

No, but I like it as a town. I like walking around. I like that stadiums are really close in. Jenna, do you know what Chesterfield is? Chesterfield is where I grew up. Oh, is it really? Chesterfield is where my family lives now. Uh-oh.

Yeah, I actually grew up in like Manchester slash Chesterfield in an unincorporated area. But yeah, Chesterfield for sure, why? Because that's where I'm going for my tour. They said, I was with Nikki Glazer this weekend and she's from St. Louis and she goes, why don't they put on your tour St. Louis? No one, it says Chesterfield.

And I go, oh, I don't know. I don't even know where I'm going. I mean, if you're from St. Louis, you know what Chesterfield is. You don't know? Okay, good. Yeah, it's not like, oh, I don't know. I don't even know where I'm going. I mean, if you're from St. Louis, you know what Chesterfield is. You'll know? Okay, good. Yeah, it's not like, yeah, it's not downtown. I mean, St. Louis is downtown. You're gonna be in the burbs.

You're in the suburbs. That's fine with me. And I think it's a great place. I've been there before. I think it's new. Anyway, we'll set up comps for everyone you know from high school. Other than that.

Great. Great. You know, Dana. Be careful what you say. My high school ladies are gonna come out for your show. It's super fun. Dana and I had a question. First of all, I'll tell Dana a little pre question

that you don't know. All right, let's try to keep our guests off balance. Like with questions she's not asked all the time. Oh yeah, we're here to watch. We wanna surprise you. She's gonna come out here dizzy. I love it. Great, everyone loves that in an interview.

I thought of doing this with Dana and then I called Jenna, right Jenna? Do you remember this? Yes, of course, yes. And you were very sweet, you took the call and you kind of walked me through how it works and what you did. And it really gave me a little boost

to say this might be fun. And if it has to be, Dana, it has to be, that's fine, whatever. And so, and then Dana had a question of, do you really need a partner? Has it ever gone through your mind? I could have done this by myself, and then the money doubles.

Has that ever gone through your mind? Or maybe Angela. But that- Dana and I think about that all day, every day. People always ask us forever why. Why us? Why now? Are you really friends? Do you get that?

I mean, you guys are famously really close friends. But Spade and I was like, what? The Tommy boy guy and the Williams world guy? I don't know. Yeah. Yeah. Well, I mean, also becauseade and I was like, what? The Tommy Boy guy and the Williams World guy? I don't know. Yeah. Yeah, well, I mean, also because Angela and I were frenemies on The Office. Our characters were not friends.

And people are always very surprised to learn that we are best friends in real life. I could not have done the podcast without her. I am all like structure and order and spreadsheets. My version of Office Ladies podcast would be very informative, but also way less entertaining. So Angela brings all of the like funny and all of the quirky and all of like the weird observations.

So we're actually, we're a pretty good pair. Yeah, I think that's smart that you did that because there is kind of safety in numbers. Dana is way better at this and I don't think I could do it myself. I think Dana really, really drives it and makes it easier to do it for me. Except today.

But jokingly, it's fun to joke around with him too because he's funny guy, obviously. And we have a good time with that. And I think you guys have a real friendship. So people like to hear that you're friends, even though it doesn't seem like it on the show. You guys, I love your podcast. Like you have no idea how excited I am to be on

your podcast right now. I listen to you guys. I think you are so good together. Dana, I can't believe you're talking to me right now. That's kind of blowing my mind. I'm a huge Saturday Night Live nerd. The greatest part about being on the office and being on NBC was that I got to breathe the same air as Saturday Night Live people. This is like that we would have to be

at the same corporate parties together. And I was a total groupie. That is who I gravitated toward. It was just the coolest. And, but that's going way back. I actually have a crazy story from my very early days in LA. Let's hear it.

And Saturday Night Live. Okay, so I made my living when I landed in LA as a typist and a transcriber. And you know how you'd have to go to those events, they're called like the Television Critics Association and you would sit on a panel as a cast and you would introduce new cast members. This would be for any show. Well, my job was to go and sit in that room

and take notes and then go back to a hotel room, a hot hotel room filled with like 12 people and 12 computers and then listen to audio and transcribe these press events. Wow. These conversations, yeah. Yes, and if we got our work done on time, by that evening, we were allowed to go

to the quote unquote parties, which as you know, are really just cast members of TV shows mingling with reporters who are trying to get soundbites. But we would get to go, we'd get to eat the food, drink the drinks, and just watch all the famous people. Well, all I wanted more than anything was to go to the Saturday Night Live party. I wanted it more than my little new heart in L.A.

could stand it. And so I knew what night it was coming up, and I started planting the seed the day before. I started pretending like seed the day before. I started pretending like I didn't feel good because I was gonna make an excuse that I was sick so that I could get off work on time and then sneak into this party.

But I needed the hours, you know? So I planted that seed. The next day I was like, man, I'm still not feeling good at three o'clock. I'm like, I'm so sorry. I gotta go. I gotta go home. The guy was like fine I had planted a change of clothes in my car. I went I changed into a cocktail dress I sneak into the party and I can't even tell you it was amazing Norm MacDonald, I'm looking at him in the flesh.

I can't, my mind is blown. Then I see Molly Shannon and I think I'm gonna do it. I'm gonna go say hi to Molly Shannon. And I walk up to her, she's giving soundbites to the press and I say, Molly Shannon, I am a new actress in LA and I just admire you so much. And I just wanted to tell you just what you mean to me. You know, the stuff you say.

Yeah, sure. She looked at me, took me by the shoulders, looked me deep in the eyes and said, don't give up. Whatever you do, don't give up. It took me 10 years to get on Saturday Night Live. And my best advice to you is just know, it'll happen eventually if you just stick with it, okay? You guys.

Wow. Sounds like the Molly we know. Yeah, I was about to say something nice. Amazing. She's the... And I went and I like, I had this encounter with her and then I turn around and my boss from the transcription room is standing there

along with everybody else who got off work on time and they came to this party, and I was like, am I fired? And he goes, you are fired. And I was like, okay. No, what? He fired me, but it was fine guys, because I met Molly Shannon and she gave me that advice.

And I went home and I told my mom, and every time I had a hard day for the next 10 years, Molly Shannon and she gave me that advice. And I went home and I told my mom and every time I had a hard day for the next 10 years, my mom would say to me, Jenna, don't you forget what Molly Shannon told you. She said, don't give up. She said it took you, it took her 10 years. You guys wait for it.

10 years later, I'm at the premiere of Walk Hard, the movie Walk Hard that I did with John C. Reilly. I shit you not. Guess who's at that party? Molly Shannon. Molly Shannon. Your boss. And I got to go up to her and I got to say,

Molly Shannon, here's this story. You told me 10 years. And she was like, and look, it's 10 years later and here you are. And I got a picture with her. I made the photographer come over and like take a picture of us. Is that the greatest thing ever? Does Molly know as she heard this story or did you?

Yes, I told her that night at the walk hard premiere. Wow. Unbelievable. But now. Yes. And I wrote about I wrote a book and I wrote that story in the book and I have a picture in the book too. Discover the magic of BETT MGM Casino, where the excitement is always on deck. Pull up a seat and check out a wide variety of table games with live dealer.

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How do you raise money? How do I bounce back from failure? On my new podcast, Aspire with Emma Greed, I'll be answering these questions and more through weekly conversations with the smartest minds out there. Listen to and follow Aspire with Emma Greed, an Odyssey podcast available now, wherever you get your podcasts. Well, when I met David, he was 19, I said, you hang with this and in six months, don't give up, because in six months,

no, David was out of the blocks fast. If it was a sprinter, he was like, boom. Dana said, you're gonna move to LA and in six months, you'll get crabs. And I go, okay. Police Academy, okay. Police Academy. Hello.

You got a movie. Well, he's had a, I got a movie early on. 21. That's the police guy movie that I made. I had $6,000 to buy the car that got stolen. So I was back to zero. Hmm. Wow.

Yeah. Great story. Um, you still type 85 words per minute. That's nothing to sneeze at. I do, I do. 90% accuracy. It's all in the accuracy. Anyone can type garbage.

You're 90%, right? Yeah, I mean, right? You wanna type words. Anyone can just type nothing. My father was a high school teacher. A typing teacher, my father, for decades. Teaching type.

Can you type, can you guys type with all your fingers or are you like two finger type? I can't do anything. If you see a non-taught young person, like in their 20s, they're really fast. And I don't know if it's technically all using all their fingers, you know, we picked it up later, but I really fast. And I don't know if it's technically all using all their fingers, you know, we picked it up later. But I'm fast enough.

But I don't. Jenna, I have a good question that ties into Saturday Live. When you did Blades of Glory, you wound up getting to have sex with Will Ferrell, right? Yes, that's right. I had a sex scene with Will. That's one of the best all time goats of SNL. For sure.

Oh, that was nuts. But also by the way, Amy Poehler was in that movie. Oh, that's right, Amy. So just playing my sister. Wowee. And Will Arnett was in that movie. Yeah, I mean, that was terrifying. That was terrifying.

And Will was so polite when we shot that scene, because he had to, like, grab my boobs, like, several times. But what was crazy about it was I probably had on more clothes in that scene where I look like I'm just in, like, a nightie than I normally wear. Like, they, because they put you in, like, Spanx and then a corset and then a thing, and they painted my body with makeup.

I mean, I felt like so covered. It was crazy. He has to go and grab your boobs through your stuff, but it's like that kind of thing, you can't even feel it because you've got 18 layers of. Yeah, it's like I was wearing body armor. So I was kind of like, maybe like wink when you grab them cause I can feel nothing.

Nudge me. This was pre-dates intimacy coordinators. There was no one there. There was no, there was just, it was just like here's what we're doing. It was just the director going, let's do this. Yes, exactly. Was Swartzen in that, you know, Nick Swartzen,

that little fool? Yes, yes he was. Oh my God. We are friends with Nick and you know, Nick Schwartz and that little fool? Yes, yes he was. Oh my God. We are friends with Nick and you know, it's a real roller coaster, Jenna, I'll tell you that. It is. I found him lovely on the film, but what do I know? No, he's great.

He's so funny. Hall pass. We haven't even gotten to the God dang office. Look at this. I have a question about the office. What is it? The question is, is for you and your partner, re-watching all these episodes and talking about them.

How is your perception, if at all, changed about the show? Or what did you learn about the show? Or if anything, because it is now officially a phenomenon in the way it travels around and then explodes again. It's evergreen and it's a unique show. And yesterday I was watching The Office with Ricky Gervais. Very different.

I mean, you say it came from that office, but it has its own complete original thing. Greg Daniels, one of the great writers. So what do you feel about that thing after doing hundreds of pod counts? Did you go through every episode at some point? Yeah, every single episode, all 201 episodes. And then a lot of interviews with cast and crew. Writers. Writers.

Writers, exactly. My biggest takeaway from having rewatched it was that it's really good the whole time. Because I think there was this lore, especially among the cast and the creatives that maybe we like hit our peak in season three or season four. And also this belief that like the two seasons

after Steve left, we were just treading water and maybe they weren't as good. But when I watched everything, like some of my favorite episodes were in seasons eight and nine after Steve had left. Like there were still these amazing storylines. And also I have to say now, when I look back, my, some of my favorite episodes were also

in seasons four through six. Like, Dinner Party was season four. Michael Scott Paper Company, that whole arc was in season five, and that, like, just great TV. And, um, but yeah, I think, you know, some of the award nominations stopped after season three, so I think maybe we got in our heads and thought, oh, I guess we're not creating as great. I think that just happens, no matter what.

Yeah, you're not the new shiny object anymore. Yeah, yeah, exactly. And they kind of slow down. I mean, when you're watching yourself and you're watching the thing and then you come on and stuff and it's something you did years ago, do you ever sometimes, because you sound like you're a normal actor, comedian that's sort of like a little self-critical, how was I? Do you ever kind of look at yourself in the scene and go, damn, I nailed that. Why did I feel insecure? Or what's that like?

Um, I mean, I have both reactions. Sometimes I watch it and I'm like, I'll never do work that good again. Shit, that was great. But then there's other scenes where I just cringe, where I'm like, oh God, I remember how I struggled with that and I couldn't do it. And now here it is for everyone to see. And I guess I just have to move on. So I've had both reactions.

And I don't know the complete specifics of this, but first of all, it was always an ensemble. How great Corell is in that part is, you know, everybody knows that. But it always was an ensemble, and so many people came out of it and now have these long careers. But it's... I forgot my train of thought. Sorry.

No. Do you ever have something... We've seen Corell in my head. It's, I forgot my train of thought, sorry. Do you ever have something, I'm seeing Steve Carell in my head. Jenna, when you can watch it and say, I was in the pocket, because sometimes you watch it and you go, you're just in the pocket of going, this is a great scene, this whole idea of this episode's working.

And when they whip the camera back, get a great look, whip back to you, perfect timing, get a great look. And when you see it, you go, because you can only feel the camera when you're shooting and you don't really know. And then you go, God, they nailed that. Boom, boom, edited well. Everything about this is just, that's why people really get enchanted by, I mean, and also just your face is so part of the office and it's so cute.

They always cut to you and you have these little storylines. It's really, I see why people get hooked on it. No matter when you turn it on, you can just grab any episode. I remember what I forgot, which is how much, if any, improvisation was there? Because it comes off very improvisational in totem, but I know there wasn't completely improvised. I know that's a pretty cool word, right? So were you allowed to kind of go, you guys, could I try this?

How, you know, do you mind if I do, you know, that kind of stuff? Yeah, it was really collaborative. And, you know, so many of the writers were also actors on the show. So they were with us and they would be sometimes pitching alternate jokes right there on the set. So they were with us, and they would be sometimes pitching alternate jokes right there on the set.

That's kind of fun, yeah. So that was neat. And we did a lot of improvising, but I don't know how much of it actually made the cut. We got to play and have fun, but I would say like 90% of what you see on the screen was written on the page, down to like, they would write in ellipses for our speech.

Like, so you knew to kind of pause because they knew they were gonna whip the camera during that pause and so they could get back to you. So there was a very elaborate choreography of whipping the camera a little too late so that it seemed, and you'd have to get the handles. So it seemed like the crew, they didn't quite do it right.

Yes, exactly. And so a lot of times when we would do a rehearsal, they would say, Jenna, will you give a handle before your next line so we have time for that camera whip? So that would be, we would add things like, well- They'd find you. So that they could find you would add things like, well. They'd find you. So that they could find you.

Yeah. Like in the right timing. But yeah. It's so great, but it also seems very real. A lot of the non-verbal acting and those cutaways to a character that isn't saying a line, but just sort of non-verbally doing some kind of attitude and stuff, it was immediately just felt so new.

I'm not gonna say fresh. David would use that word a lot, but immediately, I think for comedians as well, watching it going, this looks cool, this looks fun, this looks different and really funny. It doesn't push at all. You know, it's the anti push. Well, we had two camera operators

with cameras on their shoulders, and both of these guys were from Survivor. So these guys had like walked through the whatever, the wilderness with the Survivor people capturing Survivor. So this is where they came from in the documentary world. And camera A, Randall Einhorn, who was also our cinematographer who went on to be a director and is now, you know, the executive producer of Abbott Elementary

and all those things, Randall was our A camera, and his job was to get all of the dialogue. And then Matt Sohn, he was our B camera, and then his job was to get all of those things you're talking about, Dana. All of the acting that was happening in the background. So whenever a scene was happening,

we were all in the background of each other's scenes all day long on set, the full 12 hours, Steve Carell included. I can't tell you how many times Steve Carell had to sit in Michael Scott's office just to be in the background of Jim and Pam looking at each other. Oh, because we get a piece of them?

Yeah, because we're gonna see a piece other. Because we get a piece of them? Yeah, because we're going to see a piece, we're going to see a piece of you is like something we could put on a mug. Yeah. That'd be actually be a great cast gift. Yeah, and so he would grab and push in on all of the, you know, anyone who was in the background of a scene and get their reactions in real time.

It was such a cool way to work. Yeah, and you have to stay alive though. You do. In every scene. But it keeps your energy up. You would anyway. Because that's the hardest thing for me about acting in movies is like, the long amounts of downtime between when you're actually acting.

It's just like, oh God, I gotta ramp up again. Yeah, and it's just, I don't know if this is the correct way to say it, but if you feel like if you're discovering something new in the moment, it's really nice. Uh, it does keep your brain alive. And in traditional movies, what I was doing, um, you know, you do the three masters at seven or eight AM or whatever.

And then by five or six o'clock you you start and, oh, don't you, in the master, eight hours ago, your left elbow was up and you opened the cupboard door at this point. It's the antithesis of what you guys had, at least the way it felt, it popped, it felt real. For sure, and we did not have marks, you know, those for people out there, like you put tape on the ground and then you have to stand on it

because that's how you're gonna be in focus. But we had no marks. And if the boom dipped in shot, we just kept it in because it worked in the world. And when I finished, when I, going back to Blades of Glory, Blades of Glory was the first big movie I did after being cast on The Office.

And I repeatedly kept looking down the barrel of the camera. Like I would do a scene with Will and Amy, and then I would like give a look to camera. I'd be like, fuck, I can't do that. And also I suddenly had to hit a mark, and I was so stiff, it was really stressful, because I'd been in this other world. You can watch when people on movies,

sometimes have you ever watched someone looks down and they walk in and look for their mark and then they look up? I love it. So horrifying. I want to say also, I was going to say this show is fresh, but it's funny that the term fresh is stale,

but also- It's a problem, I'm going to bring it back. The office was fresh, and the new one called the paper on Peacock, have you seen that? Do you know much about it? Okay, I haven't seen it, but I got to go to the set.

Angela and I got special access to the set and got to talk to all the actors. We got to see it. It's really cool, but we're not allowed to say anything. Oh yeah, I think that it's in the can. Like they finished it. It comes out in September. Oh, interesting.

Oh, September on where? Peacock. I don't know. Peacock, right? Peacock. Discover the magic of Bet MGM Casino, where the excitement is always on deck. Pull up a seat and check out a wide variety

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New four-piece French toast sticks, bacon or sausage wrap, biscuit or English muffin sandwiches, small hot coffee and more. Limited time only at participating Wendy's Taxes Extra. So with John Krasinski, like the Jim and Pam narrative became such a big thing. I talked to some people in their early 20s today, told them I was going to interview you and on the office. They go, I go, she was Pam. Oh, Pam, you know, this is like a famous character and Jim and Pam. I'm just kind of curious because John Krasinski, I find it really,

really interesting how he came up with that horror film, The Quiet, what was it, The Quiet? A Quiet Place. A Quiet Place. And it's interesting when actors, just all of a sudden you see them and like, wow, this guy can really direct.

And did you see any seeds of that in him intellectually or just the way he was around? Or was that a surprise to you when he came out directing? It was a surprise to none of us. Oh, I didn't think so. John, I would always say to John, I think you're gonna be like our Tom Hanks. Like remember how Tom Hanks did Buzz and Buddies?

Totally. And he was like a very famous successful TV show. But like when you think of Tom Hanks, you don't think of Buzz and Buddies, you think of everything else Tom Hanks has done. And I was like, you think of Tom Hanks, you don't think of Buzz and Buddies, you think of everything else Tom Hanks has done. And I was like, I think the office is gonna be your Buzz and Buddies, like your going places. It's very clear.

And did he look down at the ground and go, oh, shucks, Jenna. Or how did he? He did. He's very, yes, he's very humble in that way, you know? Like that would be, if I say that to him, that's very embarrassing to him, you know? Like he doesn't want to be like fussed over like that.

But I was like, no, it's true, mister. Well, it's a Herculean task to direct a movie. I mean, just physically and mentally, but- Dana fusses over me all the time. Fusses? Yeah, you fuss over me. I want to hear more about you being a telephone psychic when you got this.

Yeah. That was- She worked as a car wash. I did work at a car for three summers and that was my best job. I worked at Long John Silver's. That was my first job. I worked at an ice creamery serving ice cream.

And then I got the job at the car wash. All of those were on this road called Manchester Road in St. Louis out in the suburbs. And I got fired from Long John Silver's. I got fired from the ice creamery. And my dad would say, oh, you're just looking to get fired from every business on Manchester Road, I guess.

But the car wash stuck and that was great. That was great money. I was outside just drying off the cars, you know. How big are tips in that world? Cause I try to tip well, but. Okay. This is like back then. Well, and by the way, they would always make me give the gentlemen back their cars.

Cause you have to like, yeah, you got to stand at the car back their cars. Oh, the keys, yeah, yeah, yeah. Yeah, you gotta stand at the car and wave. Yeah, oh yeah. You know, in your little shorts, and your little cutoff shirt, and like, your car's ready. I'm soaking wet, sorry. I'm not, you know, not to brag, but I would get a five sometimes.

I get five bucks. Nice! Five-er. Mm-hmm, but then I had to put it in like the group bucket. Oh no, pooling tips? Pooling tips, yeah. I mean, a few of them made it into my pocket, I'm not gonna lie. Now, what percentage of you is really a psychic?

Do you think some of you? I would say zero percent. Do you believe in the potentiality of psychics at all? Or do you think it's all just- They creep me out. Like I don't want a psychic to tell me what's gonna happen to me. I like to believe I have free will.

I don't wanna have that. That just will give me nightmares. I saw one psychic one time and it still haunts me. Yeah. It will change what you will do. The second they tell you something, you'll make a different decision. That's what I feel.

Like you will do this and this. They go, okay, as they'll say, oh, random example, you'll get married within the next 10 years. So you meet someone and maybe you give them a different chance than you would before. You're like, I think this is the guy I'm gonna marry. You know? That's exactly right.

It's weird. You just change, every little thing changes a little bit, so you can't really get the same outcome it feels. I went to a psychic in college and my big question for her was, am I going to marry this guy I have a crush on? Because I was obsessed with him.

I'm gonna marry him, I can marry him. She said, no, you're not. You're not gonna marry him. She said, but you're gonna be famous one day. I said, I am, I wanna be an actress. I'm gonna be famous. She said, you're not gonna be famous for acting. You're gonna be famous in the world of religion.

Yeah, she said I was gonna be a famous religious leader. She had it with acting. She should have stuck with that. Here's a review that I brought. Office Ladies is a religious experience. This was from the St. Louis Dispatcher. No, I made that up. Dispatcher. Dispatcher. If you want to have fun.

You have a play, by the way. You've done plays. It looks like from your prep here, you've done plays, but you have another one coming up. Ashland Avenue? Ashland Avenue, world premiere at the Goodman Theatre in Chicago. Yeah, I'm heading out there in August for rehearsals. And then the play opens in September. So it gets on sale in June on 27th. Now doing a play, Dave and I were just talking about this

before you came on, doing a play, is it more exciting or is it just something that I couldn't even imagine getting you wrapping my head around the full script that you have to memorize? Does that take days, weeks, or are you good at that? It takes weeks. I think I'm okay at it. Mm-hmm. Plays are my favorite thing. I was a theater major. There's no money in doing theater, but it's where my heart is. And what I love is that you get to tell the whole story and go on the character's complete journey every night.

You don't have to, like, prepare it, and then you shoot it out of order. And I also just love that, like, it lives and breathes with the audience, and each play can only be seen one time. Like each performance is slightly different. Yes. And you have it, and then just like only the people who were there got to see it.

It just is like really magical to me. And I love it. It's all I wanna do moving forward. I wanna just be a theater actress. It's interesting. I've gotten more into plays the last 10 years just in London. I'm not an intellectual in New York and stuff. And it's interesting the curtain call and then they stand and there's a standing ovation. And then you can tell by their body language how they felt, especially when they're walking off. Like sometimes they're slumping and sometimes

you see someone literally twirl around almost like we or high-fiving. We nailed it. You know that you saw one that had that chemistry. Like you said, they're not always at that level. That's why you have them. Right, they're like fingerprints. Dana, I think you'll agree stand up is, I go on the road going mostly to places Jenna lived.

But when I go on the road, you do a show and everyone goes, oh, I saw your show, I saw your show. But when I go on the road, you do a show and everyone goes, oh, I saw your show, I saw your show. But you remember that city and you go, oh, that one went pretty well. Even though it's just microscopically different. But you know, sometimes you get off and you go, I could not get it going perfectly.

And sometimes you're like, from the second I went out, it was perfect. I said everything right, I had the right attitude. And so plays are like that where whoever comes is going to see that night's experience and it will be a hair-dryer. The audience is the partner in many ways. Is it comedic, a drama comedy, or is it a pure drama?

It is a comedy, but it will also break your heart into a million pieces. So what it's about is, it's about a guy who owns an old like TV shop in Chicago on Ashland Avenue and he's a guy who used to have a dozen TV shops in Chicago but you know mom-and-pop shops have gone away for the big-box you know places and so and, he's being honored by the city of Chicago for being a small business owner. I play his daughter. And basically, it's a play about this man

dealing with, uh, being in his 70s. And basically, life is kind of telling him, we don't... we don't really need what you have to offer anymore. He's, like, dealing with his own relevancy. Like, the thing that he's good at is owning this TV shop we don't really need what you have to offer anymore. He's like dealing with his own relevancy. Like the thing that he's good at is owning this TV shop and selling people TVs.

But it's like, well, you know what? We don't need that anymore. And so what do you do with that when the world is kind of done with your skill? And so it's kind of heartbreaking, but it's also a comedy. And then as his daughter, who has grown up just being in this TV shop as well,

and it looks like it's going away, like I have to decide, well, I'm kind of getting a chance here to do something else with my life and strike out on my own. And what does that mean to me? Do you feel like the audiences, obviously they're familiar who you are from the office and then they wanna come see you.

And so how different is this character compared to Pam? This character is different from Pam for sure. And that's something like, you know, that's my whole career since Pam is that most people just wanna see more Pam. It doesn't totally bother me, but I think I'm gonna be, I think you'll be able to go on this journey even,

you know, I think it'll be okay. I would say, you know, cause I, an audience I'm doing standup, they do wanna see characters that I did on SNL. And I just totally, I've, of course I'll do them. They're my hits. The only thing worse than not, than having hits or a hit show is not having a hit show.

So it's just- There it is. That's right. Yeah. So it's a good problem to have. And I think that from reading your prep, guest prep, you know, you've just done a lot of stuff since the office. So it certainly was a starting point for you. Do you still just love it?

Do you just love performing like you used to? I do. I do, I do. You know, I think I'm a mom now, I have two kids. And one of the things that was really hard though was just the amount of focus and frankly, like self involvement that is necessary to be an actor or a performance artist.

You got that down. You know, but it's true. Like you don't wanna go all the way into narcissism because that's a real bummer, but there is a type of selfishness and self-involvement that is necessary for being an artist because that's how you create. That's how you get in the space to create. But that lane is not compatible with the kind of parent I want to be.

I want to be a kid-focused, kid-centered type of parent. And so I have changed the things I've said yes to or the things I do acting-wise since I had kids, mostly so that they were kind of like more softballs, you know, like things I could do without getting too dark or self-involved or selfish, things that I could completely leave at work. I wasn't bringing anything home with me that was going to like bleed into their lives.

Oldest time, oldest show business, all those kinds of conflicts. One thing that occurred to me recently, why sort of emotional or personal, like I have a lot of good friends who may be real estate agents or different type of jobs. But we are our product, our physicality, our voice, who we are. And so it's a personal thing. You're out there doing the play and if it's not going well, you didn't feel you had enough time to prep,

it's just personal. So I think it is really common and difficult to balance the emotion with the family versus just how personal it is as a performer and artist. It's like. And when kids come along, you're just now suddenly it's their world and you're, you can't even help it. It just goes away.

You're like, now I'm lasered on this and I can't be like I was, you know. That's exactly right. That's like in part of your life where it changes. There are some people in showbiz, I think Beyonce has her daughter touring with her, who's like in part of your life where it changes. There are some people in show business, I think Beyonce has her daughter touring with her, who's like 12. There are some people who just take,

do that kind of lifestyle, but you know, that's different than giving your kids kind of a stable old fashioned lifestyle. You know? Well, I remember I talked to a family therapist, like early on, because I like therapy. And I was talking about wanting to have kids and trying to figure out how am I going to balance that with, you know, being an actor.

And she said something that really stuck with me. She said, well, there's kind of two types of families. You can have parent-centered homes or child-centered homes. And she said like, and there's no judgment which one you wanna pick, but in a parent-centered home, if you have a career, your children will orbit around you in your career, and if you go do a movie, you bring them with you and you have tutors,

and they sort of like just go into your life. She's like, but in a child-centered home, you center it around the children, and if you need to go do a project, she was like, imagine like your family is flowing like a river, and rather than diverting the whole river to the movie, you just, you take a little stream by yourself,

you do the movie, and then you rejoin the river later. But the goal is to keep the river doing its thing. And I really liked that. And I thought, yeah, I want to do that one. Could you? I don't know if you want to do it publicly, but could I get the number of that therapist or? Or, you know?

Sure. She's great. I think you gave us solid bullet points. That's a pretty good little, what do you call that? An analogy, a metaphor? I know it's one of those things. It was great. It was great. She also said, like, you know, something that's hard though

is she said when you pick the person you wanna have kids with, she's like, you're gonna want a person who agrees with you because there's nothing worse than one parent who wants a parent-centered home and another parent who wants a child parent, you know, a child-centered home. And then she also said said people who have grown up

in parent centered homes have a very hard time creating kid centered homes because they're like, hey, wait a second, I'm the adult now, it's my turn. So it's, right? Like you grew up like revolving around your parent and then if you revolve around your kid, you're like, when was my shot? Yeah. I thought that was, it was just so much to chew on, right?

Yeah, well, the 60s was so different, you know? I guess it was a parent-centric, it was, you just were so much more independent. Like I was walking to school at age five, you know, and there were no helmets, you know, you know the whole thing. Yeah, for sure. And so it's become very child centric, you know, it used to be children should be seen, but not heard.

And now it's adults should keep their mouth shut when we're watching. You know, and Dana, you wear a helmet now, though, when you go to the mailbox. But that's his own choice. That's my my own choice is a fashion choice. But that's his own choice. That's my own choice. It's a fashion choice. FanDuel Casino's exclusive live dealer studio has your chance at the number one feeling winning which beats even the 27th best feeling saying I do. Who wants this last parachute? I do. Enjoy the number one feeling winning in an exciting live dealer studio

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Conditions apply to all benefits. Visit PCFinancial.ca for details, values for illustrative purposes only. ["The Daily Show"] Jenna, two more things before we let you go. One, I thought when you do a play, I think of this when I do standup on the road. When you do a play, I think what would scare me is

you have to feel good every day. Like you have to go there and prep yourself. It sounds stupid, but to stand, to sit, to go through, to be fully alert for those two hours, whatever, that's kind of a hard thing. Does it ever even cross your mind or you're always just kind of popped to it? No, I mean, I have a bunch of like rituals

and superstitions that I do. Oh yeah, you do? Yeah, do you guys? I have like a vocal warmup. I have a bunch of like rituals and superstitions that I do. Oh yeah, you do? Yeah, do you guys? I have like a vocal warmup, I have like a body warmup, I have a meal that I like to eat because I know that it's not gonna make me feel too full or too hungry. Or sick or anything, yeah.

You know, stomach ache. No, I'm definitely not experimenting with any kind of new food. Yep, yep. Do you have that? Yeah, I mean, Dana and I were just talking last week, like before we went on stage, I get an eyelash in my eye once in a while,

it happened last week again, Dana, and anything can happen right before you walk out and you're like, I can't pee, I can't eat, I can't do anything, I have to feel good for the next hour straight. There can be no distractions, and it's very weird because your life, you can always poke at your phone,

you can look at this, you can go restroom, and you go this, and it plays even longer. And just to feel like you had a grumbly stomach or your back hurts or something, you're like, oh shit, can I do this? Do I call in somebody? So weird. I had a shooting pain in my left leg,

kind of inside my left leg. And so all of a sudden my left leg was inoperable. I was playing in front of inside my left leg. And so all of a sudden my left leg was inoperable. I was playing in front of 2000 people and I was in a, and I'm like, okay, yeah, gotta go with this, you know, incorporated into the act, you know? And then it worked itself out.

What I was interested in also, besides we all do that, I think it's great. You have the certain show day prep, but the gentleman who is playing your father, what is his name? Fran Guinan. So Larry David was just talking about when he does usually whatever he's doing. I don't know if he does standup or whatever. It's just the fatigue goes away once there's the audience, you know? And then I think in a play you're holding onto him, he holding on to you. And that connection can hopefully make the part of your brain going, how am I doing?

How's it going? All that go away at times, right? That's the electricity of it. If you get so involved in the scene with your partner that it feels exhilarating, right? When you know you're connecting and the audience is with you. That's what you live for, right? Yeah, I mean, that's the dope of the whole thing of live performance. I mean, that's the thing we're chasing. That's the high you're chasing every time. And even if your prep doesn't go as

well as you want or you ate too much, you still always have that possibility of that happening. Yes. Yes, yes. And also if they get something wrong, the audience doesn't know this. They could miss a line you cover for them. There's little things that are like teamwork, things that are fun to do that you get to the end and someone's like, hey, you saved me, I spaced out.

And the audience doesn't really know what's going on, but you guys, you forgot a prop. There's little things that keep it alive, but that's kind of the fun teamwork of it all, like in a show also. That happened to me during a show. I did a show off Broadway, and me and this other actress were on stage,

and we're only on stage for like four lines because we don't like each other. And we're waiting for the same guy. We like the same guy, and we're waiting for him to walk in and break the tension, and he didn't like each other. And we're waiting for the same guy. We like the same guy and we're waiting for him to walk in and break the tension. And he didn't come on stage. He didn't come. He just missed his entrance.

And so I started improvising, which then the playwright was like, oh my God, I can't believe people thought I wrote those lines. That was just like terrible. Improvisation. I'm like, what were we supposed to do? We're just sitting there.

No one was coming on. It's an art piece of you sit in silence for 12 minutes waiting while they find the guy at the deli next door. I like it when someone didn't silence their phone or is talking on the phone and then the actor on the Broadway show breaks character. He's in some kind of clown suit or dresses a bear.

I will kill you motherfucker. You know, it's just that. Clown suit. It's live. Yeah. Now, Jenna, my last thing for you is I like that when you audition for The Office, Alison Jones is a casting director.

We probably all three have run into along the way. The best. Said, dare to bore me. I think that's interesting. Yeah, I read that. I like that. Because most people are trying to give you the biggest pizzazz of a lifetime in an audition.

Well, I had been auditioning for Alison for about five years before The Office. I got my first speaking role on a television show. It was Spin City, the Charlie Sheen years. And I had three lines as a waitress. And then she would bring me in for other little things. And finally, when it was time for her to cast the office, I had a good enough relationship with her

that I could say, hey, Allison, do you have any advice? I really want this one. And she said, yeah, my advice is don't come in looking hot. Like don't come in all done up. And by the way, usually the note was, okay, you're playing a pediatric nurse, but like hot. Or like you're playing a school teacher, but like really hot. So like usually the note but like hot. Or like you're playing a school teacher, but like really hot.

So like usually the note was look hot. More Titian, but hot. But super hot. Like she's really, really hot. And I'm like, okay. So she was like, don't come in like looking hot. Don't come in with a bunch of makeup. Overdone, yeah.

We want real people. And then she said, we're gonna have you improvise during the audition. And my advice is dare to bore me. And I was like, okay, great. So I went in and I read the scene and then Greg Daniels said, okay, we're gonna improvise. I'm gonna just ask you some questions

as if I'm a documentary filmmaker. And I had that note in my head and he said, do you like being a receptionist here? And I just paused and I said nothing. And then I said, no. And that's all I said. That's funny. Because I thought it would be funnier

to watch me think of all the things I wasn't gonna say than to say any of them. And then also though, she's like a deeply honest person. So she can't lie and say she does like it, but she's also not gonna say anymore. And I think that's what got me the job. Greg told me that's what got me the job. That is so cool.

Dare to bore me. Dare to bore me. It was so scary. It's so scary to- Oh, because you want to just go for the fences. I know. It's so hard to just have restraint. That's like for me the hardest thing about acting

is just holding in silence. You really are working with people that are all doing it and it's so fucking funny. It's amazing. It's just amazing, amazing thing to have been a part of. It just, I still can't believe it. And just what it means to people too. Like that's so cool.

I know that the office has gotten people through hard times in their lives. And you know, once in, long ago, I fell down a set of stairs in New York at Budokan. It was during like an NBC event. I was there with Fred Armisen actually. And I fell down this set of stairs and I broke my back in four places.

And while I was recovering, I watched the Larry Sanders show. And it was like better than any pain medicine. So like the fact that I can be part of something that is that for other people, like I know what it means to have a thing that like gets you through something. It's really cool. Wow, that's full circle because I believe that Ricky Gervais felt like he was influenced by the

Larry Sanders show. And then he does the British office and then you go to the American office and then you break your back and then you're watching Larry Sanders. I don't know where this keeps going, but it's got something kind of cool about that. Um, that was a show. And I was magic. We were both on it. Were you on it, David? Larry Sanders. Also, uh, we all worked with Greg Daniels, um, who is a shout out to him.

Who's a great writer that obviously SNL. I remember when Greg Daniels and Conan O'Brien walked into the offices and SNL fresh out of Harvard looked like they were sophomores in high school. Little haircuts, kind of nervous, looking around. Yeah, great. Yeah. And they were roommates too. I know, it's amazing, really.

And super, super sweet. You know, the SNL years, you liked, it's like we were propped up by guys like that and Bob Odenkirk and Smigel and Downey. Yeah. There's so many good writers. It's kind of nice when, and I'm sure you just do this. You're not trying to get kudos about it,

but if someone says to you later, cause not everyone is really friendly when you walk into an environment like that. And they'd say, oh, you were so nice to us. I go, really? I was. I think I was just like, how you guys doing or something. But some people are like, more competition. We don't need you.

You know, it can be a little cold at SNL. No one's really telling you where you should stand or what you should even do. That's what we learned. A lot of people were like, they didn't even know, no one told them anything, you know, about the show. And they just had to figure it out for themselves.

But anyway. Well, it's an interesting environment. I got to be on the show as part of Steve Carell's monologue once. And I was, I mean, again, like I told you, I'm a Saturday Night Live groupie nerd. And so this was, I don't even remember what I had going on. I got like 24 hours notice, do you want to come fly in? And I was like, yes. I came in on a red-eye. I was like, anything. And to be in the bowels, to like get to be there for the rehearsal, and then how like, oh my god, it really does change from the rehearsal. That was nuts. And just, it was so scary. And from the rehearsal. That was nuts and just, it was so scary. And my line changed and then the cue card changed.

And then how we went, all went into Lauren's office and you're like sitting on the floor, like waiting to hear like what things made it and what didn't. I couldn't believe I was invited. I was like, I'm just the, I just have like one sentence in the opening monologue, but I was like privy to all of the inner workings.

It was so awesome. It is. And then that night at the after party, I held Lorne Michaels' focus for 30 solid minutes. Whoa. And I still to this day, it is one of my best like small talk moments ever.

Because I'd met him many times. I had come and I saw when Christina Applegate hosted and when Jon Hamm hosted, I came as our guest and I would sit and I would run into him, shake his hand and all this sort of stuff. And, but for whatever reason, at this particular after party, I got in a whole chat with him

about how I like to prep for the apocalypse. And he was very interested in this topic. And we spoke for like a solid 25 minutes. And I wanted to keep talking to him. I wanted to keep going, but I knew that I had to say goodbye. And I did it. I left at the right time.

And I'm so proud of myself. And now I never want to speak to him again. I will never speak to him again. I will not ruin it. My whole six years there, I didn't get 30 total. I'm telling you, I'll never, I never, ever want to run into him again. That was a good subject matter for him. Something that he would be like, just doesn't tell you about every day. First have to make sure that you procure a fair amount of water in the event of apocalypse.

I put Triscuits down there. I mean, did he respond at all? Well, I mean, you really talked about your preparation for the apocalypse like for 30 minutes straight. For a good amount of time. But then we also talked about the movie, The Edge, which is my favorite movie. And you know, it's a survivalist movie. I love movies where people have to survive things.

I've seen it at least five times. And that's a movie. And we told Alec Baldwin that, that friends come over or relatives, oh, let's watch a movie. And once in a while I go, have you seen The Edge? They go, no.

I go, it's just kind of a surefire, great entertaining film. No one could not like it. Dino, what one man can do another can do. That's from the movie. What one man can do another can do. I'm telling you, that's gotten me through like big life moments.

I love this movie. And so we talked about The Edge, which ended up leading into survivalist stuff, into prepping. And he was really interested in my currency plans. Like what were my plans for currency during the apocalypse? Did I have gold bars? Like, and you know what?

To be honest, I hadn't thought of it. I hadn't gotten as far as currency. I was shining rocks. When I was there in the fall doing Biden, just behind his desk, To be honest, I hadn't thought of it. I hadn't gotten as far as currency. A shiny rock. When I was there in the fall doing Biden, just behind his desk, I saw this whole duffel bag, it was really big. And then when he left to get used to the bathroom,

it was just all this survival stuff in there. He goes by and he pushes a wall and it spins around and disappears down a slide. I want to be ready. He was influenced by my prep. Tony Hopkins had that line, right? One man can do, another man can do. Is that Tony Hopkins?

Yes, correct. And Al, Al Baldwin. As Al Baldwin was great in that, so was Tony. Oh, I love how people change names. Jen Jen was great on our podcast. Jen Fisher. Does anyone call you Jen? No, no one's ever called me Jen.

That's hilarious. Well, get ready for it, because we have a lot of followers. By the way, people may not know, but we're on the same network. It's almost like television now. So that's kind of cool. It is.

This is jury duty for Jen. And I just, for people who are watching this or might want to see it. So are you in a studio somewhere? Yeah, I'm at your New York studios. Yeah, I'm here in New York this week. And so I came into the New York studio. And are you and Angela usually in different places

when you do the podcast and sometimes together or always together? No, we're usually together. Odyssey, our company that we both work for, has a studio in Hollywood and we usually record there in person together. You guys are all set up at home. Like you guys have cool setups, but-

We don't go in person. We've been going in person. I kind of feel like I need a background or something. It changes a lot. When I was doing SNL, I was just in a hotel room doing it. That's one of the advantages of this is that you can do it remotely. If you have to, yeah.

But David has a little studio. I just have this stupid mansion, yeah. But Jenna, thank you for joining us. Tell Angela hello and we appreciate your time. Oh guys, I don't want it to end. I love you. I love you both. I love your podcast. Oh, guys, I don't want it to end. I love you. I love you both. I love your podcast.

This is so cool. This was a highlight for me. Well, everybody keep your eyes open for her play. I just enjoy talking to you. I just find, I kind of thought. You're always sweet and fun and just like you would think. Podcasters, actresses and all kinds of things you do, but if you do this,

well, I think you do get a little more adept at doing it, conversing and letting it go where it needs to go and asking questions. So usually when we have a podcaster on, it's an easy show. Yeah, right? Because you know what you're hoping to get when you're doing it yourself.

Yeah, and it doesn't have to be electric every moment. You don't have to push it. It just is what it is, you know, so. If we seem rusty, it's because we've only done 2,000 of these. Okay. So, Ashlyn Avenue. David.

Ashlyn Avenue is the play, and she's doing it in Chicago. And it will be. In Chicago. be tickets on sale June 27th. And it starts when August you say? I think a September 15th. Okay. Yeah. September 15th. All right.

Thank you very much. Bye, sweetheart. Bye bye. Don't hang up. This has been a presentation of Odyssey. Please follow, subscribe, leave a like, a review, all this stuff, smash that button, whatever it is, wherever you get your podcasts.

Fly on the Wall is executive produced by Dana Carvey and David Spade, Jenna Weiss Berman of Odyssey, and Heather Santoro. The show's lead producer is Greg Holtzman.