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

Episode Date: August 3, 2022

Beavis and Butt-Head, Milton, and nerding out on animation with Mike Judge. 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

Whether you're doing a dance to your favorite artist in the office parking lot, or being guided into Warrior I in the break room before your shift, whether you're running on your Peloton tread at your mom's house while she watches the baby, or counting your breaths on the subway. Peloton is for all of us, wherever we are whenever we need it. Download the free Peloton app today. Peloton app available through free tier or paid subscription starting at 1299 per month. Okay, I have a little observation right before. I mean, this is part of Mike Judge. Start to say, hey, Dave, before we talk about our friend Mike Judge, because we now call

him our friend. Great dude. Do you accept cookies every time you see it? Because whoever thought of the phrase accept cookies is a genius, because really they should ask, can we spy on you? Can we spy on you? But accept cookies, they take me right back to a 10 year old. Well, fuck, yes. I'm gonna accept some cookies.

I'll accept all cookies and more. But do you sometimes go, if I don't accept the cookies, whatever I'm looking at won't be as good, like it'll, it just won't. It'll take out the good parts. It'll take out the good parts, won't be as good so accept cookies and get the really good article. No, you know, I do it on Instagram and it says,

oh, just, do you want to cookies? It doesn't matter if you want cookies or not. And I go, no, and they go, okay, bye. And then you're just off the website, you know? And I go, well, so it's sort of, I have to. I think they should change it to how about a brownie. And then you say yes or no. Hey, how about a brownie?

Well, is it like a cookie that? Yeah, like instead of except cookies, how about a brownie? You go, yes. And then they spy, they got legally, legally can harvest your information and sell it to people all over the world. Yeah, and believe me. They should say, a brownie is a harvesting mechanism.

We spy on you while you're in the shower and while you're on your lap time. And I go, well, that's fun. I just want to read this article about, you know, I'm trying to find the best route to drive the big fork Montana. I don't need you going into all my personal details, looking at my apps. Okay. I just want to see picks of JLo's wedding nuptials. Go on with Affleck.

He's a doozy. Let me tell you that's forever. I love those two. All right, so Mike Judge, great guy. Here he comes. Mike Judge. Mike Judge. Worked on SNL, so there is a Whiskey connection.

He did Milton. Yes. We get into that hard. He did Be Bivism but at force, which is great because he, it's so cool to see him do him person. I know because he's unassuming and shy and sweet. And then when he goes in to Bivism but had, it's kind of magic. And then he did Hank from King of the Hill and his eyes were all rolling around his head. And so just to see him do it, and I tell him, it's just, there's something about Beavis and Butthead

that is endlessly funny. It's kind of like a Tarantino movie. Hey, hey, hey, hey, hey, just two idiots looking at hot dogs. Hot dogs. And it just, it never does a big laugh. And it was so much fun to hear his process, how he learned to draw, how he did those voices, what his influences were.

Yeah, and listen, he's rich, he's vit his money, I throw mine away. Here he is, Mike Judge. Why would you, no, you're not my, why would you ask mine? No, gotta get rid of it. Like Denny said, it's all comes down to paintings and planes, Carvey, in the end of the day. You're're at Hemingway in Paris, that's where Bill Gates goes, all right?

But getting a Monet, and on a G7 to a must-cass of a more pressing. That's that Clint's job, Dennis. So why would you want to get out of California? I mean, it was at the homeless and the regulations and taxes or is it just like being gunned down in the streets? I mean, this place is like the purge, dude. I see a guy in the street, you know, his pants are round his ankle and he's screaming, I'm away to the grocery store. It doesn't dig me, it doesn't change my mind. I mean, sometimes I see that I go, why is his dick bigger than mine? It's all I can think about. They always have full heads of hair.

If you don't, that's your homeless. You know, they have full head of hair and I can't fucking, I just eat right and exercise. We'd have to do a full head of hair. You won another way. It's a lot of good day. Something about that creates... Fair known, there's great hair.

And I go, you know what? We're on camera live for Greg to see has all is Yeah, hair plugs did he who who key to it's I'm just thinking of like no no Do he other junkies he went bandana? So the big bandana for gives everything like Nadal I've seen the French open years there was at the dentist and he's got the big bandana You can either be a pirate or a cowboy the French Open Year Center, it was at the dentist, and he's got the big bandana.

You can either be a pirate or a cowboy. And you go, yeah, the pirate would be Stephen Tyler. It's all distracting, it's all jangles and all that stuff. And then the cowboy would be Jeff Bridges and Mickey Rourke is good. Yeah, Ruff and Tumble. So which one are you, Mike? I'm going to have to go with cowboy. Yeah, but I'm barely, I I just gotta wear a hat or something.

I know, listen, I do it too. The hair thing, it dries you crazy and then you go, would you trade places with that almost guy because he has great hair and then you think about it for a while. You go, well, it's a push. I always ask my friends because I try to understand the crisis. And I go, look, if you were living somewhere and you couldn't for the rent, would you move to a, at least expensive place,

10 miles of where would you pitch, pitch a tent? And no one has said pitch a tent so far. Well, let's get to Mike and his joke career. Have we been recording this whole time? Unfortunately. Well, the thing about what Mike and I were talking about, David, if you don't mind for a second. Yeah. We just die about integrity of shows or something. I can't. Voice over. Voice over. He was asking us, Dan has an animated show. Well, not animated, invisible.

It's all voice. It's a podcast. Like an old-time radio show. All right, right. But we, you know, my sons and I and my, they're a friend, childhood friend. We love the Twilight Zone. And so obsessed by it. And all the kids are watching it at my house because I had VHS. And so this is basically our trying to bring that back

a little bit. No, so. Well, you know, we're in place. Check it out, kids. Mike and I, let's just start briefly because this is, you know know sort of about SNL But we can always go away from your other stuff because you have million things So Mike and I met

God then I think you were gone. Were you gone when Mike came? Might have just missed him. You might have just missed it. I met Mike when he visited the winds were Yeah, visited winds were oh, yeah, yeah, winds rolled Wains World 2, I think it was or wasn't. Oh, so I think it might have been one. And, yes, I'm hoping. I, uh, know, super cool. First time I'd ever been on a set. And then I met, I think I first met you with the VMAs maybe,

or maybe Ford or something. But you took me, you're talking about when we, I went to SNL. I think because you went to SNL because you had a desk. Yeah, well you, and I'll thank you for that now. You kind of hooked me up. I had to, before the Beavis Embudded short, I had a one called office space that was the Milton and Lumberg, which you showed to Lauren. Ah, I'm glad to be making these. Three more of them that weren't very good. showed to Lauren. And then to him, he made King's ball. Three more of them that weren't very good.

The fourth one was all right, but for SNL and then, you know, eventually led to the movie later. Yeah, so they can take the mega movie. Yes. Now, we did office space, we jump around here, but was it one of those ones that wasn't like a $100 dollar movie and then it just lived on forever as a huge call hit or was it also a hit? No, it wasn't a hit at the box office, but it was not at all.

It was, but it didn't cost a lot of money. Budget was ten million, I think. And what year was that? Came out in 99 and came in like Sixth or eighth place or something opening weekend Yeah, I didn't and then yeah, then but then a year or two later. It started really like it was charting in the Like the blockbuster DVD that's where they make big money. I mean Tommy boy was not a huge hit and

TV. That's where they make big money. I mean Tommy Boy was not a huge hit and well that was just not a good one. They open number one but they were both open number one at like 35 million where it wasn't like a mega monster. No that's what they totally made. Joe dirt. Joe dirt. Joe dirt. Joe dirt. Joe dirt might have opened number one but it was still again it wasn't like a huge hit. Those are the ones that you really can't tell about a movie until five, 10 years later to see if it really sunk in, because there's big ones that made more money

that no one talks about. So they open big and fade out, but I like when they stick around. Is there like about maybe 40 good movies in the world? Well, my wife and I, and I were like, Godfather again, okay. Sound of music, honey. We're really, my wife and I, and I were like, Godfather again, okay. Sound of music. Honey, we're really, we're, we're,

we watch I at the Neal with Donald Sutherland, which is pretty cool. But it's hard to find a great movie. What I was curious about is you're doing Beefus and Budhead coming out with a new movie. Yeah, I just came out and then the news series. It's out already. Just straight to it was on Paramount Plus.

Yeah. So what was it? So it needs to be churned and talked about it wasn't you didn't have an opening weekend was that your first experience with that? Yeah, it's weird. It's just out there. Yeah, you just put it on the platform. No, they don't you know they don't Announce or publish any ratings or any data. Yeah, so you don't It was a New York Times critic pick Um, it's like 90 something percent on Rotten Tomatoes. So it's, Rotten Tomatoes are still around. So that's, I've got a couple of threes in my, oh my god. I've only got broken tearing. That might go down

after a while. I don't know. Yeah. Well, that's the, I guess that's on the critic side and then the audience side is in the 80s. Maybe I don't know. I should, I should look it up. It's on Paramount Plus right now. Paramount Plus. Just But it's on Paramount Plus right now. Yeah, Paramount Plus. Just want to. Streaming on Paramount Plus. And Beavisim but had tick on the universe or what was it? That's called Beavisim but had to do the universe.

I didn't do it. He was about to. And that's pretty good. The things that you're thinking about, why are the voices are contagious? ¡Era muy bien! cosas más adivina menos y vende más con Intuitimale Sim, la marca número 1 en Emilio el Marketing y Automatización. Empezado hoy mismo en Mail Sim, Punto Com. Vas a vender a tus públicos de marcas competidoras en número globales de clientes en 2020 o 2022. Oh yeah, let's ask Mike if back in the SNL days, I think this was a rumor that maybe we started that if we did or if we did a, if you

did a B was embedded movie, the Adam and I would be, B was embedded. Yeah, that was, that was discussed, yeah. And, but, you know, we ended up, I mean, they still, when was it gone now? Yeah, I think, I don't know how that, I don't know how, I don't remember at what point it was, it was gonna be an annoying, but yeah. Spade probably asked for a shit ton of money. I know I created it, but they got it back up the brainstorm.

Now I was, you know, Mike gave me a bevis necklace. Do you remember this, you probably. Oh yeah, the pewter. There's a pew, bevis necklace, because not because we're gonna to the movie just because I thought B.I. was in butter. It was hilarious and he gave me this thing that was maybe one of a kind. Maybe it was his merch, but either way, I loved it and it was very nice. So I wore it to my buddy in town and they said, Lauren or someone from the show said, Kate Moss is

having her birthday. You guys would like to go down and say hi. So to some version of that, I was with my buddy. I don't think you went. And we went down as a 21st birthday. And so it's just like a party party. I don't know her or whatever. And then they said, oh, go say hi to her. So now we're forced together.

You know, and everyone's looking. Go say hi to Kate Moss. And she's smoking a sig and, too cool. I'm just like, hey, explaining that I'm like a clown in America or whatever I do. And she's very posh. And she was super gettin' that she goes, be this.

You're so in necklace. I go, oh yeah. I talk to her like it's a foreign country. I go, in America, this is a, and she's like, right, give it to me. I go, give you, give you this thing. It's my birthday. Oh, oh, and she just, and I want you to do the character. Actually, this is a present to me and she goes, give it. And I go, and everyone's looking at like, what the fuck are you waiting for, dude? So I can't, I'm not going to hear it. What? Did she want, oh, she wanted the necklace. Yeah,

I thought she wanted you to do the character, oh, she wanted the necklace. Yeah. I thought she wanted you to do the character. No, she wanted the necklace. She said give it to me. Yeah, and she said it ten times and they go, it's her birthday. And I go, all right, all right. So I gave it to her. Yeah, these models, they're not entitled to.

I know Johnny Depp, but she got what I wanted. I was like, need any cash for the cab, all. So you gave it to her? So I gave it to her and that was it. At least she could have worn it in her photo. I know where and somewhere. I was trying it all at the time. That's pretty heavy.

I guess it's back. I thought in my head I go Michael Beekloth. At least she's wearing it because it's... Okay, so I'm a compliment. I'm a compliment. David, David, that was a great story. Me? Yeah.

And Mike. Well, anyway, I am a fanatic. There's millions of us for Beavis and Budhead. And I was at the time doing Wayne's World, but honestly, I have total appreciation for Wayne's World by thought, Motherfucker, that's funny and then what we're doing. Oh, I don't know.

It's sort of similar, you know. Well, it's because it's, I don't know about that. The abstraction of just two characters, and I wanna know how you got connected to them. I maybe you've said it on other podcasts, but just standing there, and I guess looking at hot dogs and dogs. For like a minute, that kind of humor just really resonates with me. It lasts. I could see it right now.

If you showed me 10 seconds of them, he said balls. I mean, just that, with no real, I don't know how to describe that kind of humor. And they also got to watch videos, right? And then they make fun of videos, which is genius, because that's what people do at home. And it's, it's, but the rhythm of those guys, I know you probably, but how did you, and you're attached to them so completely. And yet here you are, kind of just Mike, regular guy, but then the, these characters come out of you. It's just very, it's like magic. It's like a magic trick

Yeah, I don't know like it I mean It's hard to I don't know as you know having done great characters like you Come from but like it but um With this I guess I was you know, I've done it was the fourth short I had done and um I don't know I just I was, you know, I'd done, it was the fourth short I had done. And I don't know, I just, I had drawn them and just look, and I was trying to draw somebody completely different and it went a different way. And I kept like I'd drawn many drafts of the, these and bud head draw. It was like they're not finished. They, yeah, they're not finished.

There's a thing like I wanted, I wanted them to actually, and now I'm not a great animator at all, I was just, but I wanted them to look, like they were drawn by a deranged 14 year old or something, like I wanted it to, and I also want it like on the original Charlie Browns, I love the way pig pin, just, he was, he was an anime that kind of sloppy and messy

and he had this like, I was imagining butt heads hair like that. And I don't know. Then once I drew them, it just seemed like they just can't see anything clever. They're just like, there were guys that kind of different people that I knew growing up in Albuquerque that just, I was like, are they really that dumb? Like, you're saying like, it like a pop-up of sentences, nothing real.

It's like rudimentary. How do you, like, can you read it all? Like, you know, like, and, yeah, I don't know, just sort of, and being, you know, I'd done this short called Frog Baseball and that's what started it all. And I watched it today. Oh, yeah, oh, God. Thank you for doing that to that.

You know, just to intersurf, just the low-fi drawing ever, or the rudimentary drawing, it's just, it's really kind of postmodern in a sense. It's almost like Basquiat, if you're familiar with him. Actually, you know, as a child like Brilliance, and it's a little...

I love Basquiat, I love his stuff. I also... He's on next week. I also really love like him. Like, you know, all the national ampune, I was really in all the comics that were in there. It then like Buddy Hickerson, Linda Berry. Well, she was in Mary K. Brown,

like a lot of these Mimi pond, all these great, who's the other guy, Mark Merrick, like, but also, I mean, this is gonna say, I'm not trying to at all compare myself to great artists, but Beavis' eyes, I thought, like Picasso eyes, you know, where they're at. I always wonder where those came from and that's such a specific choice

and it gives the character so much. So they're like cat-sized that are slanted, correct? Yeah, like when I was in high school, I took a, it was like a art history elective or something like that. And I used to just start drawing Picasso stuff in my notebooks. This makes sense. I don't draw very well.

I'm just sort of like, I was never like proud of what I draw, but I would draw. Occasionally I would do a pretty good caricature of a teacher or something, but yeah, with Beavis, I had his, yeah, I kind of did Picasso-wise on him, which none of the other characters in the show have. It's like, you know, Mickey Mouse is Mickey Mouse, but then all the side characters are like they had to commit to them.

But this time, it makes sense. I saw Basky on it, and now you're bringing up that. I mean, like the long jaw and the teeth of the butt head. Yeah, yeah. Beavis has it, yeah, and the butt head has the gum on the braces. Like an racer, kind of thing. Yeah, and I wanted to animate his mouth because like when you have braces, like people when they're smiling, they don't, their corners of the mouth don't really go up very, unless

it's a huge smile and, and when you have braces, you kind of go, you're going like that. So, all the time. Yeah, he laughs, his're going like that. All the time. He laughs his mouth is going down. When it became a show, I had to just, all these really animators way better than me. I'd say, no, no, no, they don't laugh. They'd have them do shoulders up.

No, no, that's not how they laugh. You got to animate. What does it sound to? High-flute to say it's what you're doing is artistic. Because anyone could draw something real. Well, to draw so real that creates the holes greater than some of the other things. Yeah, like an animation, maybe if it was a contest,

like who could draw the most perfect person, but luckily it's not. So it's like Simpson's like weird. And you just pick the different sort of interesting look. It doesn't have to be perfect, but if you buy into it and the voice matchup, then it's bought into it. Yeah, well, that's the thing also,

I could have instilled to this day, I mean, the new movie, we have some incredible people worked on it that it looks pretty epic, but Beavisim but it still looked like themselves because anytime in the past that we tried to clean it up or it just stopped being as funny, you know. I think it's true, like South Park, there's just, you know, when those four characters,

if it's, if it got too fancy and was, you know, if you animated them 3D, it's, you know, it's like, you can draw a lot of power in it. If you're being somebody to South Park, both being brilliant shows. But this low-fi, I mean, you look at Walt Disney's animation. Yeah, yeah.

And then I don't know if you were one of the first, but it seems postmodern. It seems like it'd be very hip now just to have that kind of animation. And then, of course, South Park went with Thorough Carbord puppet animation. Yeah, yeah, that's called animation. Yeah, well, I think I was probably the first to have a mainstream cartoon like that, but there were independent animators that were starting like this guy Wes Archer. There was a lot of actually Mary K. Brown, when the Simpsons, she had shorts that were in this Tracy Elman show that I thought were amazing. I think it's impossible to Google because the way it's called Dr. Nagato and there's an exclamation point in the middle of her last day. But anyway, there were people doing it. I wanted to read National Ampune and think, man, how come this stuff is inanimate? This sensibility and the style of drawing.

And so that's what I was trying to do when I was animating my shorts. Is to try to. Can I see a technical question? I think also led to the magic of it. So Milton and the first, you know, frog in the whatever was he's about to. So you had a 16 millimeter. Yeah, a Bullex. But so Milton is like moving. There's a shimmering.

Yeah, I. Is that intentional? Yeah, every drawing. Well, what I did with Milton, if you want me to get in the weeds here, we're doing this. I would, so I would, I would feel a little bit smart.

Our fans are mostly animators. It's, they call it a boiling yeah. It's called a boil. Every two frames is a new drawing. No matter what, so crazy. I did that, I did that. That way. And then was it for time's sake or finance sake

or an actual artistic choice? It was partly movement. I would say, I was a little artistic, but really like I didn't have cells. I did that with color pencils and ink. So to only move one part, you need to sell back then, you know, you did an overlay. I didn't, hadn't tried to work with that.

So I had like a cut out, like his desk is an overlay, cut it, cut around the corner of the cubicle. And then you're drawing this thing and you got this camera on top of it. I'm putting a new piece of paper underneath it every time and clicking. Give it some time. Yeah, click it, give it movement.

Just like stop that animation. Click it, click it. Yeah. Is that what it is? Click it. You go like click, click. Just if it's, when you, that one I shot on my bolux and when I sold that one, I don't know how much it cost me

for the film and everything was like, and for the camera, like, probably 700 bucks or something. And I sold it for, I got $2,000 for it. So I said, okay, next time I'm going to rent time on a camera. And so I shot it on a better, my later stuff. That was the only one I shot on the bull. I could see why, as you know, we'd love Milton. Yeah, because it's, we thought, again, it's like doing whatever work

or be, working class people, what's their life like? And the torture of being in the cubicle and the boss who's a dick, you know. When you do office space off of Milton, first of all, it must be hard to make Milton a real character and try to capture it. But office space, it's so much more going on than Milton was even, that you got a whole great movie out of it without you going it's the Milton movie, you know, yeah, well that's that's actually it started out Peter turn in a fox.

So those shorts and said this should be a movie. And so it was going to be a Milton movie and I just kept I couldn't wrap my head around like. Like I don't kind of I don't want to know what he does at home. I don't like. like I don't kind of, I don't want to know what he does at home. I don't like, I don't, I didn't see a whole movie centered on him. So they had writers come in and pitch it. Nothing really landed. And then then, but they kept wanting something. And then they said, well, what if you make it like an ensemble cast,

like the movie car wash? And they said, oh, yeah, that's not that's like I can do. Car wash. Well, I guess it's like no car place. Basically, we're place. Car place comedy. Well, I guess it's like a workplace comedy. Basically, workplace comedy. That's probably a way to turn a more boring, boring cubicles. Yeah, but I was going to animate like a series like vignettes of office characters like

cubicle characters. So that's kind of what I, if Beavis and Budded hadn't happened, that's what I was going to do next was more. Well, it was nice. It's almost like an indie filmmaker doing a film low budget in one location because the cubicle is very simple, but super effective. You had the guy at the desk, the guy at the door. That was it. Yeah. A lot, a lot of my answer.

I'm livid. I think he's an amateur. What would Mike say, David? Well, a lot of times you get on MTV your Comedy Central and you're a victim of the budget. So it's so the budget is so low that self-hark makes them look cardboard because that's all they can do. And then, you know, so you can't make it so professional and then indirectly it just sort of turns into a hit

because of the not cheapness, but you know, it just makes it. Yeah, there's a charm to it. There's a charm to it. You can't, you can't, you can't animation now or at least a few years ago, be like, okay, rap, we'll get it out in three years. We'll see you guys. Yeah, that was a great read. Love y'all.

See you in 2027. So I think part of it obviously South Park has a, can I go back to a 2001 question? Oh, sure, sure. So when the monkey gets the bone, go with this. Go with this, Mike and David. Yeah. The monkey gets the bone, right? Oh, is this a movie 2001?

Yeah, I'm referring to the monkey going, ah, because the model has put the thoughts. So it's like going like this, going like this, and then it starts hitting stuff, using it as a weapon, and there's that moment of creativity. So I'm thinking of Mike, young Mike, does these two goofy characters, rudimentary, vengo, basquiat, and then wherever you're gonna draw from with the monkey with the bone, it's like, what do these two guys sound like? And I don't know if it was

over time or in epiphany, but the voices are so peculiar, so rich and so bizarre So where'd they come from and if you don't have an answer, David Lancer? No, I do have an answer for well, so Beavis actually so when I the guy that I was trying to draw Was absolutely nothing like beavers. He's actually an engineer now. He was a straight-a student He's a brilliant guy. He was not named beavers and he was a straight-a student. And he was a funny name. He's a brilliant guy. He was not named Beavis and he was, in fact, he was super nerdy and we had in calculus class, he sat in the front and I remember I was, you can cut the story down if it goes too long, but I know it.

I had known it ever heard of a hot teacher. Like it just didn't happen. And his friend of mine's coming down the hall and he goes, if you've seen the new math teacher, oh my God, and whatever. But she was like a former Dallas Cowboys cheerleader. And she was really beautiful. And he sat in front of class and he was so wound up. Like he would just constantly be biting his living room. And he'd be laughing at everything she said.

She wouldn't even, wouldn't even be funny, she'd say, okay, and then this is an easier way to do it. It's a planning algebra. And he's always kind of looking back on him. That's a standard. And so, can I get in the way some more time? So you are sitting next to him and observing him. I'm sitting in the back and me and this other guy, Sarah Bob McCarthy, and then my other friend, Mike C. DiBacca, I started imitating him, like he would do it, and then I'd be in the back and go, and then they started doing it

and to teach her, she, what's her name? She got really pissed and, chewed me out one time, like chewed us all out, because we just kept doing that. And then, like just, she got really emotional we just kept doing that and and then like just she got really emotional and I was like apologize and everything then she turns around the chalkboard and my friend so I have two questions one one so the guy going that in the front row he was doing that to repress his absolute horniness for the teacher that's what I've seen like yeah he was just so

wound up and when you did it it for your friends that he talked, or it was just what at one sound. Oh, hey, just the sound. All I would do is the laugh. Okay. So, but he didn't really talk like Beavis, but I was trying to draw him when I ended up drawing Beavis and but they were both attempts to draw him. And it was kind of going a different way,

but I thought they looked funny. And for some reason, I drew Beavis with a lighter in his hand. Uh-huh. And it was just imagining him just... Oh, five. thought they looked funny. And for some reason, I drew Beavis with a lighter in his hand. Uh-huh. And it was just imagining him just, Oh, fire. He was like, I'm on fire. He was like, I'm excited.

Like, it just scary. Like, there'd been this guitar player with Dilbert McClinton, who he had, I used to be a musician, but I remember he just was looking at some guy and he said, boy, he'd start a fire. And I was thinking like, this was a little like pyro. Yeah, like a little, his little pyro,

which got us in the trouble. And then butt head, I didn't know that drawing. I remember I said, you're a scientist, an inter-musician, but he got it. So I just was looking at the drawing and just thinking like, what would he sound? The idea of someone just laughing all the time.

I hadn't, I'd seen it, like there was a Mimi Pond cartoon in National Ampune where she just had this weirdo getting on a bus and he's just going, whoo, whoo, whoo. Like it just seems written out. Just always kind of, and I thought that was kind of funny, like the idea that there was another,

there was something else I'd read in National Ampune, they just described some guy that just had a dumb laugh and I don't know, I just seemed right. And I wanted them to just be laughing all the time and barely talking and just deranged idiots. Is that the last one in the talks? That's one of the talks we just had. Hey, hey, hey, you.

Yeah, Beavis barely said anything at first. I thought I was thinking of him as this brain-fried guy who just gave me a hand. Yeah, yeah. This goes along with it. Yeah, he said balls. Yeah, the first one of those was, I had to watch a berry white video. There's a lot of videos.

The horny is, but what are the charms of it? And Wayne's world had it a little bit, but was it they, they're generally having so much fun. Like the two losers in town having more fun than anybody in the town. Yeah, yeah, it's, by the way, my, my daughters, like Wayne's world a lot more than Beavis and Butteds. Really? My son wanted to come meet you. Chole changed my life. Blue my life, beat some about it.

The movie, all of it. Blue my mind. You know what I'm saying? Just like, stay the same. Oh, Wayne's world. You know what I'm saying? That wasn't so funny, Dad. Yeah.

I like that, Mike, you used to... Did you program F-18 Hornet Jets and then you go, I might switch. I worked on, I didn't, well I worked, yeah, my first engineering job was on, yeah, that was an electronic test engineering for the, yeah, it was F-18, it was a fun, all very boring except for F-18, I guess. Like I wasn't out on the tarmac, like I was in a cubicle. You were basically Maverick's. So you were a science, whiz, in high school and college and you worked with him.

Yeah, I was good at, you know, I could do. When did you get dumped? You know how to find the base of an ice-hustle, he's trying to go. Yeah. Yeah. Most communeers got in the bag at school and I'm no matter what the T-Shirt community is. They're not that many.

There's a few, there's a couple Simpson's writers that have, there's one there. I think George Meyer, where there's some Harvardy Brainiacs. David Eskohn and Ken Keeler I think is his name. I think he's got a PhD or something. Yeah, there's some. No, well, you were a science kid and everything, but you were also like doing voices and making people laugh. Yeah, I did, I did amitations a lot. Yeah, from I started, started realizing I could do them in high school.

I think I peaked my senior year in high school. Were they have famous people or not? That's the thing. It would have, they were all just teachers and classmates. I didn't do anybody famous. I, I'm kind of still that way. I don't I don't know. I guess like I can I can do yeah, it's like people I know and if occasionally if it's a famous person

I know I can do them but I don't I like often do them. I don't know why that is the same thing if you do a Depression of a friend and then that friend becomes famous and now it's not a character, it's an impersonation. But if it's not known, I mean, Churchill, he was just teachers I knew. Garth was my brother, you know. I remember eating that, yeah. Absolutely. And he lives in Albuquerque for years.

A, B, G, yeah. He's been a real key man. I don't know if you ever intersected with that. Did he really? Yeah, the video test with Tim Jannison, it was with Amiga computers early nights. Yeah, first like home video toaster. The home video recording system for people want to yeah videos at home. Oh, that's like using that like early 80s or something or even older. Well, no, might have been mid 80s. Mid 80s. Yeah, maybe yeah. He, I wore a toaster

t-shirt in Wayne's World 2 as Garth underneath the thing is that what why he was in Albuquerque was there because his sir capital. He was in Silicon it was in Silicon Valley another place of one of your shows Move to Albuquerque just his wife was going for a master's at the University of Mexico and he just worked from there and so he still worked at Sandia Labs now in engineer. Yeah, that's what I was wondering if it's India. I have an office space question. David, before we get to Silicon Valley, office space had anastinant too.

Yeah, right? Jennifer Aniston is great. What was she like? She was very funny. She was great. The whole thing was great. What was she like? She was very funny. She was great. The whole thing was great. I heard a lot of TGA Fridays lost their flare because that did you read that? Yeah, they, well, they publicly tweeted that it wasn't because of office space, but a waiter, waitress, whatever you told my second ad told me that she asked someone at TGF Fridays about that.

And they said, oh, after that movie office space, we ditched the flare. But yeah, that was something I had in the script. I had the line about we're not in Kansas anymore. And then this writer, Brent Forrester, I was working with, he was in Austin and he worked on King of the Hill. And he was staying at a hotel next to a TGI Friday and I said, hey, if you get a chance, can you go?

I was too chicken shit to just, I don't know, I didn't wanna like, I said, can you just ask them, because clearly they don't wear those because they want to. I mean, all you just ask them because clearly they don't they don't wear those because they want to I mean all those All those buttons must be and I was just curious like well everyone has them and do they you know, do they tell you you have to have a Sure number whatever and and then he was about to To get the card to the airport and I said hey, do you ever you ever get to TGI Fridays? Oh, yeah, yeah, they're they're actually pieces of flair and you have to wear 15 of them.

And you, and oh my God, how long have you been sitting on this? And that's just like, you see one. And so then we started riffing on that stuff. And I, that was a very last minute ad, all those. But, but that was to give, because when casting her enabled that kind of made the studio relax more about casting all these unknowns or semi-unnowns.

So King of the Hill also, just in some sense. She was also smart to go in that movie. My son's favorite. And I remember they liked the Simpsons. They fell in love with the South Park later, but it was always King of the Hill. I'm really not so. Always.

What the gosh, no, are you doing? I mean, that guy, you know, that had another magic charm to it. I mean, it's famous, right? It's huge. Yeah, that was a, I mean, it's, it's something. That was one of my, that was a, right? Yeah, Hank was a combination of imitations of, um, there was a guy on my paper route. Me, my brother had a paper route and, uh, he, he was our first time collecting. He, uh, collecting is, yeah, you go at the end of the collecting. I can collect. Yeah, go at the end of the month, you'd collect.

Oh, did it. And he thought we were like, he said, he was always out in his front yard with a beer, just like drinking real slow. I love those guys. He was like, he said, well, you ate my paperboy. Said, yeah, well, that guy quit and we're the my paperboy. I said, yeah, well, that guy quit and where the new paperboy says, well, I know what my

paperboy looks like and you ate him. And then he said, yeah, we're not saying we're seeing him. Yeah, to see his face. His eyes are getting very big. Yeah, he had that kind of sorrowful looking around. And he brings his wife over to say, Marcy come here, is that the paper boy? They hit the paper boy.

I said, no, we're not saying we're that guy. And then we said, well, we're gonna have to cancel your paper. He said, well, I'm gonna get the paper when the real paper boy comes. Jesus. That's because you're collecting, which is in to the audience.

That's what the animal, you go get the money for the paper. All right, because my buddy, you see, I'd go with him. Oh, yeah. You did that in Arizona. Yeah, you do the paper, then you got to go do the collecting, which was the hard part. You hit him up for the cash at the end of the month. I get up at 4.4.30. Oh, I didn't pay for it.

He told me to wrap it on. He told me to wrap it on. But that show was so trying because it didn't pay for it. It's so strong. I'm wrapping on it. But that show was so charming, because it wasn't political. It wasn't violent. It was just easy. It was small town charm, small town stories. It's just a real hard to get that right, though.

Yeah, and make it funny. Really fun. Yeah, when we had some great writers. But it was... Greg Daniels. Greg, yeah. Altrilo and Khrinsky. We had We had some really great people on that and it was yeah, it was just like

Kind of down home, you know like because the Simpsons was Was so I love the Simpsons, but you know they're going into outer space Yeah, whimsical and advantageous everything you can do an animation. Yeah, I chose to not take advantage of any of that But here's my disvolving. Yeah, well, that's was a while stood out, but let me ask you questions So you're you're drawing the main characters and you you kind of in your head have an idea how they sound and then it's a Series, so are you passing out other voice? There's other voice actors in there But you're doing like three or four of them. I I just did, I did Hank and Boomhauer, the guy who talks gibberish and that was pretty much it.

How does Boomhauer sound again? That was sort of, that was based on, I have told the story on it, but it was, well, it did based on a couple different things, but the one that I would go to, the guy when Beavis and Budhead was going, I didn't have an assistant like for, for the first year of it. And you could, anyone could call, I guess,

and get my voice mail. And somebody had called complaining about the show. And it was just like, just hillbilly deranged dude. And he thought the name of the show was Porquies Butthole. And he's, and if the call, I still have it. It's, he goes, well, I've been calling you all the better month. And I grab about you all the time,

that I've dangled freaking out of looming to you. Come on, you put on with dangled polka's freaking out of butthole. And I couldn't, he's like, you go and say, you're going to sell a job name, commercial day of my way down, and kids are polka's butthole. You go, yo, and he's just like,

I couldn't, he seems to be complaining also that it, because it would start to show like two minutes off or early to get people who are channel flipping. So he's saying like, y'all be three minutes late, last time go with three late next time, and y'all would drop name out of Pokies butto. So you pick up Pokies butto, I don't know how you get that out of Beavis and Butto,

and I just think he's like cartoons, loony tunes, porcupine. Oh, yeah. I know there's one bass on C-Rally, really. Right, like really insecure guy. Like we've got fun and everything, right? That'd be cool, right? Is John C-Rally? I bass it on him, but I exaggerated it.

Like, yeah. Yeah, that's part of my pun. Was it before he was famous, right? No, I just took it from. It was three idiots in the script of podcasts. Yeah, it's part of my sound like a pod. Was it before he was famous, right? No, I just took it from, it was three idiots in the script of podcasts, it was the ring-lingering goes, what do you think?

You think clouds like a baby? Yeah, it's pretty, it's pretty much like a baby, I think he's kind of, kind of, you know, like he's like a baby, right? So that was, it's, basically you take the source material of that, in your case, and then you just extrapolate it out in exactly a funny version.

Yeah, like a hot, uh, Joe Dirt Sound. Like me. No, yeah, kind of a twang. Yeah, yeah. Yeah, a solar toy. Hey, boy, you're going to stand there owning a fireworks stand. Yeah, they call. And tell me, you don't got no Roman candles.

You were like the first person to really do the the mullet red neck. Yeah, that was the first kind of mold. I think it was accepted because I wasn't making fun of the South really. I was actually the guy was super charred guy. Yeah. And for once I wasn't sarcastic. Yeah, he was the hero. Yeah, I was trying really hard to get through with life.

And something about that clicked with people. That, I mean, there's no other explanation. I think likability goes a long way. I think, you know, Jo Dirt was just a likable character and it didn't shit on the South or make fun of it. It didn't wink. He was sincere. Yeah, looking for his parents.

And bullied and a lot of people are bullied and so when you get,, you see that great name I know the movie So when you're when you're casting other people then you show them the some animation and some ideas Or you let them look at it or how do you get them and when you're so connected. We did. It was, yeah, that was the first time I really cast something and we had standees of the drawings.

Okay. So my drawings are, we're very, well still are like really crude drawings and we blow them up to that size. They look even crude or something, like the shaky pen. But we had these cutouts and I wouldn't look at the actors, I would look at the drawings when they start. Yeah, so they'd,

Oh, so they're in it, you're looking just at the stand. And he doesn't matter what they're doing. Yeah, what they look like. Yeah, what they look like and what they're doing with their face, or how famous they're in. That's not the end of the story.

So here's the voice, and you're looking at the thing without looking at them, and then you do the reek of moment. I mean, how many auditions before a part? Quite a few. I mean, they narrow it down, and Greg and I would listen to, you know, like the final ones, but yeah, yeah, it definitely,

like I think where animation goes wrong a lot of the times, especially when they're When they're trying to cram celebrities in is it that there's that thing where the Some is greater than the parts but you know where the voice and the drawing come together in a way Yeah, it's just fires on all cylinders. Yeah, so I would you know I'd look at that and like when Stephen root red and it, I mean, Steven Root's also just naturally funny, like a lot of, like you all are. But like he, that clicked. And then the one that we had a little bit of a, because we were talking earlier, about the celebrity thing was the character Dale, which Johnny Hardwick was one of the writers

in the standup comedian. I think you know, I'm way back, yeah. And he was one of the writers. And we had him read and it just fit that like it was just something, I think you know, I'm going to go way back, yeah. And he was one of the writers, and we had him read, and it just fit that, like it was just something popped. And, you know, there was a lot of, they wanted, they just kept pitching celebrities doing the voice, and none of them really clicked that way. Yeah, not their father, it's not a great.

Actors just doesn't fit the drawings. So it doesn't seem to help that much. Like, yeah, nobody cares when she left the show. So it doesn't seem to help that much. Like, if you could use for a few seconds. Yeah, nobody cares. Once you look at it for three seconds. There are so many movies that have famous people, especially in the 90s, that like after Toy Story, it was like you have to have a big star.

Oh, yeah, that's true. There's so many huge budget animated movies that failed with huge stars. And nothing against the stars, but it's like it's like you get this famous person and this animated designer and there's no thought of putting it I've had all clicks together you know yeah that happens I mean sometimes there is it just needs to be that a llama movie you had a big

well the Emperors new group yeah that was it I remember going in that work and they said that one where I love that one They said my only good reviews You're playing a long I'm a long well, it was the prince and the popper The first Mike might know a little bit of this because he's in that world, but it was a big Disney movie. I think Michael Eisner's that probably was running it So I get brought in I was doing just shoot me

and I play this prince and Owen Wilson, who's your buddy is our buddy, is playing the, I think it was a pauper. So it was basically gonna be, we switch bodies or we switch lives. I'm the queen is Carla Gugino. So I think those are the three people that went in. Oh, she's the voice of the,

she would know, no, no. So we do it for a year and a half. And I'm doing the voice. And it was such an, it was before you got paid, so it was just an honor. And I go, it's an honor. I'm going to get there a minute to try. I think track was an honor and they got paid. So, I literally was making like a little overscale.

And so after a year and a half I go, hey guys, is that a rap? Like, do you got it? And because, because you know they give you pieces of the script. So after a year and a half they show an animatic to Michael Eisner and he he doesn't like it. And there are already millions into it and they say, what else could this be executive? And they said we had another idea where he goes that I sort of like the sarcastic prince. And he goes, what about, which is me? And he goes, what about that he, they had an idea that I turned into a llama

or something, he goes, yeah, do that one. And so another year and a half, we had to change everything again and do it all over. By the end, I didn't want to even go in anymore. I go, I don't even know what we're doing. We're just ad-libbing, riffing, doing stuff. And when I saw it, I was thinking to back, my head, this is gonna be a disaster.

And it was, maybe, I thought it was so funny. I go, God, these guys are good. They know how to do it. They made it work. You know, it's cool. It was a slightly different look. It was one of the first things. You were in it, you wouldn't notice that.

You see, he would know that. I would just go, look at the funny picture. Is that a date? Well, my daughter had, when she was like eight or nine, I think she had, there was a full, oh, sorry, there was a full page ad for it in a magazine that she had pulled out and stuck on her walk. Oh, because you wanted to see it?

Yeah, because it was like, but it just had a different, had a cool design. I thought it was like, it didn't look like the typical Disney from what I remember. Like they had finally started to do something a little different. And it was so fun to do

because I can't even get myself the credit because I would make up jokes and they'd give me jokes, but it was more, they have so much going on around the story with the animation that they make everything funnier and better. You know what I mean? Like even a hotel Transylvania. Everything, it doesn't read as funny and then you see them do it, they know what they're doing. I know.

Just adds to jokes so much. It can go wrong so many ways. It's so, it works, it works. I actually read for an animated TV show once and I think I've been to jokes so much. You can go wrong so many ways. So it works, it works. I actually read for an animated TV show once and I think I blew it because I came into the audition and they said, Mike's looking at the standee, you can come in now. Mike is looking away, you can come in.

Well, now I won't dare you, boy, we go playing down. You're really wrong. Well, let's ask Mike if he met Lauren. Did you ever have to meet Lauren and sit with him and talk to you? Yeah. And when did you get the call that SNL's for you, Milton? Oh, so, well, I first met Lauren.

Actually, when I visited your set, I was on the way. I was, I was my first Hollywood flying me out and being everybody. And then you came to the set. Yeah, so I'd met like a bunch of studio executives and they're all like kind of really friendly. Yeah, we love your stuff. And you know all that. And I'm like, oh my god, I'm going to be him.

This is going to be amazing. And that's, it's like, oh, he's not ready yet. Why don't you go visit the set? That's where I met you. Right. Was I in character? I think I was about to. Yeah, you had to hold the hat. Yeah, it was I in character? I think I was in the outfit. Yeah, you had the whole thing.

Yeah, it was amazing. You had to go outside on. But then I go in and Lauren was in such a foul mood. Oh no. Oh my God, like, and I was just like, oh, did I piss him off or something like that? But he was nice. Producers stuff.

But I was like, he must have something. Some of us had just happened. Cheers to it's a budget thing. It's not a game. We need the AMC Pacer like fucking yesterday. Oh, who is it, Mike? Yeah. So what was that like?

You guys have, so I mean, I was, I was star struck. I mean, it was such a huge SNL fan. And, um, but then, then I met Spade here shortly after and, and I think you had turned him on to the Milton cartoons and then then I was back in New York. I went I went to SNL and met with him and and Jim Downey I think. Jim Downey. Yeah. But yeah that was I was they gave me a office I mean I was in the thick of it with Beavis and Budhead so I yeah I

don't think you're in the office that much right because you just have to go to come by and see see all you guys like normal is a normal McDonald's right at the time right. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. You know, guys, great, you know, like you know, you don't say it's an army. Just have a guy gone what? Yeah. Yeah. I think called miln, you know, I mean put him in a queue. I call right. That you know, we could always find a word and repeat it and just make it funny by repeating it like he probably get amazing He's in a cubicle, right?

That's where you work. Cubicles, yeah It's part of Norm's genius So you're you're part of the team you're making Milton. It's you are your only job to make Milton Is that what it was is Is it a hand insurance? Yeah, but the gaming office there, and at one point, Lauren got really pissed at me. She's, well I was just used to like,

this is interesting. This is interesting. Well, then he quickly, he was quickly very nice, but I had, I mean, I sort of get, I'd sent a story board for two more Milton cartoons and I just hadn't heard back from anybody or something. I don't know what happened. And I was called into his office and he was just like, what is going on?

Where are these cartoons? And I was, oh, sorry, I was waiting for him. And I think he wanted me to be more proactive and it was a huge opportunity. And I think he thought maybe I was blowing it off or something like that. But he was, then he was very, very nice and always was it. Yeah, I did three of, three new ones over the whole season. Did you not like him as much because it was a new crew working on him or did you do him on your own photos?

I did it with two, just two animators in me and we had to work on weekends and I Didn't really have the chance to Edit them as much as I would have liked to I don't know that but I did it did give me a chance to kind of develop the Lumberg character that Gary Colton in the movie where he's doing you know like the yeah All that stuff the The yeah, that means no. And so it was, but like the fourth one I remember liking, and I used some of that material in the, actually office space I think is a, SNL gets a credit in it or maybe Lund does or something.

Yeah. A little one. Is it possible that I could get some, you know, it's an associate, you just wet the beak a little bit. Yeah, I just a little one. It's impossible that I could get maybe my name. You know, it's an associate. You just wet the beak a little bit. Yeah, I just want to taste. So Mike, you so you're very observant. I would suspect that you would probably create a character based on us.

If they said it was Lauren called you, it'd be day-night, it'd fly on the wall, but just animated. You could get you guys to play those characters and do a podcast. We are so busy. I like your career. I like it so. You know, Silicon Valley, it's just it's generally a guy. Your sensibility is infused with things and it's very safe to drive you back up a brings truck to you like

and you know the shitty idea but a generational wealth you know someone needs an operation and you so you must have said no a lot after be even some butthead, you had fuck you money or whatever or success. Screw you. So what kind of what kind of deals came to you without throwing anyone under the bus that you just said, no, thank you. You know, I, I, yeah, there was a few, I mean, there was a, I said yes to some stuff that thankfully didn't, didn't go on. But like, well, the first, I mean, not to throw too many, yeah. Fortunately, there's no clips.

There's some script pages. There was a summer camp movie that, and I never went to summer camp. My parents didn't know. Summer camp movies. But like, yeah, well, that's what this was like. Then that was the first thing that was offered me, and I said, yes. It was like

It was an op it was a offer to Write and direct a summer camp movie That's sound fun and Yeah, and I I said yes, and then I Shouldn't say the title, but I but I was like I did the best I could for that Concept and you wrote an director? No, I didn't know. No, I wrote it and then I wrote an outline and then they got a writer to work on a script and then it just kind of sat in development for a long time and I passed on it based on the script.

Like I was able to do that. On your own script. You didn't. You were writing by the script. You had to write on your own code script. Let me get let's guess the title. I'm going to say summer nights. David. You have your own code script. Let's guess the title. I'm gonna say Summer Nights.

David, I'm gonna say, uh, camp let's fuck. It's a, you couldn't possibly guess the strategy is what it is. Maybe I should just say it at this point. It could have been a good movie. Well, I will say Mike has a high slugging percentage because all this, there are so many things that did work that no one hears about that stuff. And you also have a way to make boring funny.

I mean, to say office space is like a dull boring office and we're gonna make, it started to do genre, basically. It's hard to make that dry stuff that's so boring, not be just boring. Well, yeah, I mean, the office did it later. Ricky Jervais was doing Gary Shanley was around doing stuff like that. And you were. Yeah, Gary Shanley was probably.

Yeah, I was a big fan of Larry Sanders. Larry Sanders, yeah, that sort of, that might have influenced me some, but I was also just like, I don't know, I liked, well, that, I keep mentioning Mary K. Brown, her shorts, the doctor Nagatu, had a quality to him. Like one of them is just, like she's at lunch with someone and there's this kind of base on the table in the middle of them that just keeps getting in the way. And it's like, one of them is really relatable,

like, like, do you move it? And it's like, wow, you don't see that in animation that's really really cool but but yeah the there is you know I mean Seinfeld had been on for while at that well not when I did the shorts but when that for the movie and but yeah I mean the studio they were very gung ho and then when they started seeing the dailies and going like wait this is just boring cubicle stuff you gotta move the camera around you gotta, wait, this is just boring, cubicle stuff. You gotta move the camera around. You gotta do something here. This is horrible. I got to get the talk louder.

I'm really panic. Like, you do like, sit. Was that your first directing live action? And yeah, that's scary as shit. Oh, it was, it was really scary. So that's a commitment thing then, when you're editing it, and you're doing that compression humor

of like holding the awkwardness, where the studio's gonna want, can you pop it around, kid? Yeah. Yeah. It was, it was, yeah, actually, they were really down on it until the first test screening and it was getting big laughs.

I mean, it didn't score very high because it didn't have like the big emotional kind of thinking maybe that, it didn't have, you know, Tom Hanks or whoever, but, but it had that medium kind of like on the cards. There's like excellent. Very good and good and good counts the same as horrible like so. Right.

Oh, you need two boxes. Yeah, that's a top two. Top two boxes. Yeah. That means great or really great or something. And like the top two, if you get, if you get like 75% of the top two, that's a horrible score. Like, you have to really.

It's gotta be 90. Yeah, you gotta really, you gotta be, yeah, it's like an office space was like, it's like 78 or maybe even one of them like 80 in those top two, but like the good, most of them were in the good. There weren't a lot of, if you look at that stuff. You know, and then you have a weird movie like that. How did you feel at that screening when you saw it?

Well before I go and into it. I was I was sick to my stomach like I was like I'd Worked in a movie theater when I was just the ticket tearing minimum wage job And I remember thinking like God I wish I was just someone working in a movie theater right now And this we we test yeah screened it up in West Lake Village outside of LA. But then once the audience started laughing, and I was like, okay, thank God. This is like, because I had, like I don't think any,

the editors didn't think it was funny. Out of the studio, it was funny, like, see it too much. And then you need that fresh audience. Yeah, and I don't know, like, yeah, it was very, I was, that was the most stressed out, maybe,

like especially when, I don't know if you've experienced this but like you know, I'm writing it Oh cool. I'm gonna make a movie and then all of a sudden shit There's 18 wheelers and trailers and construction people building coming up you on this color this color I'm just like oh god I'm what if this is something that just me and my brother and a couple of friends think is funny and that's all and Here's all these poor people construction people working and drivers Shit Oh God

Guys, is there any funny parts? Because we're shooting out of sequence. Yeah, he's like smoking a cigarette I go because we're shooting it out of sequence. Someone said that. Yeah, he's like smoking and cigarette. I go, I broke it. He's like, oh, I'm sure it all cuts together. I go, oh, yeah, I won't see. He's coming.

Oh, God, it's such a horrible feeling. I remember the, we put all the cubicles in this place. We were shooting and the first rehearsal with Gary Cole and Ron Livingston. And it's just like, yeah, I thought I could go ahead and get that, you know, it's a slow scene and I've just me standing there and if you're like, if you're looking down and there's a couple construction people over there kind of going,

and I'm just going, oh my god, I have to, I have to, is it too late? Can I get out of this? Like is it comedy? Can I quit? They do that thing where they get 20 people out of the relationship. Yeah, and, you know, and you stand behind them.

And I remember with a moderator, she just goes, who's heard of Mike Judge? And like, I don't know, maybe like 15 or the 20 people raise their hand. And what do you think of him? And I just got up and left like, I saw one on Diggie Roberts, it said, I generally don't like David's faith,

but this was pretty good. And the girl gave it to me. She goes, look at this. And I go, why would I want to see that? And she goes, that's positive. That's positive. What was that 90s run? You had Dickey Roberts, you had Joe Dirt.

Yeah. But they were low budget, so they all made money. Yeah, they all made money. And then there was a lot. And they quietly make Paramount 50 to 100 million on video. They'd make 60 million on video. It was such a great racket. They didn't cost much to make.

Wait, was PCU, no, that was before. That was my first one. That was, but Jeremy Piven, yeah. That was early. What about, wait, what was the other, Jerry Piven? Tommy Boy and what was the other black sheep? Oh, black sheep.

Tommy Boy, that was a a smash that one really lives on Yeah, yeah, yeah, that one. Thank you. It's just grows and grows it seems like Yeah, that's good. Well, do you have any more? I was watching that with my kids really got him down Thank you my my judge was our guest today Mike was great. Thank you guys. We didn't too long. We got him an hour really really fun appreciate him and You're as nice as they say you are Very talented very cool

I'm assuming and and an incredible observer of humans You live here and Austin is that because I was in Austin. Yeah, I've been, actually I moved back there pretty much full time like a year and a half ago. Yeah, people dig Austin. I like it. It's too hot in the summer. We went there.

We do a live podcast. We do live podcast in Austin. Oh yeah, yeah. Or are you there recently? Yeah, we're there with a guy named James Austin Johnson from my house. We drove by your house and beeped. Yeah. All right, we'll get him out here. Thank you we drove by your house and beeped. Yeah. Yeah.

All right, we'll get him out here. Thank you, Mike. Peace out. All right, thank you guys. Peace out. All right, thank you, Mike. Hey, what's up, flies? What's up, Blaze?

What's up, people that listen? We want to hear from you and your dumb questions. Questions? Ask us anything. Anything you want. You can email us at flyin'thewallatcadens13.com. Oh. Hey, David, do you want to read our question? Yeah, Ali Jones. fly on the wall at katens13.com. Hey David, do you want to read our question? Yeah, Ali Jones, we get these questions

from our lovely- Questions, read your questions. Questions? We don't have a theme from- No, maybe we have Kajaman to it. We got a question. Hey David and David, my name is Ali. I'm 17 year old.

Oh, I like she's watching from Georgia. I wanted to know which album you'd want to be a fly on the wall when it was written. I know what Dana's answer is. Okay, let's guess. Let's play a little game here. Guess I'm gonna guess the answer. I'm gonna say either the white album, Sergeant Pepper or rubber saw. I don't know. It's one that rotates. Oh, it is. An album that rotates and it's named after that. Shit. Revolver. Revolver. God, I was close with Beatles.

It's very close. I listened to the whole canon of the Beatles when they remastered it and I re, you know, I rediscovered Ringo's drumming as genius in Paul's bass playing because you could hear the bottom of the Beatles. And as I went through the whole canon, I don't really have a favorite, but Revolver just pops for me.

There's a raw, I mean, you can know, it's not only sleeping as the first song, okay. What's the second one? Eleanor Rigby. Fuck. You know, we had a few tunes. We sat across from each other. We could put a face in a jar on the door. It sounded funny.

I said, little rig, but we did it. You know, that's how we did it. It's so good. God, am. Yeah, because sometimes you have fresh ears with music like you're hearing it again, because I used to listen music when I started in a beat up old 62 Volvo. So when you get older and get a decent stereo, you go, oh, there was a guitar in that song, you know, because I can't hear it. It's all my tweeters are playing. I have a power Wilkins, go, oh, there was a guitar in that song, because I can't hear it, it's all, it's my tweeters are playing. I have a Bower Wilkins, because to me, a car is about getting me

from point A to point B safely, and then what can I listen to? Because that's where you listen to music. I have a Bower Wilkins, maybe they could be our sponsor, but I'm hearing music for the first time. I heard Tiny Dancer by Elvian John, and it's a six minute masterpiece. I had no idea, it's like I'd never heard of for it, good six minute masterpiece. I had no idea.

It's like I'd never heard of it. Give me that guy, call me. I thought he said, lay him down cause she's a winner. I said that until I was fucking 48 and then it was that which was last year. I knew when I was there when Elton John played marine world and I knew the guy

to clean up the elephant shit before his home and close the tiny orca. Home and go suck down a day. I'm a comedian, I should not try to sing. Okay, so that's thank you, Allie, Fear, and that's your long answer. Yeah, revolver on my side, David, album was. Shit, I would go back to, if I couldn't do any Beatles,

you don't have to. I would do, because I love the Beatles, but I would do some Elvis, I would do High to, if I couldn't do any Beatles, you don't have to. I would do, because I love the Beatles, but I would do some Elvis, I would do Highwood at all. It was Epplin' too. Bowie changes one. Oh, is Epplin' one to be there? Peace, fuck. Dark side of the moon.

Maybe. I want to answer for me and for you. I know. I control issues. And I love Halen and I love, shit man, god damn it, I'm getting stomped anyway all good itch my Shareface said I control issues and I said could I tell you what the next question should be? Good night stupid. All right. Thanks, Allie

This has been a podcast presentation of cadence 13. Please listen listen, then rate, review, and follow all episodes. Available now for free wherever you get your podcast. No joke, folks. Flying the Wall has been a presentation of Cadence 13, executive produced by Dana Carvey and David Spade, Chris Corqurin of Cadence 13, and Charlie Feinan of Brillstein Entertainment. The shows lead producers Greg Holtman

with production and engineering support from Serena Regan and Chris Bezos of Brillstein Entertainment. The shows lead producers Greg Holtman with production and engineering sport from Serena Regan and Chris Bezel of Cadence 13.