Fly on the Wall with Dana Carvey and David Spade - Rob Schneider (Part 1)

Episode Date: August 10, 2022

Childhood trauma, Bay Area stand-up, and Elvis in Japan with Rob Schneider. Tune in for Part 2 of the conversation on Friday. 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. Dana, this is Rob Schneider, our good bud who, I can't believe it's taking this long. We got Rob on. He's one of our pals, we're growing up, send a million other things.

Orgasm guy, sensitive naked man. You remember that one? Oh yeah, it was funny. It was a bookie. So I'm gonna ask you, I'm gonna tell you a quick story. Do you wanna hear about my monkey's audition or my Lauren phone call or my mom's? Well, let's start with the monkey's audition. Okay, that's, I'll just do one for this intro.

Okay. Cause we gotta talk about Rob. Unfortunately, it's not all about us. Which it usually is on the podcast. Well, thanks, Gast. That reminds me of a 22-minute story. It's like a long joke. Two narcissists start a podcast.

The guest is the whole time, like Woody Allen going, if I could jump, I had a quick question. Just maybe an anecdote, sure, you know, because, yes, you know, you kind of swallow and smackly lips, you know, because, you know, I'm allergic to podcasting, you see, because, because I don't need me to be didactic of ceaseless, but as of this moment, I'm having a set of words.

I know it's got an hour 20. He went to dinner at his house and he said, would he have five hienigans in a row? Fuck it, hey. Never use the bathroom. Never was intoxicated. And the guy said, Woody, you have five Heineken's, never used the restroom. He goes, yeah, it's my special talent. That's true. It's hilarious. That's that's more for word true.

Okay. So I'll do this one in the next one, Monkeys Audition. But this one is Rob Schneider. What can you say? He's got a career. He's got movies. he's got the hot chick, which had a razor mackatoms. Kind of not discovered, but you need an anaphyrus and a razor hadoms. Yeah, the thing about Rob, which I, it was fun to revisit that he is quite a storyteller. Yes. And you're going to enjoy this episode because he takes his time. One of the reasons the episode went so long

says he's such a great storyteller and he would, he'll come at these things comprehensively, like this part, that part, that part, and get to it, which was really nice for podcasting. So so much fun and he sings. He does a lot of funny little accents and stuff. He has a million accent. He has so many characters and accents. He breaks down his catchphrase, Adam Sandler famous catchphrase. I read for that, Dana. Furt, you can do it.

Yeah, I go and I go, you can do it. I did it like too dramatic and Adam was like, thank you, we'll let you know. I, you know, my thing, I went and read too. And I just, I just, what you do? I went a little sexy. You can do it. Really?

And it was screaming at a football game and that was a choice. Yeah, I just didn't read the script. I just want to go, you can do it. I go, I read the script, it's fine. I watch great car v, but next time, next time, maybe, maybe skim the, just a page of the script when it says stadium full of people. No, I did not read for you could do it, but Rob,

he's the only one who could do it. Copping machine, we'd go through that. It's great. Massive everyone, Harry and Ilkantori, we break down those, which I haven't. The big news, which I shouldn't say. Didn't you write fucking Massive everyone here? I, it was his.

I'm sure you know, it's, then people would chime in, but the, it was Rob's and he will tell you I thought it was Stories about what happened at the end of mass mass of head wound hairy because what happened was a little incendiary Involving an animal and there was a method to the madness. How's that for tees? I'm teasing more now and this one's a two-parter and or as I call it a two-fararter. No, I don't. Actually, I don't say that. This is all, this is great you're in here. These are just really fun because I can get a sense of you, you know, like if something's

wrong or you're bored or you're suppressing a yawn, your eyes darting. That face that says, why did I say yes? No, I can't start it. It's going. Okay. Oh, we're already halfway done. Oh boy. Wait, can I use that?

We're almost done. One last question for Rob. I gotta go to the bathroom. I'll be back in an hour. I'll deal with this guy. You, there's one down here, dude. So many thoughts are flying through my head. Go to bathroom 38, it's straight across.

So many thoughts are flying through my head. You to baton 38, it's straight across. So many thoughts are flying through my head. You just have to feel the questions. It's easier. I'm away here. You know, I'll wait for Dana to come back. But like, I'm like, I'm not allowed to do anything.

Hurry Dana. No, the thing about you, David, was you had a, you will unlike me. I would go to life and like, there was like a very Asian thing very Chinese thing And I worked at didn't move it with a John Clawed van Dam in China. It was a different Thing and this is gonna come back to you eventually, but what happened was if there was a In the the Western world if if there is a

A problem you look at it and go, okay, well, these are the tools we need. This is how long it's going to take, and these are the amount of people we're going to get. Now, in China, it was the exact opposite. They'd run to a place with the people that they had, figured out what the problem was there, and used the tools that they could.

So it was, in other words, it was like, a lot of things blowing up on set, you know, and like, you know, the generator or whatever getting rained on and blowing up. And so, but you figured out things quicker. Like, for instance, when I first met David at an acting class here in town, you kind of figured out where the good looking girls were. And then you also had had, instead of like, when I moved down here, I moved into like a dump.

And then you buy the one piece of furniture. And then I went to your house and you had a scam worked out way ahead of time, which is like, you moved in with a really good looking older woman, you just rented a room in her house, and the place was tricked out already. Oh right, she had a beautiful couch. She had like, first of all, a couch was like a big deal to me.

Yeah. Nice. And then you see, had stuff on the walls, had nothing on the walls, you had a refrigerator. And you just worked out this delicate situation with her. And I was like, holy shit, I would have never figured that out. It was, I was looking to pay that. That's what I was looking to pay for. I was looking to pay for places to live.

And on my own, I couldn't click and get one. And it was too expensive and then hers was $400 but she already had a two bedroom. So I just went and met random people and then it was in T'Luca Lake and it had a room. She had the big room and she had the whole place beautifully done. I would just walk in, skim through the kitchen, you could keep stuff in the fridge, she was very nice and I'd just go in my room. So that's all I needed. I had a room with a bed and then a little desk and then a TV in the corner.

So I could right pick up the phone, hear your messages and then sleep. So that's all I needed. And it really- She was also a very attractive- She, yeah, that was older woman. And when I say older woman, 30, which is like- She was like, older us.

Yeah, that was like a crazy old girl. It was like Mrs. Robinson. Yeah, and we and I never even thought of anything in this out, but she was she automatically to pretty shoes and actress and she was four or five years older than us six years seven years old. Yeah, which is a huge which is huge and big jump. I could it was weird to talk to girls. Our age we had no confidence back then and we were just like, and she was so great.

But then I think the day I left, she's like, oh, we never dated. And I was like, you could have said something. I was day there 11 years. We know what. I said they're all going SNL. Mary Lou Henter, who we're talking about. I said to me, can I set the scene for 30 seconds?

You know, I do this for the audience. So this is a trifecta of people who've known each other for a long time. We'll talk about Rob and I doing stand up in San Francisco in the early days for him. He was like at eighth grade. I don't know, but he was always great. And then how I intersected with you at Nios

will be set in the podcast. And then you took hooking up, Dennis Miller gets in there, next we know, I get on SNL and then here come Schneider and Spade. I just want to set the cable that we've known each other long time. Yeah, there was a thing, but because we were on,

I mean, I want to get to the Dana track of it all. I'm going to interview you guys. The, but you had a way of figuring things out. And then what I, what I, one thing, because I've been listening to the podcast was the psychological makeup that for people who get, for comedians, who get on SNL.

And like I've been like, interesting. Deep into this kind of, well, I would call it like emotional, damaged people. I'm like, consider myself a doctor. It's like, yeah. It's like, it's gotta be one parent who's missing, unavailable either physically or emotionally,

and another one trying to make up for it who's also got a problem because he's with somebody who's emotionally and physically not available. And so that was the kind of the client. Wow, that was mine exactly. There is something about that, like, you know, who's not available. And so that was the kind of the claim. Wow, that was mine exactly. So there is something about that, like, you know, who's not there. And it's just depending on who, you know,

like that other parent tries to make up for it and can never completely. But at the same time, like also the youngest person in the family, you know, there's the thing about the youth, or you know, sometimes it's an older one who felt like they had to clean up for everybody else in the family. There's a weird thing though, where like, you know, there was missing something, so you

felt like you had to go out in the world and try to get it. So gross, but pretty accurate. What about the, and then that begats presumably and see, if you have dysfunctional parents, you become the adult in a way and then show business, which is an emotionally violent sport, because I want to ask you guys, like, yeah, you bomb that night or as SNL persons there and you don't do well, you just go through a landfill and then who, it's a Darwinian thing,

like who survives the Game of Thrones of early standout? How do you not give up? Yes, it makes friends. Other people up the food chain recognize, in your case, your guys stood out from all the young comedians on the tier below me and for your writing and everything else and like how did you deal Rob? So you how did you fight through this or were you like how did you get on?

I think it's an combination of extremely vulnerable and extremely hypersensitive. I remember when I was in second grade because you know my mom's is was Filipino she's passed away. Asian and a really tough war survivor. And she was, and I've threw therapy through Dr. Gabor Matay, who's an amazing Hungarian therapist. He's like, it's like, he would call it generational trauma. In other words, that's past non-sue. I didn't even realize about this.

So, but we would eat weird things. And my friends wouldn't want to, they wouldn't come over to the house twice. You know what I'm saying? Once you see somebody's mom sucking the eyes out of a fish and crunching it in front of them, literally go back for that second meal. That's it, so that's them.

And so that's what happened to fish. That's where it grew up. So it would be like, you know, you go over here with the friends, they weren't like heads, you don't go to place, and there's like, you know, the head of a fish there. I like the head. On the head of the shrimp and stuff. But I love that, but it was embarrassing.

You know, You were taught to love it, and you didn't even know what you're eating. Is it okay for you right now to do your mom taught, explaining that to your friends? Like, how she sounded. I'm in my feed, and this is very harsh.

That's what I was doing. It was literally like my whole child was Robert. It was just literally like just, just, if not physically, emotionally kind of jumping back. But I remember being in second grade, being at the tide pools, because that's what you do if you're a California kid. Yeah.

They don't take you to the zoo, that it's cheaper to just go to like the ocean and see if there's anything over there. The Pacifica. And I, yeah. The Pacifica. So once you're. So you're from the Pacifica. So once you're the tide pool, and then I remember picking up one of these things,

we would eat, you know, it would be of an Asian thing like a little clam or something. And I said, this smells good. I can eat it. And I remember the tea was in it. Yeah, Robert, that's disgusting. Put it down.

And that's when I realized, he said, at seven years old, I said, I am way more sensitive than any of the other kids in my class. And that's my weakness. And I knew that at seven years old I'm way more sensitive than any of the other kids in my class and that's my weakness. And I knew that right then. And that was, and then it took 20 years to realize, well, that's also your strength. So it's a combination of the two things, extreme sensitivity, but also like, you know,

my parents were like, you know, as being raised by 12-year-olds, you know, is being raised by 12 year olds, you know, my mother first, because that was when her trauma happened, when, you know, in the Philippines and the Japanese came over and both her brothers were murdered by the Japanese. And so that trauma from that time, she would, whenever she had problems, she would revert to that, because that was her survival mechanism. So when she was mad at my dad,

I remember coming home and seeing every glass, every plate in the whole house that she could reach on the floor broken. My brother would just go, hey, gotta wear your shoes today in the house. There's another agency. How ever you at that point, when you see the broken glass on like six, seven, eight?

Yeah, like the young, like one of them. Really a impressionable time. Impressionable. That doesn't ever get the child. Which is fucks with you. And you laugh at it. And then the ever get the child's fucks with you. And you laugh at it. And then the dad would come home,

Marvin would come home, the mature guy would come home, and he, what everything my mom couldn't reach, he'd break. And so we'd come home and see nothing but broken stuff. And it's like, this is normal. Didn't happen every day, but that was representative of like,

whoa, there's a land mine here. So, but it did make you tough. And I remember like going back to stand up. When you're, I just remember the sensation of bombing and I said, okay, this has to be instructional. And this is kind of a thing of being tough. And this is you in high school, right? When you start calling it.

I call it bombing, because it's like, you know, David, you can relate to this. There's like, when you're performing and you don't, you're not an adult, people are concerned about you. Even being in a club, there's alcohol there. They're not relaxed and they have to be relaxed to watch and to be able to do it.

And so I just remember eating it so hard one time, bombing on stage, the physical feeling of it, and I said, okay, remember what this is. As I was walking off stage, the only thing I could describe it as, it felt like my ears were melting off of my head. Yeah, sometimes when I get up, when it's such a bomb,

it feels like the hurt locker where a bomb was on, she's like, and everyone's talking, you can't see the mouth, you're just walking off going. Well, you cause you're thinking of so many things. What went wrong, what was going on,

and how everyone's repelled up from you because you bomb, they don't want to be near you. And, but I didn't quit. And I was saying it was like off to the gentleman, I got nowhere else to go. I didn't really, I didn't have any other plan. Once I started to instead of I quit school

and then I go, I have to keep doing this because I'm not good at anything. But it's instructional though. Because at the same time, what I didn't realize, and that was to know through years of therapy Like I feel like I'm Charles groan Charles groan. What's up? When did you start? I'm stealing your therapy because I therapy at 15 no no no 15 therapy. Oh God on and off for years But the last three years pretty good all right to go back you said Charles groan Charles groan would be when you talk to him

He talked to you like he said he said, basically treated everybody, like they were just getting out of drug rehab, you know? Every conversation, every word was kind of like this, you know? It was a very gentle so that everybody's, and it's just too much, you know? But, Well, when did you talk with Charles Growness? I just don't know, Charles Growness.

Well, he remember he had a talk show there. Oh, you went on MSNBC one of those guys. Yeah, and he had one of those guys like a therapist. This is too much therapy. Phyllis Diller is here. You didn't even for a while. The idea of it though is instructional. Now that I think about it because you do have to melt away the ego. You have to kind of start from zero to do stand up to risk yourself to risk humiliation. You got to let go of that ego and this stuff. I didn't have you start to start to stuff. We all't have, you started to stuff. You don't have much ego though. Huh? We did, we all didn't have much ego then. I mean, it was more like, I didn't think I was

a good stand-up. I was trying to be a good one. And I was sort of all broken down into the bits anyway. So any, any elevation we got to, there's a point when Rob and I were pretty much from Dave Beck. You, the guys that booked like the improv stuff, were pretty much two of the best middles out there, getting I think a thousand each. That was a lot for a seven-show. They don't get that now. Yeah, you could fly you somewhere.

And they put you in the thousand out. We got that. And they pay as much as 1250 or 1500 a week in. Why what? Which was crazy. You got that. I think I capped out a thousand. And that's when we got SN an L because we were friendly,

we were friendly with Drake Saylor, we knew maybe Appetiteau, Sanlor, there were some guys in the Valley doing the Valley in Provin and L, and then when we got, we never had more, we never had more, we never had more good headlines but we were monster middles. Yeah. We didn't realize how hard you both opened for me. I'll say at the end of the podcast, who was the hardest guy to follow? We have a clip here. I'm gonna say, I was one second go back to the ego thing

because I think that's really interesting. Did you guys have a sense, even if it was here and there, like a sneaky ego, or a kind of like, I think I might be able to do this, like maybe you were the funny guy in seventh grade or you did a book reporting, they laughed, so.

That's the problem. You might have had a little bit of a sneaky ego of like, yeah, I can do this. This is one thing I would respectfully disagree with you on that day. It's gigantic ego, it's fragile, and extreme sensitivity, extreme vulnerability, and that combination is show business.

It's a horror show. It is, because of what it is, but what happens is, once you have that monster thing that happened, like for me it was in high school, we're all of a sudden I was the funny guy, and then everything changed. Like girls who would never look at me, looked at me, and then that was it, that's my end.

So that was the one kernel I would keep you going because you said, this can really work. I know I can do this. I murder with my friends. And so that combination of that, and then when you're bombing and stuff, you go, this could work, this could work. Right. And you're not with your friends anymore

and that's the way people say, I'm the funniest guy at my office. When you go to a stage, I know that's the audience though. I'm seriously. I think it's part of the charisma. And I think with you guys too, it's sort of like that likeability comes from the vulnerability,

but get out of the way I'm the shit. It's like, it's like Elvis Presley, would you play it in? Oh, why is that Japan? Yeah. I want to get to that in a second. Hay cosas que te dejan pensando como por qué los vostezos son contagiosos, pero MailChimp... No, MailChimp analiza los datos de millones de correos electrónicos para ofrecer recomendaciones personalizadas para mejorar el contenido de tus correos electrónicos, segmentar tu público, entre muchas cosas más, adivina menos y vende más con IntuitimailChimp. La marca número 1 en ImileMarketinia Automatización.

Empiezad hoy mismo en MailChimp.com. Vazaveme a tus públicos de marcas competidoras en número globales de clientes en 2021-2022. Pero creo que es el charisma. Porque hay que ser alfaméo de cómics que se fueron bludiendo el audience y de ser con una energía. Energy y... Wow, no es... Crabajo de la idea. Y no se puede ser como el sentido de los que también pueden ser muy grande. sort of energy and energy and and proud work and stuff. And they didn't go as far as the sensitive guys

who also could be strong. And also you guys are both great writers. We'll get to that later. I hate to say that, but you really were. We're getting to nothing now. Thank you. Everything's later. You had to recognize, you had to be successful.

You had to be successful. I did recognize it that when I was doing stand-up and you know, you have a couple of good moments or whatever it's some joke Yeah, then you see people who you know, and I didn't have that the confidence and sometimes you you kind of get a little But then you see people who are really confident and not talented. Yeah, I recognize that's not a fear I understand that yeah, that didn't make sense to me. He's like why Zach at confidence and their headliners You're like not telling me yeah, that, and you have to recognize, okay, what's the difference?

How am I gonna make it? You walk into a place in 1982. Yeah. There's 30 comics and go, and but I did recognize just in those part of the strength that I did get from my, you know, my violent mother was like, how are you going to make it?

How am I gonna make it? And these guys probably aren't. What's gonna be the difference? Yeah. I would make that thought. Yeah, yeah, you know what I'm gonna do. I gotta make, I gotta work hard on these it? And these guys probably aren't. What's going to be the difference? Yeah. I would make that thought. Yeah, yeah. You know what I mean. I get to work hard on these guys.

And also, I got to get rid of anything in my act that they're talking about. Yeah, that's hard part. If you, the more stuff you have, aside note, about yourself, least likely it's going to bump with someone else. Because when I go up and the guy, and I'm like a middle on the headline, it goes, you're going before me,

yeah, and I go, he goes, okay, don't do anything about jeopardy, wheel of fortune, driving, and I go, okay, don't do anything about jeopardy, wheel of fortune, driving, and I go, that's my fucking whole act. So I'm not allowed to do it because it bumps with his, which is something that happens. The other switch for me and Rob is jumping in. After us now, we could headline, and we weren't quite ready. And the biggest thing about headlining for me

that was harder was A, following a good middle like a rob and then be the checks going out. The people at home don't know that when you're doing an hour set or four even 45 around. 25 or 30 minutes the checks go down and that means everyone needs to pay so they can get them out. Oh, they're doing math. And everyone your stop slapping they just go look at their check and go hey, who had two coaks. Did you have the color? What's 10% at 179% and then everyone's like talk and then you go wait that joke Usually kills it and people never warned me oh the checks go out right about then and there's some

Comics that say don't put the checks out until I'm off which is it fucks the waiters over because you know I never say that because you got if you you can get through that hump, then you're good again because when you hit that hole and you go, oh, no, the checks went out my head. I see someone like slow motion going, oh, let me get my visa. I go, oh, my God, everyone's getting him right now and no one's listening. And then you got to bring him back for your clothes or you got to somehow keep him around. It's what it's worth. I understand it for 20 years because of that because I just like, I respect the art form too much

to do it, if you're not doing it all the time, and I didn't want to eat it and blah, blah, blah. And I did like, I said, if I'm gonna do this, I gotta do it full time. And when people pay, you don't wanna rip them off by doing like a half ass. Yeah, I don't wanna feel, I don't wanna do a celebrity victory lap.

So I had to jump back into it hard and I did. And it's been like, now I'm ready to get out of it again. You know what I mean? The name of my tour is celebrity victory lap. So I feel so stupid. I, well what happens is, so you guys, you guys are just middles. So you have like a 30 when you got on SNL. 20, 20, 20, 20.

Let's go. I'm trying to be generous. I'm a nice guy. 25, 15, yeah, 10 minutes. So many minutes anyway. And some filler. So you become the bad boys of comedy and you both have this great run in the 90s on SNL.

Okay. And then all of a sudden you're being offered, can you go do an hour at a college for like 20 grand or 15 grand, but you don't have it. So that was who you. I broke at a certain point I stopped doing standup and I remember where it was. It's like 1992, it was 4,000 people in Milwaukee.

And I see. You're famous now. Now I'm famous. And I never had the thing where people are paying to see you before and they're yelling out stuff that, you know, they can't help me. They can't help me. And during the day, during the day,

they're also like, so, so, well, they're not, well, this is Milwaukee, so they're drinking during the day. They're all fun. And then they do, you do the show. And I got, I stumbled and I got through it and it was like I gridded it out. And then there's two shows that day,

because there are a pain in it. A lot of money does two shows. And then I walk out there and I look and I go, it's the most frightening thing is it's the same thing. No, oh, no. And I gotta do it again. The same crowd. They can't pull it off.

Rotesque. What did you crowd. I can't pull it off. Rotesque. What did you do? I can't go on. I just, I mentally broke. And I got to cry. You know, it's like a nightmare. No, but you know from doing stand-up so much times, you know when you're having the middle of like a set

that ain't the best one. Oh yeah. And you just, you get through it because you're, you know, you're like, you can go into that robot mode. And I remember talking to like, it's a weird thing because you can show up at a place and I have made, and you're like this you can go into that robot mode. And I remember talking to like, it's so weird that you can show up at a place and I have made, and you're like this too, Dan. You'd just like, what can experience

can I get out of this particular situation? And I do that. So I was on some show, I forget it was Leno, or Letterman, or one of those things, and there's this Asian violinist, it's like famous, I'm sorry, I forget her name now. But I said, how many days a year do you feel like on, on? And she said, well, I work 250, do 250 dates a year.

I said, how many of those dates would you guess? We see felt like at the top of her neck. Good question. Do you know how many she said? I'm gonna say two. Yeah. I got it. Shut up.

I was gonna say two for you. She said two. Ding, ding, ding, ding, ding ding ding because then you know exactly That the little tiny thing is like because when I went first of all Dana was the guy in San Francisco There's two guys that like that were like so talented that Holly would Come up there was Rob Williams and Dana. Come was so talented You know, I'm you saying it's just a fact you were famous before you're famous There was so talented that Holly was started coming up,

looking for, well, she's gotta be there making them up here. They're going up there to get them out. Look, where there's more, but we'll, okay, I guess we'll take that guy. And it was just like, it's comedy. I was like the third tier of those, because wow, all right, well, then he's young enough. Maybe he'll turn this on.

But Dana would have lines around the block. And you know, performing for open mics, you don't really get the, that audience, you can't really tell if your material kills or not, whatever, but when you're open for Dana Carvey, you have a chance to have a real audience who's there for comedy. Good comedy, Rob.

Who's excited about comedy? Dana used to part of his act. He used to be able to do stuff about people waiting in line for his next show. And then that was some of the funniest stuff in the show. Because it was like at the Elder Cafe, there was like an open window. Oh, you see them waiting to come in.

On other comedians, we were just sitting the back and just watching go like, okay, I said, well, we're good, but we can't do that. Well, I had the same thing with Robin. I just kept thinking I got to get better every time he'd come up and let me take the whole city zoo. And I was starting in college, so by the time you saw me, Rob, I had gotten, other cafe opened in 79 and that's sort of where I started to develop.

I, hey, the first time I did a character for 30 seconds, it wasn't me, I was terrified. So by the time I, that club really, really saved me. Because you know, you play the honky-tongued bars, cowboy bars with the blender going, and you're at kids' bluer and louder, but that was like a, it was a 60-seater old hippies in there in the head.

They were more than you, seven years. It was a difference between like liberals and San Francisco in the 60s and 70s, which was like question authority. Right. And they go with you, and if you were taking more artistic license, and sometimes like Grace Slick would be in the audience. you know, you'd have like, it was like,

they were these cool, kind of the, what I loved about Saram Cisco was the Bohemian vibes, which was artistic and we're supporting you like those, you know, the great, you know, Fran Getty and the, you know, the city lights bookstore, it was a place you go, they printed their own books. So Saram Cisco had that vibe at that time, it still had it, it was a place you go, they printed their own books. So San Francisco had that vibe at that time, it still had it. It was a classic, cool neighborhood. And now it's gone, but that was a really,

now it's not so long. Have you been to the gun down Saloon there? It's not bad. It lasted. But that was a place where they did reward you for going further. Topical. And yes, and would go, and then,

so that was the perfect place for that. And uh, for for that. And and you really did get a chance to see and you were like, you were levitating on stage, which is you were floating and then the character you would do. You pummel an audience. They were literally exhausted leaving rape and pillage. Jesus. We as I'm loving this podcast. We should say no.

I know. That's not. Let's not make this a rachi one. That's very nice. Well, but when you appeared because I want to throw out some names because it's nostalgic. No, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, Cisco comedy competition. Oh, yes. And you didn't want to win it, but you wanted to get top five. What was the news paper called? But Dana would do this thing, and he told me this. Dana was like, Dana gave me nuggets,

which I held to this day, because, and it really wasn't. He used to drive to the, I'll never forget this, when you drove to the comedy competition, because that was a lot of pressure and the talent scouts were coming, and it was a big F and deal. The Robin Williams, that was a lot of pressure and like talent scouts were coming and it was a big F and deal because Robin Williams that was it then so and this was the time when it was like it was big you would perform like like 1500 people it was that big competition weeks rounds to get to the final and then and and you would and he told me said the Dana said that on the way to the place he would listen to the Beatles. It's getting better all the time. Yeah, a little better.

What a weirdo. It's that kind of cool. It's a little sexy. But like, but then nobody, because, and Danny would say things like this, I need to feel funny before I go on stage. No one told me that. He had to feel silly.

He got himself in the, so there was a methodology. We didn't just do it. And because sometimes you just see the after effect, like we didn't see the college years and working your way up and working with Rob and having to follow Rob. We just saw, the audience just sees what they see.

So, but to learn the craft and to learn at the high level that you were at and just as a young man watching it, it's like, okay, that's how you do this. That was very instructional. And it prepares you for SNL in a way. I mean, there's people came up through growlings and stuff, which kind of take their sketch and put it on. Stand up is so rough and tumble,

you have to be so tough. Yeah. Did on SNL, all you're trying to do, and it took me, I think, 80 shows, just the quiet, that voice in the back of your head saying, this isn't going well. I missed that line. I dropped that. I didn't commit. I didn't commit, like I did it dress. And so, I wonder where you came in and when you felt like you got in the groove with SNL. Were you out of the box or were you showing? We did four shows in the 89-90s and they brought us in, which was like, it was wonderfully, it was just amazing to just be there. You were like somebody at, you know, Bernie Brilstein who was, you know, talent manager,

extraordinaire. He was also, but he would also give you to, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look,

look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look, look you, you are less important, but not in the bad way, but you got to know that there's a thing that we're talking about. Yeah, and there's a thing. And so this is a famous talent manager.

I'll manage Balochine, I'll show you this. And Lauren, listen. And Lauren. And Lauren. So the thing about it was like, I mean, it actually, Lauren, managed everybody. His whole Lauren Michaels, the famous comedy and legend, who launches careers,

would also have his system make it a little easier. So he would rather just, if you were in the brilstein camp, that was like minor league ball until you get a chance to get him there. But I remember the night that we auditioned at the improv. And by that time, I was hardened and I was ready to go. And I had a monster, a monster set to do. Because I had a monster, I remember like, because Jay Leno, Bob Fisher, our old manager, was another talent manager in the San Francisco scene who identified, could identify talent.

So you're gonna make it and I'm never wrong. Just nice to hear that. Wow, that's nice to hear. Yeah. Did you have a shirt fire when you audition? Did I, what? A bit that kind of always feel. All of a sudden. Yeah. So I had to show that with our listeners. I had stuff while I was on a fish.

Well, it was like a... I forget the exact thing, but it was a a, that's a visual. I forget the exact thing, but it was a thing where you could act it out where you did an impression and you could act it out. And it was an interesting idea. You did a really good Elvis. Yeah, so I did, like, I was, you know, Elvis was what,

when I first, you know, I was always in the Monty Python and by the time Sarah and I live came in, it was over. I was into it, Cheech and Chong, it was over with, I was in this for life. And I was into it, teaching Chong, it was over with, I was in this for life. And, but the thing that for performing, the guy that was, I was turned on by most as a performer was Elvis, just because of like,

such a stud. You know, the album, 100 million fans can't be wrong. Yeah. Unreal. It's like, well, that's true. Oh, really? Oh, really? No. He's a. It's unbelievable.

He's a great uptune. He's a great uptune. He's a great uptune. He's a great uptune. He's a great uptune. He's a great uptune. He's a great uptune. He's a great uptune.

He's a great uptune. He's a great uptune. He's a great uptune. He's a great uptune. He's a great uptune. He's a great uptune. He's a great uptune. He's a great uptune.

He's a great uptune. He's a great uptune. He's a great uptune. He's a great uptune. He's a great uptune. He's a great uptune. He's a great uptune. He's a great uptune. He's a great uptune. He and stuff and I know you. You kind of shit out of Elvis. Yeah, give me a little bit. Oh, my clothes hold me tight. Make me thrill with delight. Oh, I'm in the aura stand from the stars.

I want you. I need you. I love you. Well, I know that he would do. Oh my god. You know, I know that he would do this. Oh my God. He would, you know, so he was just like, he learned. He was deeper. That was jammed.

He would lose their, you know, I mean, and they go crazy. They would go nuts. They go crazy when you would say you do it now or never. I remember watching. And I did that at high school and after a prayer and then it just murdered so hard. Yeah. That I was like, that was it. Can I say one thing right here?

You kind of, around in here, you look like Elvis. You have a little bit of an Elvis. There's a little bit of sheep in your mouth. Thank you. It's a little something that kind of works. So when I put the fake sideburns on it, and I had the jumpsuit on, even at 115 pounds, my wrestling weight.

And they called you tiny Elvis? And they called it tiny Elvis. And it murdered because people, it was a and it murdered because people it was a really good performed the differences a really good impression performed really well seriously yeah that commitment to it it's just like when like in the point dynamite that dance he does is really funny but he's really committing to it and it's really good yeah so that's

the combination of stuff and then it's just naturally if you're naturally funny then people are like laughing at but when you went to Japan to do Elvis for a couple of months. I know it's complete. But were you playing you were playing a serious Elvis you were you were adding Joe to it? I was. I mean first of all yeah I got the phone call and that's what time I was living in an apartment. 200 dollars a month.

200 dollars a month basically what happened with it? I was living in a place that and it was just a home wall. But what happened was milk able to meet him. So I wrote his name down. I wrote down milk, I want to go some props to our and he's an awesome guy, really good to meet him. He had jokes that I remember to this day, like, you know what's it, how many tries to hand you a flyer

and they go, no, you throw it away. And it's just that little good little one line of I wish I were a thaw in that comment. And so I lived, I moved in this place, he said, it's $200 a month, blah, blah, blah. The first month I was in there, the 85 year old Russian landlord who owned the place. He said, so I am not and then I had one, one goal. Here the landlord.

That's gonna be funny. This is the old guy who owns the place and he lives there and it says, that's a shit. All the whole place is like, can paint at once in the 50s. But I don't need it. I just literally put a mattress in there, just the one mattress. And then this is it. I'm just gonna do mattress in there, just the one mattress, and then this is it, and I'm just gonna do stand up, and the right coffee was right down the street from the Fillmore, this coffee shop, this is perfect.

So I pay the G-Sit, only takes cash. So 200 bucks perfect. And then I remember like, I only had one light, and it was like a 30 foot ceiling, cause you know what those old places are subdivided, subdivided, subdivided, and there used to be an old giant Victorian in the day, and then they turned it into like 13 apartments,

or whatever. And so the one bulb that was at the ceiling, the one light that I had, I didn't even have a lamp, it went out, and it was like, well, I gotta have that. I had my one light. I gotta have a light, so I, you know, I don't know where to go, and the milk to sleep, but I said, well, I just go, I'm not gonna guys door. The landlord, and I go, well, you know, I don't know where to go and then, milk to sleep and I said, well, I just go, I'm not gonna guys door the landlord.

And I go, well, you know, the lights out, what I said. I, okay, I'm going to have to go down and get the, get the ladder. I got down stairs to get the ladder. I come up, I'm kind of out. And then he came up, you know, and he just said, he came up. I'm just, I'm just, this dummy because it's like,

I'm watching an eight, and then I realized, I'm watching an 85 year old man on a 20 foot ladder, climbing up the chains of light bulb, and I was like, ah, and I'm, and then I thought, wow, he's already up there. He's already up there. Let him just get it now. He knows what he's doing.

I mean, he's bottom. And it comes down and it's like, I don't feel so good. I don't feel good. I've never felt like this. I'm like, really? I don't know what to tell you, you know? He's good. I don't feel good. I never felt like this. I was like, really? I don't know what to tell you. You know, he's a week later, he's dead.

Oh my God. That a week later. And the thing was though, that he had no living relatives in anything, and so nobody was asking for rent. So all of a sudden, I went for $200 a month. To nothing. To zero. I had nothing.

So I was living in a place where rent free. Did you push him off your floor? I think I may change my life may have killed what I don't know But I did realize like I should not have an 85 year old guy changing the wall. It's weekend Anyway, so okay the landlord dies land out as this lead to Japan. Yeah, so what happened was I get a phone call From another funny mark This mark is only place the Filipino community whether you're half Filipino or whatever. There's a small community of people, they try to like, you know,

because they know that the Filipinos they'll work hard and they'll show up because otherwise you'll be, you've been, you've been, right, nurse, you do work hard. They'll beat the shit out of you. You've been beat into you, you better work hard, you better show up. If you say this, you gotta do this,

and yeah, I'm about, all right. And so you can depend on Filipinos, like the end of the day, like if you do get a Filipino to come over to your house while you're moving, they'll move till the all day. You know, and if you have somebody, like they'll take your blood pressure, they'll mark that thing.

So I get a call from him and he says, hey, listen, you do Elvis, right? And he's like, he's calling me nine in the morning which I swam in, like four. You do Elvis, right? You do sing Elvis, right? He's like, he saw me do the Elvis in the head about it in high school. Like four. You do Elvis, right? You do sing Elvis, right? He's good. He saw me do the Elvis in the middle,

about it in high school. And so I said, yeah, yeah, he said, do you know the song? I know a couple, like three. So why? Why? Well, we just lost our Elvis impersonator. And I said, what do you mean you lost your,

well, in Japan, they were sending a band for a new club that's opening. And he said, can you go to Japan to do Elvis? And I said, listen, I only know like three songs, and I don't really, it's not really serious, you know? And I don't really, I don't really, I don't really, I don't know. So I call Bob Fisher and Bob says,

do what you'll tell the story in Let Him in one day. And so I call Mark and I realize, I don't even have a passport. You know, I've never like, you know, I think I had left the country and I was a little like 13 with my parents. One of those cheap European tours where you go on a bus and they take you to the worst

hotels in all of Europe. So that was it. So I had to get a message, I don't have passport, I can't go. You used the dead Russian landlords passport. I have to say, I've been a drawer, I think, or a go-or is this going? He said, he said, just go to the, this Japanese woman, she's just go to Japan town and she'll take care of the, they can take care of the Japanese,

if they want to get something done, they get it done. You know, they, they, they, they, they conquered, they, you know, they, they, they basically took all of Asian in a month. And so they'll do this. So I go over there and she looks at me, and she's, oh, his name was Mark, was Alex. I'm sorry. Alex Howard was his name. She looked and he said she looked at me when I walked in She was a fright in her eyes and like, oh, I never trust Alex again

Because you're the Elvis because it's like a become this short guy coming to be an Elvis, you know, but you'd help me here You had like, yeah, so yeah, and I said to her right there, again, my standup experience after doing it for a couple of years, I was like, no, no, no, no, I can do this. I'd be all right, I can do it. And they had no alternative. They had nobody else. So, yeah, so, yeah.

And so, literally like a Friday and I got to fly Sunday to do this for the next week. And so, the next thing I go, I'll just do it, it'll be fun. And I get on the plane and I start going over these songs. Songs and stuff and we're like, I don't really know this. And then Alex is like, hey listen, just, where you're going, Kumamoto's like the Alabama, Japan,

they don't speak English, just do the same verse over and over again, they're not gonna know the difference. Just that. I'll just do that. But then I realize, no, you can't just do that. These are elbows, fans, even if they don't speak English. They got no proper cuethrucue card. Yeah, this is a way before.

Any of that stuff for me. So anyway, on the way over there, I started getting a little bit nervous about it. And I'm sure it'll be fine. And with the big deal, it's just Japan. And I'm like, I'm never gonna come back this place. I land there, there's a bus that picks us up, a bus with posters all over the bus that says,

Elvis, new Kennedy House, anything Japanese, you know, like anything to the Japanese love any American words, like Kennedy, Elvis, Nixon, whatever they have, Nixon, Elvis, Kennedy House. So, Goldwater. So then we get on the bus and they drive straight to go see the Kazoo guy,

which is like a mobster guy. And he looks at me too. Kazoo guy. Kazoo or whatever. It was just in Japanese. Okay, it's for mobster. He's the guy in charge, whatever. He's like the guy.

And so he looks at me, he says, you're saying no, you're saying no. You Elvis, and he looked at me. You see now, you say no. He's got a funny voice too. You're saying, you're saying no. He's got hitmen around him and everything. He just looked like a dangerous little guy.

Little around my, maybe he'd have told me. He'd be singing right there. He took us out to eat. And he made me sing. He made me go to the place and I said, I'm gonna have some time. He took literally, after we ate, he took me to the club and I said, okay, I got some time.

Because the club's not done. It's like, the walls aren't there, the floors, then it all just, did you have one of the light-to-elves on you? You know? Did you have one go to Elvis song that you didn't you're asking, you know, like, now we're never used to do.

Yes, it's like a how and dog or a blue-sweep shoes. But the, so anyway, go to the place, it's not done. I'm gonna have time to learn these songs, because the floor's not in, there's no way it's gonna open tonight. But the thing isn't Japan, if you're not done, they make you pay, if you're a construction, whatever company, they make you pay for every hour

you're late, you pay for hands above a year. So they did finish it that night. And then the problem was, it was three shows that night. Fuck off. Four on weekends, after the first show of the first night, I blow my voice out, it's like I can't do this. And I go running into the sushi place, which is every restaurant there.

Just shoving down ginger. Go to Seven Lava Needs Sushi. Ginger and ginger. And I get through the second show. And then the third show, I don't know how to survive it. I never got to do it again. I like this the next day. And I don't know how I'm gonna do it again.

Did you kill? And it was good. It was okay. You know, there was enough people on the weekends. It was packed. We had like, they flew me over with the band and then it ended up in the band's plane. But they were like, and I said,

well, you gotta figure it out. And then, but it was, and sure enough, I did do the, I did, my first letterman appearance was, I did, I did, he said, so you were Elvis and Japan. What was that like? And then he did ask me a question. I didn't have a really good,

still fun, did you? Did Elvis on a fish hook on your first set, right? Yeah, that was a good one. Yeah, that was a good one. So that Elvis was really, and then Elvis on a fish hook was just one of those quick hit. But I could do a really good Elvis, so that would like it help.

Oh, I know what it was like. I don't know, maybe I said, now I would just introduce it just like, at that time if you did odd stuff, unconnected, it was kind of interesting. That was like a style at that time. It's like, now I like to do my impression of Elvis on a fish hook and on a fish hook. And I go, aw, sonny, red, I don't know.

I might be coming back here one of these days and get them, you know, and I would do that. And I would be doing no back-and-one. And it was his list curls up and he tells us and lifts up. Yeah, you gotta laugh. But that was the thing when I did that set that we did. Yeah. I just think for us and I'll probably.

Yeah, and that was just one of those things. Like you got a big laugh, was interesting and Lawrence did later. You know, when I, if I see something brilliant, I know that there's the potential to repeat it. And I said, am I hired? And I guess that was the way. No, we suggested Elvis on a fish stroke will be like, like a runker. I don't know if it's a talk show. You talked to Jim Downey. Well, you also used to do reading from Elvis. I mean, actually your act is very unique. When you say, it's quite easy. Just a little bit ago, you go,

I should try not to have the material like everyone else. That wasn't my motto, but you did because you actually did that. You also did also reading from, the first time I met Elvis. Elvis and me with Priscilla was funny. And impression, if you're not good at it, just doing something, it's completely not good at all. It's also works. Who was that? That with Priscilla was funny. And impression if you're not good at it, just doing something that's completely not good at all. That's also works.

Who was that? That was Priscilla. And now I see. Oh, my mother also she would never Understand the mother from Bob. Yo, which is like the mountains of the Philippines She wouldn't understand jokes, but she would understand how to laugh at the right time she go Not even very sweet what does it mean? I don't understand you know when he said he goes when you were one of your jokes was I'll mangled when you were a little, when you were one of your jokes was, um, I'll mangled it when you were a little kid, when you're eight years old, you banged your head on the coffee table and your mom

would make you feel good and she'd go hit it and she goes bad coffee table, bad. And she goes, and you'd feel better and she goes, we make it even bad coffee table and hit it. And then you go to bed and your dad wakes you up in the morning, goes, Hey, Rob, get on down here. Your mom spilled hot wax on the coffee table. We got to make it even. You know our policy. Oh, yeah, so then you have to

I got a man can even remember like if you if I did that you know when you do a character It's like you can do your jokes and get it but when you do a character it's just enough also in the middle of the joke Yeah, playing also you You had a musicality too. You had a ribbed thing musicality from the early days and we're hearing it now, which is also, I like the whole as great in the some of the parts of musical rhythms.

Like, in copy, how do you hit that? It was just so infectious. Maken kapbe, you know, like that. There's a musicality. Yeah, it sings. It's got to sing. There's a musicality. Yeah, it sings. It's got a singing. It's a song. How did you know?

Let's get to that part. Rob and I fast forward, we get it. We get hired on SNL. We auditioned at Catch Rising Star, I think. Well, the first one we did at the Milrose. Okay. And then like the Stare's part was like, at that time, I kind of had like a little bit of a fuck you attitude

And in a good way because you have to because you get otherwise you get beaten down So you choose and I said you know what I and it said and then I got the call from Bernie In the Boom Lauren Lauren he manages to put extra syllables in that one Lauren Lauren the middle And I said well

He'll want you know Bob Robert's son. Yeah, smuggle did a funny thing where he's like worry you look But it was just you know you take it so exaggerated and Robert was like Let me eat your foot. I don't know how I got there, but yeah, his his burning pressure I want to eat your I want to eat your foot I want to eat your foot. I don't even have a guy. He's not like Santa Claus. No, it's anything. That's the thing he told me the first day.

No one fucking knows anything in this business. And later on, Brad Gray said, I tell him, why is he saying that? Because it's like, you know, give me 15% of him. I don't know. I don't know. Fuckin' nothin'. I'm gonna give you a check.

No, it's no. True. So he to the next day said, whoa, I'm the medium. Whoa. And I said, well, I got a gig in San Diego. And I said, he knows I'm middling. I get a gig in San Diego. And he said, he'll know what it's like if you have a job,

he'll respect it. And he said, if he wants to meet me, he'll find me in New York. And I just said that in the morning. As I'm driving down to San Diego, I have the cold sweats and I literally like, I just fucked up everything. I'm very sure.

And I really had, but at the back of my mind, it was the right thing. And the only person he flew out of all those people's audition was me, to New York. You flew over me while I was driving. Did I even, yeah, he was getting ready to move furniture because he had to go back and boil you into some of us as a writing team.

That was when you guys coming in like, for example, it was a weird scene. They were writing things, you got the higher of them both. I was not aware that I didn't want to, first of all, I didn't want to be a writer. I wanted to write but be a performer, and that was hard. And that's what I was thinking about cop machine.

We did those four shows, even Dennis said, spudly, you don't get anything on. I think it's curtains. I'm like, I know it was only fucking four shows. I go, I didn't get a Michael J. Foxon on the dice clay show. And Kenny A. Mong, who I love, says, David, I forgot to put you at the beginning. I go, what's that mean?

I didn't put your card up where it says, free drink, average, rate. And I go, it wasn't there. And he goes, yeah, it's a put you at the beginning. I go, what's that mean? Because I didn't put your card up. Where it says, free-tuning, daver, and spray. And I go, it wasn't there. And he goes, yeah, so no one knew who you were. And I go, God damn, I won't shoot. It's a tradition on the podcast. Just 10 seconds, Michael J. Fox casually is a war. Sarge, actually, I just gave you a wrong.

No, you're down on that. So I'm on that. He's seen it too many times. So I do Michael J. Fox. And then, uh, and then we have his song listeners. And then Rob and I get hired back. It was always way to wild. It was a little touch and go,

because we didn't get anything on. But I remember like, I would do anything. Like they said, like, right, promos. Promos, which is like that. Why are they letting me write promos? I've never written a promos. My life's, this is awesome.

Fucking genius. And you realize no one wants to write the promo. Yeah. And so I went and said, you know, and Lauren was, I mean, I was just blown away by the fact that Lauren would even talk to me. And then he said like, and then, you know, it's, you know, just, you have to write it. You write promos.

And then, no explanation. He just got figured out. So then, and so I went in and Deborah Winger was the most the way. Deborah, and I went in and Deborah Winger was the most the way. Deborah Winger, and I went in and Jack Handy wrote a great schedule to her, even though she was very fragile. I walk into their dressing room, she's there, sitting

on the floor. On the floor. And she's literally crying going, I can't believe you talked me into doing this. I just, I'm not good, I can't. And I was just like, whoa, it was just like this every week. Yes. Wow.

I would have gone in Travolta, you know, for her, like from what that Western, what's that? Urban Cowboy, go ahead. You know, like, I kind of think I might be falling in love with you, something like that. Sorry. That was a day of a day in the twos. He would hit, you know, in his standup, too.

He's like, the turns he would make, by the time he would be like a NASCAR racer, you know, a driver. And all of a sudden, by the end of his routine, because he would do the stuff, but then he would pummel the audience. It was like a boom, boom, boom, boom. And by the end, he would go from one impression,

another impression, and then the impressions are talking to each other. And the audience can't breathe. It was like, it was literally like an meditative thing for that. He's like, holy shit. I'm gonna listen to this podcast. That's very nice, Rob.

But that is where all that was. That was the influence with me. Everyone's the making edit now. No, I'm just, anything about Dana, we're gonna take out. Plenty of pummel, pummel, pummel. Rob, when we were, I think those four shows. I just gotta use the restroom real quick.

I'm like, just sorry, I said, can I use the verbal cut? Yeah, yeah, just want to. Yeah, go through? Can I use the verbal question? Yeah, yeah. Just won't you? Yeah, go through the back room. Dana, you started standing up. Rob's gonna go away. We don't have to stop it. We can just wait, right? Oh, we keep going.

He's so weird. He's in the restroom. I know. That's really smart. Talk about it. Do spigolo. What is happening? Like he's going to to like he's gonna unload

He's in the unload chamber I guess where did you go? I went to the very back You're not going again You can watch yourself. Audio only podcast. No, it's right by the grocery store. If you go through this hall, there's a little mini Ralph's. It's a pop-up. You go through that. Sorry, sorry.

Hey, sorry, sorry. I got it. It's Casey Kassum. I got to do it. Hey, sorry, sorry, sorry. I have to get a new one. We don't have that many runners. That's just a great runner.

You got one. You know what, Nikki Glazer said about your set to the night. Sorry, I have to get a new one. We don't have that many runners. That's just a great one. That's a great runner. You got one. You know what, Nikki Glazer said about your set, the other night, that you should do more of that Bill Gates bit. And on the island.

Yeah, it's funny. I was just shitting. And do more Clinton. Oh, you see those pictures? I got a play. I was failing because I was just doing concepts. I was failing because a lot. You know, but they were so excited. Pictures in the videos I saw made it look like I was bailing because a lot. But they were so excited.

The pictures in the videos I saw made it look like it was like the best show. I did keep some of the pictures to send you. I did a stay in a deviation, but to me that's not good enough. I know that. No, it's because I did chock and broccoli on the piano where I wrote chock broccoli. You did a standing ovation,

but they found out that I worked there. Ding, ding, great, read some stuff off a note pad, everyone was enchanted, funny premises, big laughs, closes hard, and then you doing here? I'm just like putting it on sunscreen. We're gonna go buy the pulley one, go. Hey guys, Rob is still in the bathroom and I know that's exciting news, but let's roll that video tape. Part two, well, he's in the bathroom doing part one. If he does, if he does part two, we'll let you know.

But right now I'm here to say that on Friday, part two of Rob Schneider's epic appearance on Fly On the Wall. After the battle, let's look at a clip. Yeah. This has been a podcast presentation of Cadence 13. Please 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 Sport from Serena Regan and Chris Beasel of Cadence 13. and Chris Bezel of Kaden's 13.