Fly on the Wall with Dana Carvey and David Spade - RE-RELEASE - Danny DeVito

Episode Date: July 9, 2025

With Season 17 of Always Sunny in Philadelphia premiering today, we thought it would be fun to pull out the episode we did with the great Danny DeVito! 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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to speak to an advisor free of charge. BetMGM operates pursuant to an operating agreement with iGaming Ontario. Hey David, you remember the show Always Sunny in Philadelphia? Yeah, it's been on since I was born. It's coming back. I'm sure it is. It's coming back.

Yeah, of course. And of course, one of the stars of Always Sunny in Philadelphia is our good friend, Danny DeVito, who we interviewed a little while back. That's right. Danny did SNL with us. Also everyone always said he's a star and it's pretty shocking that a show can still be on the air.

Even though it's really funny, it's just that doesn't really happen as much anymore. Where you have a show- It's like Bonanza or Gunsmoke. Yeah, Simpsons, there's some that just always come back. And so I'm glad it's back on. I'm glad it's still funny. I'm glad it's very edgy. It still gives people what they want.

And I'm glad they get away with all the stuff they get away with because not many shows will try to do that anymore. It's a great show. And we thought, we had a thought, we huddled together with our team and thought that maybe we would show Danny DeVito's interview this week.

Yeah, that's a perfect timing for it. Yeah, a lot of people, they come and go and it kind of goes back in the library, but we put it at the forefront and say, if you watch When Always Sunny, don't miss this episode. It was very funny and he was just very interesting talking about the New York days and blah, blah, blah. So here he is.

I hope you like him. We do. Mr. Danny DeVito. But I was just thinking, doing this in the 1960s, we might've waited for Yul Brynner to come on. That would've been fun. Yul Brynner would be the first guest. Podcast guest in 1965.

We'd follow him up with Steve McQueen. Yeah, he put him on, he does a little dance, does the accent. He talks about doing the jump, but he didn't really do it in The Great Escape. Didn't really, yeah, all the stuff that he does. I had an apartment in New York once in the 60s. I got on the bulletin board of the American Academy of Dramatic

Arts where I went to school. And I was looking for apartments. Everybody was always scrounging for like no money, but we had no money, so they had this bulletin board. Anyway, I went to an address and it was in the weirdest place, it was on Madison Avenue in like 57th or 8th Street. 645 was the address I remember. And yeah.

Wow. And I walk in the door, It's a really shitty building. Now it's all, you know, totally turned into what New York is, you know? And I go in the building, and the first thing I saw was a giant picture of a Buell Brenner. Oh, Oh man. It was a little shitty hallway kind of thing. Anyway, it worked out because I got the apartment. It was the second flight up. It had an elevator actually in the building, but very, very, very, very old school. And of course, sixties, it was 64 or something like that.

So what was your rent? Do you remember your rent? Yes, $50 a month. $50 a month. And it was a one bedroom apartment and the back and the bedroom was a living room bedroom kind of situation. It had a nice bathroom and a kitchen. And the bedroom had windows that looked out over the tops of buildings in New York. It was like if you were doing a play or a movie about New York and you said, like, Bill, me, uh, uh, outside, like what the cyclorama would look like or today with what you would put in, in, uh, you know, the background of your movie.

It was all the stove, you know, the exhaust pipes and the It was all the stove, you know, the exhaust pipes and the tops of buildings and railings and all that. It looked like that you could do. You could do a West Side story on the roof. Did people hang out of the out of their out of their windows going, hey, what's with the fucking noise over here? No, no, they weren't doing that. It was like more like it wasn't like enclosed,

like, like if there were buildings that went up, because in that area, you know, at that time, it was just a top. So you had a great panorama of looking east. But no, you didn't see a river or anything. I was on Madison Avenue and, uh, but to actually have that address at, at that time was like amazing, fucking crazy because I put these other glasses, I see better far away. That's a great, right in the heart of midtown, right? Yes. Right in the heart of. And the thing about it is that at that time, a lot of people don't know this. Madison Avenue and Fifth Avenue were two way streets.

I mean, you guys weren't even born. Uh, I go back. I remember you'll Brenner. I look, I mean, David doesn't know you'll Brenner is. Yes. And you remember him. Yeah. Oh, yeah. I remember theul Brenner. I look, I mean, David doesn't know Yul Brenner is. Yes, you remember him. Oh, yeah. I remember the King and I was a poster. But if you imagine Madison Avenue being a two way street and you know New York very

well and Fifth Avenue also, I used to walk up from 30th and go to 57th or eighth where I lived. And it was a two way street. It was really, there weren't any horses and carts though. You'd be happy to hear. You weren't that far back? It wasn't that far. Oh good. All right.

We're in the modern. Were you walking around with Casting Call magazine? I was doing what we used to get was show business and what they call backstage. You remember those? Backstage. You guys did it all over again. It was just, we'd buy, I was never in the magazine. We'd buy these papers that came out once a week, show business and backstage.

And in there, there would be all the casting that was going on. And we would, you know, we would go to, uh, uh, on the corner. I think it was 47th and, uh, seventh was, uh, Howard Johnson's and, uh, everybody would meet in there. It was like you, that you going in, you know, take up space and have coffee and read the, to see what was going on. And, and, uh, Danny, did you ever find when you audition for these things, the beginning, I found this that you would audition and then you would hear through the grapevine, they

already have offers out to stars, but they're just looking for backups or. No, no. It's always the same case. It's been that since the beginning of time. And the other thing about like I'm talking about auditioning for off, off Broadway, off Broadway, uh, regional theater, anything that you could get. And, you know, sometimes you get lucky and get an audition at the public, you know, and, you know, get a tiny part in Shakespeare in the Park, you know. Like, it's not literally

a spear carrier, but you might have a few lines like I played once I got I played the doctor in the Mary Weiser, the doctor servant, sorry, in the Mary Weiser Windsor, you know, and the best those were the best shows to get because they literally paid man. Oh, was like, you would wind up with $190 something a week in those, at Joe Papp's, you had $200, it was a different contract. No strike needed there. Four months of rent. Off Broadway was great, man.

Off Broadway was $68 a week, $70 a week. Damn. That's what I made on SNL. SNL didn't exist then, did it? Did Lorne Michaels exist? I mean, I tried to help you. Existed. Well, Lorne Michaels always existed.

He was a teenager. And it still exists. There is no one, nothing before. When did, when did, when did SNL start? When did Edsonelle start? That's a good question. 75. It was like 70 something. 75.

Yeah. So I, yeah, that's, so 75, I was already in California by then. I came, I'd gone through off-Broadway and all those things earlier and, and you know, did Children's Theater in Massachusetts. I've done, you know, did all that kind of stuff. And then I, I got lucky in the, in the, in 1971-ish or two around there. And I got a part off Broadway and played Martini in Cuckoo's Nest. Oh, applause. There should be fucking applause. Then I stayed in that play for almost a year.

It ran at the Mercer Arts Center. That was cool. And then Milos saw it and everybody saw it. And I got lucky and got a, you know, me, me and then I got the movie and then after the movie opened, I moved out. Wait, Danny, funny California. My, my question was when you do a play, you're not guaranteed a part in the movie, are you?

No, you're not guaranteed anything in this the movie, are you? No, you're not guaranteed anything in this. There are businesses, you must know this. It's not, there's no, there are no guarantees. There's no anything, you know? Yeah. I mean, once in a while, like for instance, I, you could imagine like Brando, uh, giving a performance like he did in streetcar. And then, you know, that you've got tocar. And then, you know, you've got to be a, you know,

you have to have your head in the sand and not cast him in the movie. So, same thing with, you know, Vivian. They're not going to get someone from the bachelor. And they're not going to like, yeah, he's going to be the first choice. Yeah, I starred in Hans and Franz the musical. Go ahead.

I want to hear more about Hans and Franz the musical. Hans and Franz the musical. What I was going to ask you, Danny, is a philosophical question. Usually when people have their struggling years, struggling years, and then have hyper superstar success, which I'm going to put you in that category. They look back at those early years and go, those are some of the best days of my life. Do you feel that? Or did it suck when you look back on the struggle?

I never, I don't, first of all, I don't, I mean, unless I'm doing something like talking to you guys like, or something, where you don't think about that as much, but you do think those days were struggles, but not the best. Those were the days. I think the toughest part about that getting started was you guys got started, like

when you, you know, you, you, you hit television or I don't know what your history is, but how, how much you did before, before I met you, uh, when I did the church lady, you were so, but, uh, you were there, you were, you were there, yeah. Oh, I remember it. I was there. I was there. Well, you hosted a couple times, just so funny. And when I did that drum solo in the dress, you were egging me on, you know, and that was my best drum solo on television.

There you go. You see, you have to have a coach. You were good. I had 10 years of anonymity before I got S&O. David got a movie right out of high school. But, um... I know, but then I... Danny, thank you for asking. I did a Police Academy movie, Police Academy 4, the good one.

And then I came back and turned something down. I thought I was kind of a big deal. And then I lost all my heat for three years and had to grind it back. And it's so fucking sickening to even think about. But it all worked out. But like you were saying in the beginning, when you were struggling, I think like all of us, you don't really know any better and you know you're taking a risk by going into this world of movies and TV and theater. So you can only really look back and think, God damn, how did I get through that? But at the time, $100 is a lot, you get a little part, it's a lot, you know, you're just sitting with your buddies at the coffee shop. It's such a long shot to make it that it's probably,

once you make it, you look back and go, oh God, that was tough. But at the time it's tough, but I didn't really notice how tough it was. Yeah, you don't notice it, no. You just, well, you're focused on getting a job. So basically that was what was going on with me. I would read those papers that you know, and at the time, excuse

me, in the 60s, I didn't have an equity card. So I just got out of school and like the way they did it was you would read in backstage that such and such was casting something And you go, okay, and and they're casting over on 57th street You know by carnegie hall somewhere near one of those buildings down the block whatever it was and Casting was you know Say tuesday. Okay, but you didn't get in Until the end of the you got it. If you didn't get in until the end of the, you got to the, if you didn't have an equity card, they saw everybody, you know, they would, they're, cause everybody's

looking for the right person to play the part, hopefully. If, and especially if they're not, you know, I mean, maybe they already had the lead cast or that's the way they raised the money or those things. But you would wait up in the, go like three o'clock, four o'clock in the afternoon and maybe the line was less and you waited and then in the end, the very end, they would let the non-equity people get in to audition, and then they'd see everybody. And as a matter of fact, the first play that I ever got, I did in, I think it was 1968 or so, seven, the first off-Broadway show. Because I had done regional theater.

Well, I toured with a play once that came out of school that was kind of cast in. We went to two theaters. We went to the Eugene O'Neill Foundation, where they, the playwrights thing, and 60 something, 64. And then like in 68, I actually did that. I went to one of those auditions and where they make you wait until the very end. And I peeked my head into the, you know, it was this big, big door and

one of those big old pre-war buildings in the, like it was on, I think it might've been on like near 57th street. And I walk up in this giant door and there was nobody there because I had gone and come back. The line was really long. And anyway, long story short, I stuck my head in and there were, there was, a director, and a writer, and a producer sitting at a table really far away in this big, empty room. It looked like a rehearsal room. And I just popped my head in. And you're still seeing people kind of thing.

And the actor, a guy named Alan Garfield. You remember, you know Alan? James Garfield's son? No, no, I don't know who his dad was. His name was Alan Garfield, but he was, you know him, Dave? No, I know Garfield the cat. Okay, anyway, the guy literally at the table, like across the room turns around and

said, that's the guy who should play the part. Whoa. They were trying to talk him into, yeah, he didn't want to do this part. It wasn't a huge part, but it was a good part. And I stuck my head in the door and the guy and the actor, not the director and the producers and the writer or whatever. He said, there's a guy who should play this part. And I, I backed out of the room or something. And they came and got me and I went in and I read the lines, did the thing. I didn't, I didn't, I had

never seen the script before. Just those things where they give you the sides. Yeah, and I got a part in a play called Shoot Anything with Hair that Moves. Of course. Huge success. Hit pause on whatever you're listening to and hit play on your next adventure. Stay three nights this summer at Best Western and get $50 off a future stay.

Life's the trip. Make the most of it at Best Western. Visit bestwestern.com for complete terms and conditions. MSNBC Films presents season two of the hit series from NBC News Studios. Leguizamo Does America, hosted by John Leguizamo. We're going to connect with some Latinos, eat some food, and do a little dancing. Join him for six new episodes as he explores the Latino

experience in six more iconic American cities. I'm here to meet with some exceptional Latin people leading the way. So come on, let's go. Leguizamo Does America, all new episodes Sunday at 9 p.m. Eastern on MSNBC. I just think of the 70s in the films of the 70s and Cuckoo's Nest and of course that play. Yeah. Don't shoot anything that has hair. And the friends that you made, Jack Nicholson and Michael Douglas and your class, those

seventies guys that all became and their lifelong friends. What's the deal with those guys? Are they fun or do you like them or Jack Nicholson? Yeah, they're good to work with. Yeah, Jack's the coolest guy out there. Jack was like a guy from Jersey. He actually lived, he was born in the, we were born in the same hospital.

Figure that. Like down the shore. Well I'll be damned. Well hey. I'll be damned. How about that? That's what Jack would say. I'll be damned, born in the same hospital.

Yeah, how do you like that? Me and Dave born in the same hospital. I don't do a good look from my accent. Let's see. And then Michael, I met, I met actually in the sixties at the Eugene O'Neill playwrights conference up there where we, where that play that I was going through town with, we opened the festival that year and that's where we met. Not only good guys but really fun to work with and once we got going, we had a couple of shots to work together, which was really good.

It's good when people are looking out for you because the business is very difficult and when people are looking out for you as well as as, you know, your, your buddies and know what the scoop is, then you, you know, you'd be fortunate to have those guys as friends. You're lucky you're all good too, because it's, it's, it's hard to help each other out or recommend someone, but if everybody's good, those, you know, all three of you, so it's not crazy that you would all be in another movie or that you would work together because you keep bringing it, which is hard to do.

It's all about work, the work, right? Yeah, just keep working, yeah. Keep having a good time. Because our theme here, Casually, SNL, and you hosted five times. It's very rare to host five times. Five o'clock, you and John Goodman and a couple others, when you host that show, as you know,

you gotta pretty much cold read 55 scripts over four hours, basically. And I remember thinking the time when you came in in 86 or 87, damn, this guy can cold read. Was it, were you known for that? But you were like nailing it over and over again. I don't, you know, pretty cool to watch as a young performer. Well, it was a lot of fun to sit in that room

with all you crazy people and have that pile of scripts in front of you and just go through them. And I mean, that that's like, uh, you know, the opportunity to have everybody there pitching what they thought was best best and what you felt comfortable with, that's the main thing I think that's key, right? For would you say like for the hosts to be comfortable with all that material, pick the ones that are the ones that suit you best. It's a lucky thing to have that pack of troubadours all sitting around the table.

It's like old school showbiz. Yeah, old school. I could imagine what it was like, you know, when the Marx brothers were running around all the theaters trying out material, you know, that that would be the same kind of thing. They, they, they just go do, they suffer people through two hours or three hours of material and then pick the ones that they like less. Yeah. suffer people through two hours or three hours of material and then pick the ones that they like best. Yeah, Jerry Lewis and Dean Martin did some TV shows in there, Don Pardo showed me, they said to me,

and they would just go up to the director and cut his tie off with a scissor. This is Jerry Lewis in the 50s. And they would both just push the piano over, like destroy the piano. They were the anarchists then, they're crazy people. But one thing about you, I have to say, so we get to it, was on Hans and Franz,

when we got you in there as like a pit bull over the top Austrian guy who was out of his mind and you kept, we would berate the audience, the imaginary, and you would start berating them and then start attacking the camera and we had to keep holding you back. That was one of the funniest moments I had on that show with you in that sketch.

Yeah, hysterical. Because you committed so fucking hard. Yeah, I think sometimes the task of the director for me is sitting on me, holding me back, getting me away from the, just try to turn the burners down a little bit. Once I get going, I guess that's what happens. Burners down.

It's what happens that way. Well that's what Arnold told me about you. He said, you know, you got to keep Danny on his feet. Keep Danny on his feet because his energy goes up. You have to keep him on a short leash. A short leash. Otherwise he gets going, he gets away at the leash. You have to follow him and get him and bring him back into the scene because their emotions get so high with Danny.

It's funny about it. With Arnold, Arnold and I were thrust together by Ivan Reiman, who just passed away. Twins. He called me and said, how would you like to be Arnold Schwarzenegger's brother? I said, I'll jump at the chance. I thought that was a great idea. Once we got together, it was like we had a great chemistry, we're breaking balls constantly.

It was like a kind of like, he's so formidable, you know, and like, and he's got a great sense of humor. He does have, like, he's always doing all kinds of like, you know, crazy ass shit. And he always had a pack of guys around him, like, uh, Franco and, and, uh, Franco Colombo, Franco Colombo. Yeah. And all these guys and these other bodybuilders. And so it was like a pack of, it was like a pack of bros. It was similar, you know, going into like that with the, you know, as a host of Saturday night live, going into this pack of like crazy people that were always, you know, that had a secondhand, a shorthand, and got along the way you guys did. At least

when I was around you, we were always fucking around, having a good time. And so it was a similar kind of thing with Arnold. I'd go in and there would all be these guys seriously pumping iron and doing shit and, you know, talking about, you know, and I just like, you know, when you get protein powder, all of a sudden a kind of a wrecking ball comes in and starts banging into, you know, it was fun. It was a lot of fun. Were they going to do a triplets? Yeah, we were going to do it. And then, uh, two, this is the, uh, I always go by the super bowl because

it was, I was in Atlanta, uh, doing a movie and, uh, and, uh, it was super bowl Sunday and I was just get getting over COVID I was stuck in a room for two weeks and, and, uh and the news came that Ivan passed away on that day. And so this is going to be three, this is three years now that he's gone. Two, yeah, three years, two years. Yeah. Okay. Brilliant director. Yeah. It was a drag. He was, you know, he's a lot of fun and, and made, made a big difference in my life. Well, yeah, I was told that we were going to do triplets. We had a, we had a script going, everything was going, and then when he passed,

his family didn't want to continue with doing it. So we're, Arnold and I are working on other things together. Good. And you know, that's awesome. We love Arnold. You know, and I- The way things, yeah, he's a cool guy. He's a good guy.

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I had, we had a great group together and he was just off the charts. Bananas. Hysterical. I mean, that energy in there was like, that's the way, you know, the way things, things, things go, you know, like, um, they, you know, you have to always adjust as like we, we do. Did you have the role that got away, Danny? Uh, or maybe a conflict? He had to do another movie instead? No, I didn't. I had one of those that

that was really substantial that you know you could look back and say, I've had roles that I desperately wanted and got, which I had to work hard to get. If you can't imagine, how everybody holds out, you get a part, somebody says, the last minute you get a partner somebody says the last minute you get a part and it's the one you wanted and that that's really the ones I think about once it got away I don't know I can't you know were you going to be Costanza

No, no, no. I think like you mean like in Seinfeld? Yeah. No, I wasn't. They just, yeah. When, yeah, I was still, I don't know what I was doing at the time. I, but I did a movie. I did a movie called The Ratings Game. Which is was done for Showtime. It was the first movie that I directed. And. And I cast in that movie. As a it was one of his first things on camera, Jerry Seinfeld. I don't know if he had done anything before this, but I cast him as an agent. And coincidentally, there were a couple, really wild characters in the movie.

I cast Michael Richards in the same movie. Oh, really? Yeah. Wow. I didn't know that they would later be teamed up in Seinfeld, but this was like in, it was in 83. When did Seinfeld go on? Look, 90, 93, 234 three, four. I'm sorry. Something like that.

So, so 10 years earlier, I did a movie called the ratings game and, um, both Jerry Seinfeld and Michael Richards were in it. Did Jerry ask you questions about a direct? How do you want me, how do you want me to play this scene? Did he ever say that to you? No, no. I don't know.

He's pretty kind of serious in real life, I think. By the way, which Batman did you work with? I can't remember. Batman Returns. Who was the Batman again? Oswald. Oh, no. Oh. I love Michael. I do. I'm not just because you're on our

show right now. I love your penguin. I loved it. You're you're Oswald penguin. I thought didn't you have fun? I mean, your your get up was so crazy. Yeah, yeah, I had I had fun doing that. That was one of the ones that I really wanted. And I met Tim and we had a great conversation about it. And I knew he had done a lot of drawings. And we sat in his office and looked at it and I really, really wanted to play that. And the makeup was the first makeup was I was in the chair for almost five hours and then we got it down to three but we stayed around three and change and it was amazing. And it was the thing about, I liked about that was, like I said, I liked to go big. And boy, oh boy, Oswald was written like an opera. I mean, he could go, you could take this guy,

you know, I mean, he just, he was slapping his flippers off the walls, baby. I mean, your bird. He was the wicked witch. He was all of it all in one. Yeah. Yeah. Yeah. And that was after. Okay. That was after I'd work with. I did the you know, we did romancing the stone jewel of the Nile Gray and then or the roses with Michael and United I was just about thinking about what we were gonna do again because I was trying to

Pull a fritz lang, you know where you as a director you asked Yeah, you know the same people in the in all of your movies, but they play different parts. And and then Batman came along. And it's odd the way things, you know, emerge. Most of the movies that I've done, you know, came out of the blue. And I was very you're very fortunate. You know, I was I was going to direct a pilot in I was sitting in the commissary at Paramount and I was just about to make the deal. I was talking to the writer and I was talking to the producer and it was at Paramount. I was directing this pilot and I had a yellow pad full of notes about the pilot script and I knew I was getting really steely daggers from the writer who was also the producer.

This was in the days we didn't have cell phones and stuff. A woman from the commissary, I was in the commissary all the time because of taxi, that's where we shot taxi. She came over to me and she said, you have a phone call. It was like the old Hollywood day. She didn't bring it to the table, but I got up and went over to where the phone was., it was Michael Douglas. And, and, and, uh, he rescued me from doing that pilot because we had shot romancing the stone already. No, yes. We're missing the stone.

And he said, what are you doing? I heard you're going to do a pilot. I said, yeah, man, I'm struggling through this meeting right now. He said, well, you can't. We got to go on the road, man. We're going all over the world to promote the movie. And I said, I love you, baby. Yeah, get me out of here.

I love you. You rescued my ass. All right, I got a question. Go. Did you ever go see, you were on a show called Taxi, you might not remember, but did you ever see Andy Kaufman go do standup, just like at the Comedy Store?

Yeah. And how was that? That was bizarre. Yeah, bizarre, man. But I went to see him do that and I saw him, and I went out to eat at the restaurant. He waited. He busboyed out in the valley.

It was after he was on. Yeah. Wally was on the show. He busboyed out in. I love it. On. I think I'm not sure. The valley.

The deli. Yeah. It was a good. Might've been cats. No, no. What the hell?, the valley and the car and the car and the juries

and the juries is a that's probably a of art. It was Jerry's. Yeah, Jerry's. Yeah, that was that was that might have been in Jerry's. Yeah. And, and, you know, we went out, we had like, a couple of us from the show, I think Tony might have been with me. And Judd Mive come. We just one night went out and we knew he was working. So we went Nate and had conversations with him like you would have with the busboy. Not Andy.

Andy is nowhere around. All right. He is the busboy now. He was the busboy. It was really great. That guy was like, we had some fun. His dressing was right next to mine. He was hysterical one day, somebody was delivering a package and it was a woman and he started yelling at her because she was, I don't know, UPS, so I can't remember what,

maybe it was the government. I don't know what the fuck it was, but she's walking in, she's got a uniform on, she's delivering a package to somebody, and he tells her that she should be home, you know, she's taking a man's job, and he walked her into a wrestling match. I was there for that one. Right in the hallway, both of them turning red, you know what I mean? Like, choke holds. We had a breaking part a couple of times. You're so slow, woman. You could do that crazy. I don't think you could, actually. I mean, you could do that. You could do, yeah, I don't think you could actually. I mean you could do that. You could do. Yeah. I don't know.

There was no like, you know, again, if that was a, it was, that was today, somebody would be out with a cell phone and the next thing you know, it would be online and people will comment about it and they would say, you know, but I'll tell you the woman that he was fighting was as big as he was and she did a good job man. He had his ass down big time. I don't know if Tony, I always wondered if Tony always had a little camera with him dancing and I was wondering if he, you know, I have one of those little, oh, he's had a can quarter.

Eight millimeter. Sucks, you can't get. Were you cast before Andy? Were you cast first or did you have any hand in the casting? No, I think Andy might've been cast. I was the last, I think I might've been one of the last members to be cast. And the story was that I was told later was that my part was actually written as like

a voice that came over the loudspeaker, kind of like Carlton the doorman. Yeah, I remember Carlton the normal, the Nat guy. And, uh, and then, uh, ultimately, you know, I came in and did my famous audition where I, I said, uh, I said to them before I, they just introduced me. And I said to Brooks and Weinberger and they stand in, Dave Davis was there, all the guys sitting around. I said, one thing I want to know before I start, who wrote this shit? And I threw it on the table. And it was like a split second of like, am I going to get thrown out? Not even, you know, a nanosecond where they didn't do anything and then they just fucking

pissed themselves. Right? And then it was one of those auditions where you couldn't say anything, you couldn't do anything, then they just fucking pissed themselves. Right. And then it was one of those auditions where you, you couldn't say anything. You couldn't do anything wrong. I'd say, and, and I'd get a laugh. It wasn't, you know, it was the, that was the, the, the casting director was Joel Thurman. He said, you got to come do this.

You got it. No. And I say, yeah, man. Okay. Cool. What a fucking score. That was such a score. That was, yeah.

Yeah. What was weirder working with Andy Kaufman on taxi or then doing the man on the moon with Jim Carrey doing any coffin? I think we're with Jim was, it was like really off the charts. Most fun. Like was the most fun. I've had fun on, I'm really fortunate. I had fun on a lot of the movies. I never had one of those, oh fuck, that was awful movies.

I always had these really quirky kind of things. Being on the set with Jim Carrey, sorry about that. Hello, Jim? Being on the set with Jim Carrey, sorry about that. Hello Jim. Jim Carrey was, oh it is Jim. No, I'm only kidding. He was like, in so far, you know, all the stories, he started a documentary. I was producing that movie, and so, but also playing, God his soul george shapiro anyway

He was busting my balls constantly and you know and milo She's then see it's infectious because then what would happen if we were having fun But milo should go to me You gotta go to my trailer. I'm losing time my guy. I gotta get You know, I am the studio is going to be on my ass. And I'm going, Andy, Jim, Tony, Tony, Tony, come on out. And he's gone, you know, but it was fun. It was even though it was like, you know, and I've got a lot of friends who worked on that movie. And we still talk about that experience

because Pam Abde was my assistant at the time. She was there, knowing that I was going through what was going on. I mean, he did things like, okay, we're acting in the movie, but I'm also the producer, one of the producers of the movie. And so he would get mad at the, and he like, he pulled his car up to my trailer and went up, you know, there's got the little metal steps. Yeah. Trammed his car up, put it in gear or something, locked it, took the keys. I couldn't get out of my trailer.

Teamsters had to come with a crane to get the car. You know, it was like one of those, it was a crazy, crazy time. I love Jim Carrey. Jim Carrey is fucking great. Just the fact that he committed that. Did he get nominated for Best Actor for that? No, I don't know.

We had a really, he was brilliant in that part. And, uh, you know, uh, and, and seriously, uh, uh, would turn it on and off when he wanted, so that was like one of those things where whenever he came to the set, he was always in character. But if you see him like, you know, you know, off, like I went to his house or something like that for a meet, you know, some thing. He was like, cool. He wasn't, you know, he wasn't like a serial killer off the. Yeah.

Yeah, he's very sort of a quiet, sweet guy. Yeah. Quiet, sweet guy, but then turned into like Tony Clifton. I love it. Which was like- Well, Tony Clifton is a whole other- That was fucked up, man. Yeah.

That was fucked up. We shot at a place called Chasen's down on- I remember that. That place. Okay. He spread, there was some kind of, I don't know, union strike or something, there was something going on. He wrote like big letters, like, you know, in red ink,

I mean, red spray paint all over the building. I had to repaint the entire building. It's like a Farley. It's like having a crazy person on the side. Yeah, Chris. I can't imagine what it was. I always loved Chris because he would take it to that. He was always the one. Same kind of thing.

Just a lot of attention, a lot of craziness, and uh... Chris. ...lovable, sweet guy like Jim. But they really liven things up. There's always a story after the fact. There's always a story. matter most? When your famous grainy mustard potato salad isn't so famous without the grainy mustard. When the barbecue's lit but there's nothing to grill. When the in-laws decide that actually they will stay for dinner. Instacart has all your groceries covered this summer so download the app and get

delivery in as fast as 60 minutes. Plus enjoy $0 delivery fees on your first three orders. Service fees exclusions and terms apply. Instacart. Groceries that over deliver. Zayna, I got asked, uh, Danny about, uh, always an, an always sunny question because we can't let you go without talking about always sunny. Uh, one question of mine is I don't see all the episodes, but I see a lot of it on Instagram, which I don't know if you know this, but when they show TikTok and Instagram clips, they're always so fucking filthy. I'm like, are these from the real show? Are they getting away with all this stuff?

Are they filthy? I don't know. I don't, I don't. I mean like just they're very R rated. And I thought, yeah, the show, I mean, people love that fucking show. They love it. The show is a little, uh, you know, I don't know what you're talking about, but we have had some innuendos. Yeah, there's some innuendos for sure. I'm not sure if they're even innuendos. They're just straight ahead.

But yeah, it's so funny and it's it's such a long run It sounds like a gift. I'm sure just like it's a good thing with fun. They all look fun as shit I don't know that well, but no, they're all they're all you know When I got this show That you know Landgraf was my buddy and he showed me this show. FX, right. Yeah, I forget FX. And then I met them and they were, you know, just the way they are and the same cat, you

know, the three oddballs. And then I met Caitlin and she's like hysterical. Hilarious, yeah. But yeah, they're a lot of fun to go to work with. Yeah, it's a good job. It's been on there forever. It keeps giving. Keeps giving. And now Matilda we have to talk about.

Yeah. Matilda came to me. Yeah. Which you directed the movie. I did, I directed the movie and I saw Mara Wilson in the movie Mrs. Doubtfire and she was a little bit older when I met her, perfect for Matilda, and we shot the movie and it was great. We had a great time.

That was great. We had a great time. That was like, that was fun. That was a hundred, hundreds of kids. There was no CG. We added kids and all that stuff. Yeah. Yeah. Yeah. Real kids. It was really great. Me on the stage with a bullhorn. Yeah, do this, do that. You know, like, and get your finger out of your nose. We're shooting. Okay. Wrangling cats. Yeah. Yeah. And nose, we're shooting, okay? Let's go. Wrangling cats, yeah. Wrangling, yeah. And so now we're doing it on, we've taken the sound out.

You've seen these things. Everybody does it with ET and does it with Star Wars and does it with Back to the Future. I took the soundtrack out and David Newman is gonna conduct the Philharmonic, it's a symphony orchestra, New Jersey Symphony Orchestra and we're doing that. Here's the thing, you take the sound out, okay, not just the music out, but I narrate the movie as well as play a part in it. So when I'm narrating, I'm on stage actually with the symphony orchestra, it's really intimidating.

But it's really a lot of fun. Yeah, and you're watching the streamer go by and get a little monitor with the movie. He's conducting the score. The people are watching the movie. I've got a brand new print and it's just beautiful. The print is like gorgeous. And then when the stream, when it's my turn to narrate,

and talk, you know, he conducts, it's like being conducted. Over it? You talk over it? Yeah, well, in the movie, I play the part of Wormwood, Mr. Wormwood, and I also narrate the movie. So I tried to find somebody to narrate the movie, but being the egotist I am, I couldn't. Yeah, embarrassing.

I couldn't happen to anybody else. Cast yourself. Cast myself. And it's kind of a trip to see, you know, you play the part, you're narrating the movie. And I've got, uh, Ria of course plays Mrs. Wormwood. She's going to come on the 22nd. And, uh, and I've got Pam Ferris coming over from England. She played the trunchbull. It's really astounding how many kids love this trunchbull. Miss Trunchbull. she was great, really. Yeah.

Really tough. And Mar is going to be- By the way, I don't hear about a lot of these things, Danny. You don't hear about the symphony, maybe with a Star Wars or something, but this is a really interesting thing to do. Yeah. Yeah.

Fun, challenging situation. Yeah. And I'm, David Newman, who wrote the score. We've, we've done this once before. We did it once before. Um, we did it a few years ago, uh, with a, a orchestra of the East Coast, not, not New Jersey, and it worked out really great. It's fun.

It's, uh, it's a, it's a fun night because you get, you know, but you're right. Usually it's done with more like Back to the Future-y kind of E.T., blockbuster, crazy movies. This one is, it's got a lot of music in it, so it's fun. Who wrote the score? David Newman. Yeah, the Newman pack. As soon as the Newman's were born, the father was the head of 20th Century Fox Music, did a lot of the scores of all the old movies that we love. And his brother, they have the whole, you always see the Newman name on and then David, David scores, Thomas Newman, Randy Newman,

they're all related. These guys, they were all like, as soon as they're born, they give them a violin or a little baby. The first thing the Newman's do. Yeah, even Eric Newman is his son, Randy's son, produces Narcos, a lot of movies. So everyone's in the biz. Yeah, everybody's in the biz. So this should be a really good night. Sounds great. Yeah, are you guys in the East Coast?

Are you here? Sometimes. We are in California, but if I was out there, I'd crash that party. episode that you loved with a friend. If you're watching this episode on YouTube, please subscribe. We're on video now. Fly on the Wall is presented by Odyssey, an executive produced by Danny Carvey and David Spade, Heather Santoro and Greg Holtzman,

Mattie Sprung-Kaiser, and Leah Reese Dennis of Odyssey. Our senior producer is Greg Holtzman, and the show is produced and edited by Phil Sweetek. Booking by Cultivated and Exhame. Special thanks to Patrick Fogarty, Evan Cox, Maura Curran, Melissa Wester, Hilary Shuff, Eric Donnelly, Colin Gaynor, Sean Cherry, Kurt Courtney, and Lauren Vieira.

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