Fly on the Wall with Dana Carvey and David Spade - Mike Birbiglia

Episode Date: June 4, 2025

SNL impressions in middle school, funniest person on campus, and sleepwalking through a glass window with Mike Birbiglia. 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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Burbiglia, yes. Burbigs, known as... Burbigs. If you don't have time, you say Burbigli and you lose the A. Save time. Yeah. Mikey B. By the end of the podcast, we were very good friends. Mikey B. has a new special on Netflix, The Good Life. He's one of the great storytellers we have out there. And he'll deep dive into his methodology about having a theme where he can go kind of serious and funny. It's very

interesting. Yeah, explains a one man show. What's the difference between a standup set? I went to Georgetown, did a comedy contest early on. I did at ASU also. So we had that, oh, we talked about that. We kicked and scratched about that. He's a sleepwalker. We make fun of him for that.

He does sleepwalk and there's some danger involved and it's a long story. And it's something that's been a big part of his zeitgeist-y material. Right, and if you don't know him he's well-respected comic out there in the New York circuit. Give it a listen and you'll know him more. We like to get people on here that you may not be a household name yet but very close and sure he will be. He writes, he directs movies. He did a sleepwalker movie and he's working on a new one. So he breaks down his methods for us.

And we have a bunch of laughs, so stay tuned. Oh, whoa, whoa, whoa. Wow. As I live and breathe. Yeah. As I live and breathe. Yeah. As I live and breathe. Has anyone ever told you that you kind of, when you smile, there is like your long lost cousin,

Bob Odenkirk, just in this. Oh yeah, I just thought of that. I do get Odenkirk sometimes. He, we shot a pilot once for CBS, like 15 years ago where he played my brother. Oh, okay. So I buy it. So I was just observing.

Oh, is that the one that didn't go? That's the one that didn't go, yeah. We heard that saved your career getting away from Bob. Yeah, whatever happened to him. And Nick Kroll. Yeah, yeah, exactly, exactly. He was in it too. I like the executive that passed on it.

I mean, if it's something like that, you just say yes. Even if the show sucks, you go, yes, let's get all these guys under a deal. And then you start changing it or whatever you wanna do. Sometimes I think that, I go, why are you passing on this package? It's too good. Did you think it was bad?

Cause you know, I know Bob Odecker fairly well. And he would be, he's very, comedy is really, really important to Bob to say the least. Thank you. No, no, it's great. No, you guys are so funny. He's awesome. He said the single, we're non-sec whatever, but since you're smiling and you know, the

single maybe funniest thing that's ever been said on the podcast. Because we knew Bob when he was like an underling, he was like an SNL and stuff, but I always loved him. He's a writer, but he's kind of struggling. It's in his book. He comes on our zoom and like, you know, better call Saul was kind of like, you know, he knew comedians have like, what, what the fuck? Bob Rooker. Now he's like winning Emmys as an actor. And then when he did nobody or the fighting one, what was that called? Yeah, nobody. Yeah. And he said to did, nobody or the fighting one, what was that called? Yeah, nobody. Yeah.

And he said to himself, if this thing works, man, you guys are going to be going, what the fuck? Yeah. And everyone did. He's an action star now? It's just like, cause we know Bob from before. So it's funny.

And there's a sequel, Dan. We're going to let you talk in a sec, but I just want to say- No, no, no. We don't need to do that. No, I mean, there's a sequel, Dan. We're gonna let you talk in a sec, but I just wanna say- No, no, no. We don't need to do that. No, I mean, Odenkirk, yeah, he came to the filming of The Good Life because he's in town doing Glenn Gary, Glenn Ross.

And he's just like a deeply supportive person of, I think, comedians. He's just really good to fellow comedians. Yes. Good dude overall. He, good dude overall. He, if I'm not mistaken, he rode, living in a van down by the river. You are not mistaken.

Yeah. You are not mistaken. Gave one of the biggest gifts to SNL. By the way, do you remember when we met? This will be a really quick story. You may not. I opened for you in Rhode Island at a college. Is that what it is? That's it. But I was on some kind of doing a little mini tour zone.

I had a friend of mine, Mark Pitt, it was my opener. And no one told me that they booked an opener. So when we showed up, they go, this guy Mike wants to go up. And you know, And you don't come off like a cocky guy. You're kind of unassuming. I go, oh no, what's this fucking guy what

I didn't know I didn't know you do we really need him oh yeah so you know I'm thinking oh yeah it's gonna be a cluster fuck this guy I'm not getting good vibes so then I'm watching you not good vibes well cuz Mike is unassuming and in quiet and then I'm watching the show I I'm like, he's building and building. I went, holy shit. This guy is great. Oh no, he's good. Yeah.

Oh, that's so nice. I thought it at the time. And I do not think I followed you correctly. I think you left awake because it was clever and stuff. I made some faces, did some funny sounds. And after, after 10 minutes, they were done. It was like, you minutes, they were done. It was like, you absolutely crushed it.

I don't think, I'd never seen you live, but I grew up on both of you guys on SNL, so I would do, in seventh grade, I remember I was doing at school, Church Lady, Hans & Franz, George Bush Senior. I'm so sorry. And by the way, killing. Literally doing your characters. school, Church Lady, Hanson Franz, George Bush senior. I'm so sorry. And by the way, killing, literally doing your characters.

No one really knew what they were from SNL. So I was just getting, I was like the seventh grade hack. So they didn't know you were from SNL. So you're doing your new character in junior high called the Church Lady like that. Yeah, exactly. And killing with it. I was killing with us and our characters.

Do you want to do it? I'd be flattered. I would never. I would never. It would be the most embarrassing thing. That's an easy one to do. But you know. Well, everybody, I mean, that's one of the things about your impressions is that your

impressions are so good. Thank you. I mean, your Biden is so crazy good that essentially it's that thing in culture where everyone retrofits their Biden. Yeah. They all, everyone goes, now wait a minute. It's like walking. Now hold a second.

Everyone turns into a walk in at a certain point. You go, oh, now I can do it. It's like a home kit. And guess what? And by the way, it was the non sequitur. Guess what? And by the way, the fact of the matter is, I'm not getting around here. I'm being serious.

I'll knock you out, Jack. Get your facts straight, Jack. I'll beat the hell out of you. Take my woodshed. Yeah, he calls people Jack. How would I have known about the cancer? They couldn't have known. They don't do checks for that kind of thing.

There you go. about the cancer? They couldn't have known. They don't do checks for that kind of thing. There you go. What if they knew about the cancer for four years? It's like another thing. They're like, what does another thing we got to space though? No, but okay, so I used to do SNL impressions in seventh grade. And then I remember one, here's the mistake I made.

I did John Lovitz's Annoying Man. And you. If people don't know the character. He just shows up. Yeah, Dennis shows up to Dennis Miller's update and he just goes, annoying man. He puts his fingers around his eyes and shit. I did it to this guy in class named Kenny who was tough. And I go, Kenny, annoying man.

Fucking, I don't know if I can say it, curse. You can't curse. Socked me in the face. Sock me in the face. Bleeding in science class, seventh grade. And I never did annoying men again. Don't you love it, Spitt? Don't you love the character,

the name of the character is who the character is? I just love it. Yeah, yeah, yeah. The annoying man is annoying. We did too much of that back then. I think Santa was crazy spoon man. And he had a crazy spoon. Opera man, we had a lot of man on the show. I love metal on the head productions, man.

I don't think they do it as much anymore like that. Just straight up, here's what it is. What do you think, Mike? Just building it out from who the people are. How comedy is star because we would have little jingles like he's massive, massive head wound hairy or Lyle be a feminine, heterosexual. And when I was out there, I asked them and they said, oh, we don't, we don't do that

more. Well, I guess it's out of fashion. But to me, it's so funny to lay it all out like that, present it. I think my favorite analysis of SNL through the years, because I've watched it since I was a kid, I still watch it, is when Seth Meyers said, every single episode since the beginning of time, some of it is great, some of it's terrible, some of it's okay.

And it's never changed. Very true. No, it's never changed. That's why we don't have a plethora of other live sketch shows in America, except now they're gonna do one in Great Britain, I guess, Saturday Night Live, and Jolly Old London. But yeah, it's not easy,

and you're humiliated half the time. You kind of just, it didn't really happen. You know it didn't happen. The audience knows it didn't happen. Lorne Michaels know it didn't happen. And you kind of just blew it. I made, I made a movie. I don't know if you guys know this, I made a movie called don't think twice years ago about Keegan, Michael Kean, Gillian Jacobs are part of like an improv group where everyone's

best friends. And then one of them gets cast on like a Saturday night live type of show called weekend live. And then everyone else doesn't. And it's about what happens in friendships when people realize they're not gonna get the same thing. Did you guys have that when you guys got it? Yeah. Sure. Yeah.

That's the whole, that's going back to the improv and seeing people you saw and now you got a little heat on you and, but I watch people do it before me and after. So it's always just an odd. Then you get on SNL and it's the same thing. People get in sketches and all their stuff gets on that week and yours doesn't. You're like, hey, good job.

Go get them. Yeah. It is a funny thing. It's so hard to cover. You're like. Because you're coming from your standup scene and your friends, you know? And then suddenly you're on television and they're not.

And it's just kind of awkward. You know, Bobby Slate was like, I can't believe, I can't believe this is not Saturday Night Live. I can't believe it. I can't believe this is not Saturday Night Live. You, of all people, you. Of all people, you know. And Seinfeld was always because Jerry had, you know, this spectacular confidence even way before he made it. You know, you just see, I met him in like 1980. He was in his suit and he had it all together. Yeah. I've always heard that. And then when I got on SNL and went to some award show for comedians or something, he goes, he just walked up and goes, congratulations, you made it. And just walked away. It was no envy, nothing. But I, yeah,

show business is like, have you had that experience? Because I, what I was going to ask you is this, and it goes to a overarching theme of how you do your performance. When you were coming up through in the clubs did, cause a lot of times the blender's going, you got to follow a dick joke guy. So how did you survive those days before you became? Well, it was funny. It's like, I remember, cause I was a writer, when I was in high school, I saw Steven Wright live

at the Cape Cod Melody tent. And I was just like, this is the greatest thing I've ever seen in my life. Before that, I'd watched SNL, I'd watched early Letterman, but then when I saw a comedian live, I was like, this is crazy. And he was a different comedian. He was like a magician.

Just as perfect linesmith. Yeah, it's like perfect, perfect comedian. And I was just like, I wanna do this. And then I just started writing jokes and I had notebooks of jokes. And then by the time I, when I was in college, I was working the door at the Washington DC Improv. And-

Great. Yeah, great club. Who came through when you were a doorman? It was like Mitch Hedberg, David Tell, and Margaret Cho and all these people who are great. Dave Chappelle and Brian Regan. And it was great. And then when I would work the road, when I was 22 after college,

I was working like hard gigs. And I remember like, I would open for these guys and they would, I remember one guy, he just said to me, he goes, you're gonna make it. Like I would do like not great. And he goes like, you're gonna make it. And I was like, I literally go, why? Why do you think that?

That's a great question. And he goes, you write, he goes, you write your jokes. I was like, what the fuck are you talking about? Don't we all write our jokes? That wasn't enough information. No, there's a lot of, there was a lot of road warriors that did a lot of dick chucks. One guy I can't remember, but you got,

this guy was so hung, they call him the human tripod, you know, in loud bars. And so to survive in that environment, you start to get louder and faster and bluer. But yeah, you actually craft. Maybe saying, yeah, you're a crafty writer. You're writing good material. It will surface because you're, you're, you know, if you get a crowd that listens, I think that's what you need.

And some people can do it with this sound off. So the way you write, it's sort of like Nate does right now. He gets a quiet crowd that listens and waits for him. And so I think you, over time, like, I've never heard one negative thing about your act or anything, and you know, usually- Oh, that's nice. Usually it's me kind of starting the gossip about people.

No, I don't want to fan out over you. I was watching you- Saying they're bad. You know what I mean? Just to get the thing rolling, just like, hey, you know, it's kind of shitty, but I like some of it, but it's just, you know. So I do that.

But I think you've got a good rep out there, and I think that just grinds through and keeps your career going and keep getting better and better and better. That's a good thing to have because it's hard to stick around in the biz as we all know. Discover the magic of Bet MGM Casino where the excitement is always on deck.

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Recently, TCB celebrated five years of existence and we did it in style by doing 12 episodes in one day. That's right, we recorded and published 12 episodes in one day. We had some show friends like Tig Notaro, Reggie Watts, and Tom Papa stop by to have a discussion with us. We took listener calls and reviewed all six seasons of The Commercial Break, and if you're hearing this message, we likely stayed awake for the entire thing. So if you're on a long road trip on that family vacation where you try and get away from your family, or you're generally

trying to avoid responsibility like some podcasters we know, you can go to wherever it is you listen to your podcasts and check out TCB's Endless Day. The Commercial Break is also available on Odyssey's free app. You can download it onto your phone or go to tcd podcast dot com tcd's endless day it ended so it's kind of a terrible name but it's twelve hours of pinchable entertainment best to you i'd like to make observation about that in a minute but first i just want to know about your first set because that now everyone remembers their first set.

So, oh, you know, it's funny. I just realized this first set was funniest person on campus contest at Georgetown University. Nick Kroll was in the contest with me. Great comic. And the host was Victoria Jackson. Oh, really? Hi. Really? That's a better story than I thought. Love it, love it. You're so funny, Mike. You're cute. You're cute and funny up there.

That's who she is. I mean, she's so likable. I swear to God, I came off stage. We love her. I came off stage and I, you know, it was like me doing a big character. There was a musical number. It was, it was bananas.

There's nothing like what I do. Oh, you did a whole big giant thing. Oh, back then, yeah, good job. And I walked off stage and Victoria Jackson, who, you know, I idolized watching SNL. Yes, great. And she goes, you're gonna be a comedian. Oh, I love her.

Literally the first person in my life to tell me I'm gonna be a comedian. I, I love it. Literally the first person in my life to tell me I'm gonna be a comedian. I was like, I can't believe it. What's coming from someone famous, that means a lot. It was a crazy experience. Cause she, on SNL, she would obliterate. Yeah. Oh yeah. Like she would kill in sketches.

Kill. So hard. And super cute. So unique. I've said this before, but when I was in the 17th floor and I think I had just gotten the show and Victoria was there and Lorne Michaels came up to me because he just had talked to her. And he said, Dana, will you talk to Victoria

and try to figure out what that's all about? Because you're one. What does that mean? There's something funny there. Is she playing a character? But she wasn't. And that purity bounced off the screen Because you're one. What does that mean? There's something funny there. Is she playing a character? You know, but she wasn't. You know, and that purity bounced off the screen in an SNL.

This innocence, the true innocence about her. So what I was going to observe about, because I like, we have standups on this show and as a standup, I'm pretty much good with a great standup for about 15 minutes, as Bates said at the 50th. I get the general gist. But with you, and there's others, but it's personal. And so there's a through line and a story. I know, and I want to ask you about standup versus one-man show and the blurring of that, but I found myself really compelled of this idea when you tell maybe a story to your daughter, you make up a story, then she pauses and says, and then what happens? And so you, you subtly ride this narrative.

And so, and then you go for this moment, uh, where you just land a somber moment about your dad. You just say he felt sad and it just sits there. And I'm like, so that you and you're also balls out funny all the time. So it's very interesting. I found myself like, I'm literally going to finish it. I only got halfway through. Oh, wow. Today because I want to know what happens. So anyway,

that's all I had to observe. I'll let you guys talk now. Well, that's definitely the goal. What happened was when I was in school, I was studying film and plays, like how to write screenwriting and playwriting. And I thought for sure when I got out of school, being a delusional 20 year old, I was like, I'm gonna be a screenwriter. Of course everyone wants me to write films. All of Hollywood's waiting. Yeah, yeah, they're all waiting.

Everyone's just looking for scripts. Hurry, get out of school. Yeah, and so I. And so the closer I got to graduation, the more I would talk to people in the business or adjacent to the business. And they're like, yeah, no one wants movie scripts at all, especially not from you who has no credits or credibility.

And someone said to me, and I thought it was good advice. They were like, you should just keep doing standup because you're working the door and you're pretty good at it. And then eventually you'll be able to make movies. And so along the way, I started kind of merging playwriting and standup into a thing. And so when I think of the shows, I think of them

kind of like what you're describing, like movies, like in a movie, you have to have the scene lead to the next scene, so then the next scene, so then the next scene. And if it doesn't have that propulsion, you just shut it off. Like, so that's definitely. Right, people fade out. Or you're surviving laugh to laugh then, the ultimate opposite of this.

Yeah. You know. Yeah, but then I go, you know, like, I think where I met Spade was over at the Comedy Cellar one night, like maybe a year or two ago. And that's where I work out the joke part of it. Because like the joke, because that's important too. Like you have to have the jokes work in isolation with audience members that aren't there to see you. That's the goal. That's true. And then because it's different than stand up

because stand up is literally like, if you go 30 seconds without some sort of laugh, you're like, what's going on? But if you have a one man show and you're doing it like a story, you can have ups and downs and parts that are sort of dramatic. Is that what you're saying kind of?

Yeah. And like, you know, I was lucky about, I don't know, 15 years ago, 17 years ago, I met up with Ira Glass, who's the host of This American Life on public radio. And he kind of sort of, he kind of taught me how to shape individual, like eight to 10 minute stories. And I was doing this Moth storytelling series in New York. And so over the years, I just got, I got kind of hooked on this idea of like, oh, if you can have the jokes work and the story work and then, and the larger show work, then like it's kind of a magical thing.

Who else is doing what you're doing of your generation? I mean, I know you, you knew John Mulaney or you know John Mulaney and Nick Kroll and stuff. Yeah. Is anyone else, cause it seems like you kind of stick out in this way right now. if you consider yourself as a stand-up, but you're also a one-man show guy. So, well, I produced Alex Edelman's show, which is called Just For Us. And it's kind of, it's definitely kind of in that vein. I mean, like, Jacqulyn Novak, I produced Jaclyn Novak's show,

Get On Your Knees, which is a little bit in that vein. It was at Largo a lot, like in the last few years, and really funny. And- Tidal's a bit, you know, leading. Billy Crystal had, I think it was called 1000 Sundays. That's right. That's right, Billy Crystal does it really well.

Which had a narrative. Yeah. Yeah, he's fantastic. John Leguizamo does it, who's really good. He's another one. But like the format is actually really big in England. Like Edinburgh, like I went to Edinburgh French Festival a few years ago, for the first time, I had never gone. And I was like, oh, like a hundred people are doing shows like this simultaneously,

but it's just never really caught on here. Yeah, because with standup specials, I don't know now, but 100 people are doing shows like this simultaneously, but it's just never really caught on here. Yeah, because with standup specials, I don't know now, but a few years back, it'd be like you'd have maybe a current event chunk or you'd have relationship chunk, and then you might have driving in cars,

and now dogs are different from cats, and it would be sort of an archetypal kind of, and then when it's one through narrative with all its different tributaries, I don't know, it sounds fun. If I wasn't lazy and went to College of San Mateo, I would do what you do. Dummy, dummy alert.

You should though. I mean, but you have a really, you have a lot of great raw materials for it because you had that whole health scare in the, you know, a few years ago, like the things that you could talk about are endless. That's, that's true. All right, thank you.

That is true. I've distilled it now to just kind of going back to sounds and trying to get people involved with abstraction. So it's a wholly different course, but I want them like in junior college with my friends who are stoned, I would do a Star Trek bit and it would go on for 10 minutes and stuff like that. You know, I've just gone full circle.

You can do your thing about the hospital and play all your organs. Just give them all like a little personality. Hey man, it was about bypass, two words that don't belong together. But he got one out of two arteries, right? So he's 50-50. You can't judge it.

Listen. So, you know. That'll keep you in the NBA. I mean, in a way, Shandling did it to a degree, right? Like he was very personal. He didn't have an arc necessarily, but like it was just very personal.

That's it. When it's personal, that's also another thing that attaches. If it's just abstract jokes, but when it's personal, you know, I don't know, who do you like out there right now? And I was going to ask you about this phenomenon of people in the last six, eight years playing stadiums or arenas. Like it was not so common 20 years ago. So what is that about? And would you like to play Madison Square Garden?

I feel like, like, you know, there's a handful, like, uh, I'm trying to think like Atsuko Akatsuka who has an HBO special, I think is really, really funny. I think there's this guy, Chris Fleming out in LA who's from Massachusetts. Really, really funny. I mean, I think like, I love Tig Notaro. She's in my sort of class, sort of- Personal.

Yeah, very personal. But yeah, it's weird. The stadium thing feels like it's gotta end, right? I feel bad when I go, I'm going to Tempe next month and people are like, oh, Sun Devil Stadium? I go, no. I'm playing at theater. They're like, oh.

I guess a lot of people are playing Sun Devil Stadium. Like a lot of people are one. One guy is playing, I won't say who is, he's playing Nebraska. They're setting up the stage in the North border of Nebraska. They have, they have speakers all throughout the state. So he's booked Nebraska. That's a pretty big state. I hope.

I would play the four corners. I, I've never, I've never, I saw, I think, one or two shows at Madison Square Garden of Comedy, and I was just kind of like, yeah, I don't know. It doesn't, it doesn't allure me, but you know, I like, like I filmed my special at the Beacon Theater. To me, that's like the perfect big venue. Yeah, it's 3, 2700 seats.

Would you actually work in a big 10,000 seater? Was it the same thing or is it too small to listen to? I have trouble with some. I think with screens, I mean, cause Nate is similar in some ways, but I think the screens must do it, I suppose. Otherwise, ow. Yeah, cause I opened for John Stewart years ago

at Merriweather Post-Favillion. That was like 9,000 people. And it was good. It's just like you're playing for television. It's like the screens. It's like you're just projecting onto a 40-foot screen. Yeah. I think it's great for your pocketbook, but it's not, I mean, if money wasn't any concern or anything, what is your favorite size room just for you having fun? I mean, what's funny is in LA, I don't know if you guys go over there much, but like, I think Largo is the best comedy room. 300. Yeah. Unbelievable. And then in New York, the comedy seller is unbelievable.

It's 140 seats in a basement. Yeah. I really think that, sorry, just the compression of the energy and it feeds around. And so for me, especially, cause I'll just get into some rhythm. And if I'm getting that energy, I'm just going to keep riding it, you know, with some character. And I do like 100 seater, 80 seater, low ceilings, you know, with some character. And I do like 100 seeder, 80 seeder, low ceilings, you know, for fun. Yeah, like, like my favorite, probably my favorite thing I've ever done in comedy is like being at the cellar and Chris Rock pops in and you're seeing him in

front of 140 people, like work out new ideas. You're just like, this is the craziest thing. It's like a fantasy sequence as a comedy fan. That's the fun of the cellar I think is wide. It's about three feet deep. And like if you go to the restroom in there, I think Colin was on last time I was there and I had to go pee and I'm like, no, cause he'll see me for sure.

It's just distracting. Like you have to walk right in front of him and everyone. And it's so small that it's just distracting. Like you have to walk right in front of him and everyone and it's so small that it's too obvious. I have a question about that table the comics sit at. I was always curious to me, who's allowed at that table? That's a really good question. Even barely the comics are allowed at the comics table. Yeah, yeah.

How is it some of the comics are allowed at the comics table? No, I mean, I love that place. Is it one table? It's like, it's, yeah, here's what I'll say. It's one table. Here's what I'll say. There's an auxiliary table.

There's an auxiliary table. There's a fucking spillover table? Yeah, there's a spillover. I think that, well, when I was in my 20s and I was playing there, I would get, you know, this early 2000s, I would get murdered by, you know, Patrice O'Neill and Bill Burr and all those, Colin Quinn, like it was all the Tough Crowd guys, Greg Giraldo, and they would just rip me to shreds.

I mean, it was just a, it was a different era. It was just a tougher. You mean if you sat there or they would just give you shit, that's who is sort of. Yeah, if I sat there. They would just give you shit, that's who is sort of. Yeah, if I sat there. I love it. Or even like Jimmy Norton was like that. He was in that group and I love these guys,

but like back then, like, cause I was like this wide eyed kid. It's funny, I remember one time Todd Glass, who I know, you guys know Todd, brilliant comic. Funny. He came and he was visiting me in town, and he came and he saw those guys just rip me apart

at the table, and he couldn't believe it. I don't think he'd ever seen anything like it. And he was like, why do they talk to you like that? And I go, I don't know, man. I'm new, I'm young, whatever. And then he brought up you, Spade. He goes, the only other person I saw this happen to was David Spade, because when he came to LA,

he was immediately really good and young, and he got a lot of stuff fast. And so people like came at him really fast. Is that true? I don't even ask you. That's sort of the way of the world, but yeah, that was at the improv. And the worst part was I was like,

they're like, you're doing a movie already? I go, I guess, aren't you supposed to? Is that? I mean, I've done five sets. I've paid my dues. But the improv was a place where, like it goes back to you saying you want to write movies, but to do standup was good advice

because you have to somehow be in front of people doing something because people won't see you and they go people my acting class like oh I don't do commercials I don't do soap operas I don't do this or TV shows you go if you're good they will find you but you have to be in front of something you could find someone good even in a commercial you go or they just catch your eye you have to be in front of someone. You could find someone good even in a commercial. You go, or they just catch your eye. You have to be out there. And to stand up, you get to be at the improv if you get on, or the store now,

and the seller obviously is very famous, but there's always someone, even if it's other comedians, like they might be writing something, you know who'd be good, this guy, because you're in front of them. And so I got stuff because casting people would just drift into the improv and go,

Oh, I wasn't even here to see this guy, but they'll just grab somebody and go, Oh, they'd fit, you know, we should. And that really helped you. You did not look like a regular standup, David. You know, you had the long surfer blonde hair. You look maybe 16 when you were 22. I watched Spade when I was in college, I watched your half hour and it was perfect.

Oh, I love it, thank you. It was like a perfect half hour. You were like, you're probably young with that half hour. That was so great because I didn't realize that was one of the reasons I got spots at the Inbra, because the chalkboard lineup, they rode on the chalkboard in the old days and it was Kevin Nealon and Leno and Seinfeld

and Richard Belzer and just guys that did not look like me. And I was just from Arizona, I was 20 and I had long blonde hair. So I think Bud Friedman was like, oh, we need one of you. Just, you just look different. Just get up there and mumble around. I don't care. Oh, sure. You know, Dan, I always say raccom after I say like a 10 out of 10 joke. That reminds me of Rakuten. If you're shopping while working, eating, or even listening to this podcast, then you know and love the thrill of the hunt. But are you getting the thrill of the best deals?

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Visit betmgm.com for terms and conditions. 19 plus to wager, Ontario only. Please gamble responsibly. If you have questions or concerns about your gambling or someone close to you, please contact Connex Ontario at 1-866-531-2600 to speak to an advisor, free of charge. Bet MGM operates pursuant to an operating agreement with iGaming Ontario. operating agreement with iGaming Ontario. I do think there's no greater calling card than standup. If they know you wrote it, they can see you can land a joke. And in your case, they could see you're an actor. You could definitely, you know,

and you've done movies and stuff, sleepwalk with me. Do you bring that cork board into your meetings to show how hard you work? Is that full of Saturday Night Live sketches? The yellow ones are the funniest. This is all jokes. The pink ones are under construction.

It's literally just, yeah. Are those your ideas, random ideas? Yeah, that goes back to when I was 18 years old and I started writing jokes and just putting them on note cards on my wall, I still do it. Well, they want me to have a background here, so I'm gonna do that.

I think it looks really cool. Just a photo of that. Yeah, yeah. It looks like very professional, like I'm so fucking busy. If you could take a picture of that, send it to me, I'll blow it up and put it behind this. You know what's funny about that is that it shows people that it's hard enough to do your act

when you see it polished. This is the shit that you're doing all day to get something that works for 30 seconds. Like to get anything that works is so hard. No, it's, I always say that to people who are starting out in comedy. It's like, I write four hours of comedy to do an hour of comedy.

And even now when you have a good fear for it. And before you'd write something to be like a random thing would work. But now you go, I think in my head, this will work. I did that last week because I have to work on new stuff. And I'm like, these three will work. And two didn't. And I'm like, why at this point do I still not know for sure what will work? It's so confounding sometimes.

Mike, have you ever written a bit or a piece of your special or whatever, where you kind of thought, well, I don't know if I'm ever going to write something that lands this beautifully, like full circle, you know? I think like, yeah, my sleepwalking story is like that. And to an extent, which is like, you know, basically 20 years ago, I sleepwalked through a second story window. Did you fall? I've seen it.

Did you fall? Yeah. I, you know, I jumped through the glass. Okay. And cause I had a dream, there was a guided missile headed towards my room and they told me the missile coordinates were set on me. And so in my dream, and as it turns out in

my life, cause I was diagnosed with this thing called RBD, Ren Behavior Disorder, I jumped through the window and I landed on the front lawn of the motel. Oh. I took a fall. I kept running and I'm running. I'm slowly realizing I'm on the front lawn

of La Quinta Inn in Walla Walla, Washington in my underwear bleeding. And the, and the true, and the strangest thing is in that moment, I was relieved that I hadn't been hit by the missile. I was like, that would have been a disaster. That story I could see where it's like, it's so nobody else goes, I've heard that from a lot of people. I've got one like that. Everybody jumps through a window. Especially La Quinta. But no, I could see where you a lot of people. I've got one like that. Everybody jumps through a window.

A super eight. Especially La Quinta, but no, I could see where you're kind of like, that's why you did a movie as well, right? And you put mittens on after that, is that the rumor? For a period of time I wore a sleeping bag. A doctor told me to do this, wear a sleeping bag up to my neck and wear mittens

so I can't open the sleeping bag. So awesome. So I did that for years. For years I did that. Did he say, stay away from missiles? He said stay away from missiles and the sleeping bag as well. Yeah, that's probably the smartest.

And maybe think about the holiday end next time. Maybe the first floor. I don't trust La Quinta. So one thing I'm kind of curious about you because I don't know in specific, like you in your career, like when was the first time you knew, okay, I'm gonna make enough money. This is now my job after you graduate college.

Okay, I'm good. This is what I'm gonna do with my life. I remember I had like one of those calendars from Staples and I would, I would go through and I would in highlighter, if I had a club week booked, you know, it'd be like San Jose improv. And it would be like, and you'd write in parentheses, like 300, you know what I mean? Like $300.

For nine shows. Yeah. Or whatever. It'd be like, Cincinnati Go Bananas. $325. Like this. It's going up. It's such, yeah, yeah, it's such a small amount of money. And you would just, and every month I would go,

if I can just make $1,325, I can pay my rent. And it was probably like, I would say like a year into moving to New York where I was like, okay, I think I can do this. And then- But were you going in and out of town? Yeah, I was driving my mom's station wagon that had like 130,000 miles on it. To gigs. A lot of them on the East coast. Thank God.

Right. So when you were traveling like that, were you the MC or the opener or co-headliner? I was the MC or the feature. Okay. I was the MC or the feature. And I mean, I've just opened for, I mean, I opened for Hedberg a bunch of times. I remember I opened for Jake Johansson, who was a brilliant comic. No one well from San Francisco.

Oh my God. It's like comedy school. Like Hedberg, you go, fuck, I getill from San Francisco. Oh my God. It's like comedy school, like that where you go, fuck, I get to sit in the side and watch this. It's crazy. And that was my favorite part of it. And then I got Letterman from doing Montreal Comedy Festival. I did Montreal Comedy Festival in New Face

as well, I was 23. And then Eddie Brill saw me and was like, I think we could work on a set for Letterman. And I was like, that's crazy. Like this is literally between SNL and Letterman. That's like all I grew up on. So I was like, this is crazy. And then it was like a year later.

Letterman's big. So 24, you're doing a set on Letterman. Yeah, it was bananas. And for the crowd at home, it takes a year to buff out a set, right? It does. It takes a long time. Oh yeah. Yeah, for sure. I have to keep seeing you and go change that word. I'd put that sentence at the end.

I'd open for the, and you're like, ah, it'll do good. And then the fear factor going on of letter. I know. What was your head space, um, behind the curtain and you heard, hear Letterman announce you? How were you, you were. It, I remember that that's nerve wracking. I remember they came up and I remember they came up and they go, uh,

do you want cue cards with your jokes of your jokes? And I go, no, I think I know the jokes. And then my brother Joe was there with me and Joe goes, yeah, he wants the cue cards. Like he likes time to, and then I swear to God, I said my first joke, my brain, you know, you're standing on like this, like circle in the middle of the Ed Sullivan theater on the stage. The moment I said one joke, I forgot everything in my act.

And I was like, I am so fucked right now. I am completely and totally fucked. And I look up at the cue card and I'm like, there's the other jokes. What does it mean by says McDonald's? And you go, oh, I know what that means. Fuck, so I went to McDonald's last night. We're good.

And was it a travel? He didn't invite people to the couch, but how good was that set? Was it good enough or very good? I think it was good enough. I think it was like, you know, my agent who was a new agent at the time, like he hadn't, he was kind of the, he and I were the same age, which is always good.

It's so funny when people, people always ask you like, how do you get an agent? It's like, well, try to find someone who has like no career, no clients. You know what I mean? No clients. And now, now he's like the biggest agent there is, like he, you know, Mulaney and Kevin Hart and all these huge people. Who is it, Dave Backing? No, it was Mike Berkowitz. Mike Berkowitz, okay.

Oh, but he was the manager. But at the time he had nobody. And it was me, he actually, he had me and Greg Giraldo. That's who he had. And who was a brilliant comic. Great comic. And he was like, well, I could market you as like the youngest comic to ever do Letterman, which was a lie. It was like fully a lie.

I can think of lies. It sounds good. Yeah, yeah. So I would go to like Joker's Comedy Club in Dayton, which is like attached to like a strip club and like sells like dildos, you know dildo straws in the lobby and then and they would and they would have it was like for bachelor at parties yeah I think and then they would uh and then they they would it would be marketed as like the youngest guy to be on let's play it was like literally a lie it was just not even funny yeah yeah not funny not even but young but young but young and then uh and then I figured out how to do an hour, but it's funny because when you're

starting out, and I did like, God, I must've done like 175 colleges, like the one that you and I did in Rhode Island. But I mean, I feel like you figure out how to do an hour of comedy when they tell you, you have to do an hour of comedy when they tell you you have to do an hour of comedy. It's like, it's, I'm sure you guys dealt with this. I had the exact same thing because I was there just for a second and when the clubs were just being built basically. So I think it was last unlimited Sacramento

and not everyone had, I didn't have the time to go, well, we'll headline you, but you need to do an hour. So that's why I got the guitar and did a few things and I had props. I mean, I did anything to grab time, you know, so go ahead. But were you headlining on SNL? Because I got SNL as a middle. So when I got enough fame to go, I was gradual,

but when I got the headline, I'm like, I don't think I got fucking headline. I barely have, I did my longest middle set was like 35. And then you gotta go to an hour. And I'm like, an hour or 40, 45 is good. And they go, yeah, maybe an hour. We'll put the checks out. What about when they put the checks out and it stops your act and it's tracked? And you go, whaa? Everyone just stops. I remember I did. I had done this show called Premium Blend on Comedy Central. And someone saw me on it and booked me at a long defunct club called The Comedy Spot

in Schomburg, Illinois. And they just fully just emailed me from my website, hey, can you come headline our club? I was, you know, you're delusional when you're a kid. You're just like, oh, absolutely. Just say yes. I'll be there next week. I show up, first of all, no one shows up.

No one's heard of this. It's like completely empty. It's like a new club.. No one's heard of this. It's like completely empty. It's like a new club. And I have 25 minutes of material. I mean, they're literally like, so you do an hour, the opener does 10. And I was like, okay, sounds good.

I go out, I'm fully through my act at a half hour. Sure. And that's how, what's weird, that's how you learn how to do crowd work. You have to. I was gonna say, you gotta go to the crowd. Yeah. Where you been?

Where are you from? Yeah. Did you, when you went on Letterman, did you have special clothes or did you just, did you buy a jacket for the show or did you just wear your regular clothes? No, that was the whole thing is they always said, you have to wear a suit because Dave likes,

he's like old fashioned show business. Dave likes when you wear a suit because Dave likes, he's like old fashioned show business. He likes the Seinfeld look, right? Dave likes when you wear a suit. And so I bought my, you know, my first suit. That's kind of cool though. But sometimes it's bad because, you know, I don't think me or Dana would be fully relaxed in a suit when you're always wearing something else on set. I go, what is the closest to what I always wear to make everything the same as a club? Because when I did my first TV spot, I walked out and I did like you with the cue cards. I was staring at the shiny floor

and the crowd and the cameras going, I couldn't even think of my act. I was like, holy shit, this is what it looks like out here? I'm always looking this way. And then I'm like deer in headlights and they're like, go ahead and go. And I'm like, oh, okay. What else? Yeah. I had a related thing headlights and they're like, go ahead and go. And I'm like, oh, okay. Um, what else? Yeah. I had a related thing with, with you, Spade, cause I remember hearing you talk about when you would do Hollywood Minute on SNL and the people were mad. Like the, cause you're making fun of real people.

Yeah, they were really pulling for me. He started an industry kind of, you know? Yeah. Yeah. Like I remember doing a show on, uh, one of those VH1 talking heads show. Yeah you know? Yeah. Like I remember doing a show on one of those VH1 Talking Heads show. Yeah, yeah, yeah. And they were like, what do you think of Huey Lewis in the news? And I'm like, ah, blah, blah, blah. He sucks. Whatever the joke was.

And I got an email from like a whole bunch of Huey Lewis heads who were just like, you fucking suck. Who the fuck are you? Who the fuck are you? We love Huey Lewis. What have you, who are you? I got a lot of that because I was new. It was actually funnier that I was new and making fun of people because it was so out of the blue. But it was, I always say it was the era of People magazine where celebrities were so

adored and you forget that they're all trash now. But when, when back then to say, uh, you see this movie, yeah, they, didn't they kind of suck in that? And everyone's like, wait, what? Why, didn't they kind of suck in that? And everyone's like, wait, what? Why would, you just said they were bad in something? And you're like, yeah, my friends went to that and it fucking sucks.

And they were like, this is how real people talk, but they went, Ian, you know who helped me with Hollywood Minute? Bob Odenkirk. Oh, did he? Oh, it's hilarious. Well, that's sort of the secret of Bob is he's like a silent killer, right?

He's like super nice Midwestern, and then behind the scenes he's like, actually. And he's smart, and he said, maybe frame it like, you know, we were trying different things. I think it was like, guess what? You're an idiot. Like we were doing stuff about celebrities, and I think it was Michael Bolton.

We know you got long hair in the back, but guess what? We all know what's happening on top. Cause it was like really thin up here. Bob, Bob Odenkirk, and I think it was Smigel and myself, but they had, and I think it was primarily Bob, the grumpy old man that I did on SNL was the reverse of what you would expect. Cause the guy's like, we didn't have flame retardant sleepwear. If you went to bed smoking, you woke up engulfed in flames.

Look at me. Whoop de doo. I'm a flaming corpse and I like it. I love it. And that was all Bob. It was such a weird twist on the classic world guy. Whether it's a family member, friend, or furry companion joining your summer road trip,

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I just wanted to insert for a second because it's in my head that wearing suits on talk shows. So initially I'd wear kind of a loose shirt, sometimes a t-shirt, a leather jacket, because the host was always older than me. It was either Leno or Carson or Letterman. And then when the host became older than me, like Jimmy Fallon in a suit, I can't wear a t-shirt. I'm older than him. So then I switched to the suit. I just want to tell you that. I just want to tell you that. I remember I was so starstruck. I was opening in for Pablo Francisco at Caroline's. Killer. Unbelievable comic.

Killer. And Jimmy Fallon came because they had been in an acting class together. And that was another one where like Jimmy Fallon was there and he came up to me and I'm friends with Jimmy you know still today but like he came up to me afterwards and he was like he was like I he was like you're gonna do this you're gonna do this like you're gonna make it you know and I feel like sometimes that kind of thing like the Victoria Jackson thing and the founding like it does kind of get you through the hard it resonates someone real and show business said I was good that's right. It's very true.

Yeah. This was a week ago. Yeah. Jimmy told me about meeting you and thought you're going to make it. And I said, you really think he's going to make it? Tell him, make him. It's crazy. I just do it.

I do it as a sound. But, um, yeah, I was was gonna ask you just this sort of overarching joke like where are you now? Right now, now you're going on tour? And when is the special come out on Netflix? Is this the Good Life? The special comes out. The Good Life.

The Good Life is out, I think by the time this comes out, August, May 26th. Okay. Okay. So. And you have, so it's May 26, the Good Life Netflix. On Netflix. And, uh, and then I'm writing and I'm writing my next movie. My first movie was Sleepwalk with me. My second movie is called Don't Think Twice.

And I'm writing a third movie, which is like an ensemble comedy that takes place at a wedding about a bunch of old friends. And, uh, I'm just psyched about it. Like I'm taking some time off from standup. I'm doing a few shows with Mulaney this summer, being Fred Armisen and Nick Kroll and Mulaney. I'm doing a bunch of outdoor shows this summer in Canada and Maine.

But yeah, I feel like you never get to do shows when you headline as a comedian, you never get to hang with your friends doing shows. So I love that we're just doing a bunch of shows together. And you're just in the mix there. You don't necessarily close or open. You're just gonna be- I'm not closing.

No, I, John, I don't wanna close. It's still stressful for John. Even though it's fun, he's gotta go out there and mop up. John knows what he's doing up there. John's a killer. Yeah, he's a killer. So I just wanna ask for a second, like when you write a movie,

do you have like three bulletin boards, first act, second act, third act, you start putting up ideas or you're writing it like a story? On the computer. I do two bulletin boards. I go the story cards, the scene cards, and then the other one is the characters.

Right. I listen to this great, aspiring screenwriters, I listen to this podcast for years that John August and Craig Mazin do called Script Notes. And it's like 600 episodes about screenwriting. Craig Mazin did The Last of Us, he wrote The Last of Us and directed it. John August did Big Fish. They're just like great writers. And you know, I just think like, you know, I try to just think about everything. The reason I do the character

bulletin board is like, I always try to think of everything being in relation to like, what would the character do as opposed to like, what would happen to the character? And would you direct this? Yeah. Yeah. So that would be the ultimate creative toy box, I can see, is to write and direct a movie, get all the toys out there, all the actors, all the stuff, and then try to visualize your dream, basically. Totally. I mean, I think about my favorite stuff. It's like James L. Brooks movies, like broadcast news and in terms of Endearment.

Yeah, it's like, you know. As good as it gets, what was that? Yeah, I just, you know, Mike Nichols' career, I love, like I love the idea of just directing a bunch of movies and I, yeah, I hope that, yeah. And Kramer versus Kramer or The Graduate or. Oh yeah, oh my God. I'm just trying to think in the sensibility that you're going for.

Great. Yeah, I would say close to the graduate. I just love movies. And I feel this way about my specials too. I love things that have jokes and jokes and jokes, and then they kind of get you when you don't expect it emotionally. Tootsie.

Tootsie was great. Big comedy, but you know, has all this. When the dad has to sit dusting up and down at the end and talk to him. You know what's another one by the way? Trains, trains, planes, and automobiles. I feel like it's like that. I just, obviously Tommy Boy is that. Tommy Boy is a little bad. Well, that is true. We talked about Tommy Boy recently with the director and Chris at the end in the sailboat talking to his dad. I mean, yeah, it had that whole-

That was like a late edition, like how to wrap him up and how to make it all make sense. And it was so important. The lore of Tommy Boy, because that's such an iconic movie for me. It's like the lore of you guys talking about how you were just doing it like on like weekdays. You fly to Canada during SNL and then you'd fly back. Like what the hell? Like doesn't make any sense. It's why we're all crazy. Sometimes in comedy, I don't know in your particular style, but sometimes money can get in the way and sure many days to shoot can get in the way.

The first one was such a low budget 25 or 30 days. We just kept going, going, going, going. But in your case, how many pages will your script be when you're ready to shoot? It'll be probably 100 pages and we'll probably shoot it. Look, they'll probably say it'll be 25 days and I'll just fight and fight to try to get 28, 29 days. That's the thing that's so hard to explain about making movies. You're just begging for time.

You're just like, please, because you're just bleeding money. You're going to miss something. You don't want to miss anything. You're like,, please, cause you're just bleeding money. You're gonna miss something. You don't wanna miss anything. You're like, I need one more take on this. I need one more location. Just to just make everything better. If we can just, we need this, we need it. Yeah.

Would you have somebody like do a rough edit after every day, like a really quick digital edit so you can kind of see what you got? Our editor was this guy named Jeffrey Richmond who, who actually added Severance, which is brilliant. Yeah. So, and, uh, he would do, he would do assemblies, but a lot of it would be, he'd be, he'd be like, Hey, if you can go back into the kitchen and shoot a

thing where she says like, I don't have the hammer that would really help us have this whole fucking thing. Wow. That's better than reshoots. I mean, the kitchen set is still around, you know. Exactly, yeah, yeah. Yeah, so basically just to sum up on this, it's like you're busy, life is good.

Yep, good life Netflix. Right now for you creatively, it seems like you're very engaged and excited about this movie and everything you're doing. Yeah, I'm excited about the special. I'm excited about the special. I'm excited to make my next movie. And yeah, I'm lucky.

I live in Brooklyn with my wife and daughter. She just turned 10. We had like a birthday sleepover this weekend. The girls watched Clueless. It was great. It was just like, so fun. Oh, is that 90 watch Clueless. It was great. I mean, it's just like, Oh, that 90s Clueless. Yeah.

And see, John Hughes, all those movies you can show as your daughter and the group, as they hopefully they like them all. 12, 13, Pretty in Pink, all those movies. Well, she's got, and she just started watching SNL. And so like, it's, it's really fun to watch her, like get why it's fun. Like get why the live aspect of SNL is kind of the best part of it.

That it's just messy. And everyone's in a costume or wearing a fake nose or whatever. And it's just, yeah, it's silly and ridiculous. It's a lot of pressure, but yeah, there's not much more fun you're going to have. If you're in a good sketch on SNL and it's really doing well, it's pretty buzzy because you know it's going out live to a lot of people.

Well, thanks, Mike. It's great to see you again. And thanks for coming out with us. Yeah, we enjoyed chatting with you and say hello to John Mulaney and Nick Proler, whoever else you're out there with. All right. Thanks a lot, you guys. Just love the podcast and I am honored to come on.

Appreciate it. Thank you. Now I'm gonna go watch the rest of your special. Amazing, amazing, thank you. Be well. All right, I'll see you guys soon. Take care. This has been a presentation of Odyssey. Please follow, subscribe.

I'll 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.