Gilbert Gottfried's Amazing Colossal Podcast - 73. Laraine Newman

Episode Date: October 19, 2015

To mark the 40th anniversary of the debut of "Saturday Night Live" (October 11, 1975) Gilbert and Frank dial up original cast member Laraine Newman, who reflects on her four-plus decades in comedy and shares recollections of working with everyone from Richard Pryor to Karen Black to the legendary Christoper Lee. Also, Laraine studies mime with Marcel Marceau, befriends Dudley Moore, improvises with Pat Morita and recalls SNL's infamous "Uncle Roy" sketches. PLUS: Jack Soo! "Invaders from Mars"! Louise Lasser locks herself in her dressing room! Gilbert channels Jackie Vernon! And Uncle Miltie's schlong helps win the war! MeUndies is offering you TWENTY PERCENT off your first order at http://meundies.com/gilbert. That’s a special offer just for GGACP listeners. Make sure you go to http://meundies.com/gilbert to get twenty percent off your first order of underwear in tons of styles and colors. Our sponsor today is one of the premiere independent labels in the world, DFA Records, based out of downtown New York City and co-founded by James Murphy of LCD Soundsystem. DFA Records is proud and excited to release the second album from Greek singer songwriter production guru and all around genius savant, Larry Gus. His new album is entitled “I Need New Eyes." Visit the DFA online store @ http://store.dfarecords.com for more details and to order your copy today. and for 20% off your online order, use coupon code “GILBERT” on the DFA store. Learn more about your ad choices. Visit megaphone.fm/adchoices

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DFA Records, based out of downtown New York City and co-founded by James Murphy of LCD Sound System. DFA Records is proud and excited to release the second album from Greek singer-songwriter, production guru, and all-around genius savant, Larry Guss. His new album is entitled I Need New Eyes. This new album sees Larry Guss moving slowly out of his sample-based roots and now using clearer songwriting structures as his starting point. His lyrics stare intensely into obsessions, anxieties, and inadequacies, while the music he makes takes on vibrant, sunny, psychedelic pop, percussive, polyrhythmic drums, and multi-layered dense arrangements.

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And for 20% off your online order, use coupon code Gilbert at the DFA store. Hi, this is Gilbert Gottfried, and this is Gilbert Gottfried's Amazing Colossal Podcast. I'm here with my co-host, Frank Santopadre. Our guest this week is an actress, comedian, writer, and voiceover artist who's been working nonstop since the mid-70s. She's been in hit movies like Wall-E, Up, Minions, Coneheads, The Flintstones, American Hot Wax, and Stardust Memories, and TV shows such as Saint Elsewhere, Third Rock from the Sun, The Oblongs, and Curb Your Enthusiasm. For five seasons, she was a cast member of the original Saturday Night Live, which made its debut 40 years ago this very month, playing unforgettable characters like Sherry the Valley Girl, Lena Wertemuller, and Connie Conehead, to just name a few.

and Connie Conehead, to just name a few. But if I may read an actual quote that she said in a newspaper, my proudest moment, the moment that makes the birth of my children pale in comparison, is working with Gilbert Gottfried on Problem Child 2. Please welcome to the show the funny and talented Lorraine Newman. I can't believe you dug up that quote. Darn you. Now my kids have to hear that. Yeah, you know, and I appreciate the wonderful thing you said about the movie.

But when you said you wished that your husband had worn a condom just so you wouldn't have those children, so you could fully 100% appreciate working on Problem Child 2. Well, actually, I was pregnant during shooting that movie. I was five months pregnant. Yes, and this is what shows how much time has passed. I know. Oh, gosh. I ran into you at the Saturday Night Live 40th,

and there you were with this young woman. And that was your daughter. Yeah. She looks like I did when I was on the show except her hair is red. And yeah, she's 24.

Time marches on, buddy. Yeah. You know, you'll see it in your kids when they elongate. Well, that's a whole other... I wish I could elongate. You wish you could. Yes, I do. Me too. Now, do you remember we did

Problem Child 2, I think in Florida. Yes, it was in Florida. It was Orlando, right, where Disney World is? Yes. The fabulous Disney World. Oh, yeah. Yeah. I think I also have pictures of, I know that John and Amy, John Ritter and Amy Yazbeck decided that we had to go to an alligator farm, too. So I do have a picture of myself in an alligator farm.

Oh. Don't you love that story? Moving on. Yeah. That was an alligator farm. Oh. Don't you love that story? Moving on. Yeah, that was an exciting story. Well, we've been talking to Lorraine Newman, who went with John Ritter and Amy Yazbeck to an alligator farm. Now, what was your, I mean,

you got along great with John Ritter. Oh, yes. Yeah. It's funny, I just think that there was a scene in L.A., a comedy scene in L.A. while I was doing The Groundlings where everybody seemed to be starting out. And, you know, everything kind of came full circle. Ed Bakley Jr. was hanging around and Rick Overton and a lot of other people that, of course, I can't remember now because I'm a toothless hag. But I was going to say that you beat me to it. You know, it all seems to have.

It's like any, you know, anybody's bio. I'm reading this hairdresser, Terry White's bio. Anybody's bio, I'm reading this hairdresser Terry White's bio, and, you know, she went to high school with all sorts of movie stars and just all down the line. You just never know. And I unfortunately didn't do any scenes with Jack Warden, but I'm a tremendous, I was always a tremendous fan, the great character actor.

Oh, yeah, I think we all were. So what was Jack Warden like to work with? Well, he was from the great generation, you know, the greatest generation, the ones that fought in World War II. But all I remember doing is just being a total fangirl when I was around him and saying, hey, like in that movie that you played the judge and you wanted to kill yourself. You know, I mean, I really I don't think there was any other point of reference.

It wasn't like he was going to ask me what music I was listening to, but he was a really affable guy. We had Michael Oliver, the problem child himself, on our podcast. Oh, that's great. I saw him. You know, Larry, and I can't pronounce his last name. Karaszewski? Yes.

They did a thing at Cinefamily here in L.A. where they showed the first one, which I had never seen. And by the way, Gilbert, you're fantastic in it, honey. Oh, thank you. But it was so funny. It was really funny. And Michael was there, and he was just – I was so delighted by the person he grew up to be. He's just a really cool guy. I was – that was my favorite part of doing the interview with him was that he grew up, he leaves the business and he finds that he's good

with computers uh makes money you know has a roof over his head food on the table and is happy with his life and I because he was one of those people I thought oh he's going to be a true Hollywood story no he sounded very grounded like he didn't miss the business at all. Yeah. Yeah. Yeah. I mean, there's certain trajectories that you see. Like I remember my kids, God help me, were into Barney, you know, the dinosaur.

Oh, yes. Purple dinosaur. Oh, I thought you meant Don Knotts' character on Andy Griffith. I mean, yeah. And they had like the backyard kids to whoever they were. And I would always have this feeling that, you know, because the show was unbelievably chirpy in every way, I could just see them, you know, on a panel talking about their recovery from drugs and alcohol and God knows what else. At the time, I think Sally Jessie Raphael was a talk show host. Oh, yes. And I kept saying, you know, I see them.

That's their future, a panel on Sally Jesse Raphael. But, you know, Michael proves the exception. I think there are a lot of those out there. Your daughter's a performer, isn't she, Lorraine? She is, yeah. You know, the Brooklyn scene is very interesting. There's a lot of really interesting creative stuff going on. I saw her in a show at the Annoyance Theater when I was there recently, and I couldn't even begin to try and describe

the genre of this show. I mean, it was vignettes with a through line that was just weird, but wonderful. Oh, so she's's here she's on this coast she's yeah she lives in brooklyn and can we get one saturday night's live story the one with christopher lee oh yeah um well the story goes is that i was i'm a huge horror fan and I kept saying to Lorne, you know, Christopher Lee would be a great host, especially since we had, you know, in the early stages of the show, really off the beaten path people like, like Buck, you know, Buck Henry. I mean, you know, people didn't know him. Julian Bond.

Yeah. Yeah. Julian Bond. I mean, Ralph Nader was, was pretty, he had a profile, a pretty high profile, but Julian Bond didn't. Right. And I don't think Candace Bergen was doing anything at the time. A lot of offbeat hosts in the early years, yeah. Yeah.

So you were pushing to get Christopher Lee, who played Dracula, Frankenstein, and the Mummy in the Hammer films. Yeah, and of course, the first thing he announces when he gets to the show is, I will not play Dracula. I'm not going to play any vampires whatsoever. But he was a great guy, my God. He was a great storyteller. And speaking of horror films, I mean, we'll come back to SNL, Lorraine. There's so much there to talk about. But let's talk about we've had sarah karloff on this show we had

bella we had bella legosi's son and we had vincent price's daughter recently because we're great yeah well we're so we're this and more importantly yeah if she does it we are about to get oh yeah janet ann gallo who was the little girl in ghost of frankenstein with lon chaney jr oh my god bet you didn't know that name lorraine yeah no i didn't i you know i gotta say and you know my uh my compendium of trivia about horror did not include that name. Yeah. Like I said, we're pretty hardcore. If you watch Ghost of Frankenstein, you'll see her. Oh, yeah, I've seen Ghost of Frankenstein.

I mean, I know the roles. I just didn't know her name. Yes. And I think that's great. I can't wait to hear that. Well, good. We'll tell you when it's up. Well, you're a horror film fan like us.

So what was your particular area of interest? I mean, was it the classic Universal movies, the Hammer stuff with Christopher Lee? It started with the Universal stuff because that was the first stuff I ever got to see. It was on TV. And I'll remember, I will never forget that logo, which was that glass globe spinning with the stars around it. And I was so young that I thought that every movie that started that way was going to be a horror movie. So I would sit there watching this Western thinking, what are the monsters? Come on.

This is boring, you know. It was frustrating. And before the glass one, they had like a regular globe. Right, the old one. With the plane going around it. Yeah. But I mean, Universal was known as the

horror studio. Right, they did have the unholy three, the, you know, Frankenstein, Dracula, and Werewolf. Yeah, and see, I myself, I love the old Universal monsters. I never, I mean, I admired Christopher Lee and Peter Cushing, but never really got into the Hammer stuff. an Italian movie that was a comedy called Uncle Was a Vampire. And,

you know, I saw it on TV late at night. It's how I discovered Christopher Lee. And it was probably one of the first horror comedies I'd seen. I mean, I'd seen Abbott and Costello meet Frankenstein. That was it. Favorite of mine. Yeah. And there wasn't anything else. And here's this,

you know, I think there's this beautiful woman in a negligee eating a bowl of nuts, and then she goes to bed, and he, you know, creeps in the room and goes to bite her, and his teeth break. I mean, and, you know, he is such a serious actor, but to, you know, see him do this stuff was such a delight. But I know what you mean. I really couldn't get into that many of the Hammer movies. I liked the Vincent Price movies, and I don't know if those were Hammer movies. Were they?

Oh, you mean the Corman stuff, the Mask of the Red Death and AIP. One movie I mentioned in just about every podcast is The Tingler. Yes. Yes. I remember The Tingler. Scream for your lives. I think if you remember it, weren't they giving people LSD?

That's how they extracted The Tingler? Yeah, I think that's the first LSD trip on film. I can't believe that. I believe it is. And there was one woman that they played tricks on, horror tricks, you know, monster makeups and stuff, and skeletons, who was a mute. So she couldn't scream to stop the tingler. That was the side effect.

It's so cheeseball. Oh, God. And I think that, you know, well, now, wasn't that a William Castle movie? Yes. You know, he pulled those stunts, and I think it was like, you know, there'll be a stretcher in the lobby, and I think they even wired up the chairs. That was the tingler. Percepto.

The chairs would buzz. They even wired up the chairs. That was the tingler. Percepto. The chairs would buzz. And then after all the screaming and telling people that this monster tingler will kill them if they don't scream, then Vincent Price goes, the movie will resume right away. That part I don't remember.

Yes. Fantastic. What else did you watch growing up you grew up in Westwood I'm trying to think of who the horror hosts were when I was a kid let me just I'm on the computer machine let me just look it up

horror host so you've officially become an old Jewish woman yeah I gotta supplement the lack of ability to remember. What else did you watch back then? Did you watch sitcoms? Did you watch adventure shows? You know, I liked dramas.

I liked Mission Impossible and Star Trek. What were the other ones? But I liked those, actually. And then I would watch, of course, Way, Way Out, which was the kind of poor man's outer limits, which was the poor man's Twilight Zone. But I really shouldn't say that about Outer Limits because it had some great, great stuff. And you know something? The Outer Limits, they tried to redo that on Showtime. Oh, yeah.

With like a big budget behind it and the latest special effects. And it was really not anywhere near as good as the original Outer Limits, which looks like it was made for five cents. Exactly. And Schiller Theater. But Jeepers Creepers, this is the guy who I remember as the host. His name was Jeepers, Keeper of Jeepers, Creepers Theater. Oh, God.

Did you ever hear of this guy? No, never heard of him. Yeah, he was local. He was the guy who uh he hosted our uh local tv shows do you know i heard a recording on the set of a christopher lee movie where someone gets stabbed and makes a sound when he's dying and christopher lee goes over and corrects him and says, that's not the sound someone makes when they're stabbed. Oh, my God. So, you know, he he really loved that kind of thing and precision and accuracy.

He loved dialects. He was working on a South African dialect and you didn't need to ask him. He would just do it, you know, which was great. And I heard he faced heavy battle in World War II, and he was in the liberation of the concentration camps. Oh, I didn't know that. I didn't know it either. I didn't know it either. Yeah, he said that that's why horror movies don't bother him at all, because he's witnessed real horror. Wow. It's interesting. I saw this article.

He was referring to Problem Child 2. Of course he was. There was this great article written in this magazine called The Believer by a guy named Jason Boog, B-O-O-G. He interviewed a bunch of horror film people like Wes Craven and Stephen King. And a lot of them talked about how they – Toby Hooper, right? Oh, yeah. And they talk about how a lot of the really scary stuff was written during wartime. Like there was this famous radio show called Lights Out and a particular episode called Chicken Heart, which is really gruesome, especially for those days. I heard that one.

Yes. Yeah. And, you know, he just he's basically it's about this writer, Arch Obler. Arch Obler. one. Yes. And, you know, he just, he's basically, it's about this writer, Arch Obler. Oh, Arch Obler, yeah. Right, who wrote all of these horror stories for Lights Out. But what was the theme going through all of it and what Kirk talked about was, you know, I think his first movie he wrote, you know, either right after the Vietnam War or, you know, during it. And that a lot of this really, you know, really macabre stuff. I'm so excited that you know who Arch Opeler is. Yes, I knew that.

I knew lights out. And there was a writer, I forget his name, who writes about horror movies, David something or other. name who writes about horror movies david something or other and he had a theory that like around the time the lon cheney senior movies came out and other horror movies that a lot of veterans who uh would normally have died because of advancements in medicine, they were able to live. And we saw the hell of war with people without arms and legs and with their faces missing. And that's why we became fascinated with

monsters. Oh, how interesting. It was like our way of dealing with these veterans. Huh. You guys worked together on Problem Child and you had no knowledge that you were both horror fans. Yes. I know. I avoided talking to Lorraine like the plague.

Yeah, we were, there was a problem. Yeah. It was a big problem. Now, you studied mime? Yes. Did you have to bring that up? You didn't study it with just anybody. No.

Here's what happened. I had seen Marcel Marceau at Royce Hall, which is one of the theaters at UCLA, when I was 16. And I really was absolutely dazzled by it, because I'd never seen anything you could do without words to make it laugh, you know? So I went backstage, because I had no fear of anything, and asked him if there was someone in L.A. that could teach me. And he gave me the name of someone, Richmond Shepard. And he was really a great teacher.

He knew a lot of technique because when I ended up going to Marcel's school in Paris, I was one of the few people that had any kind of technique background. Paris. I was one of the few people that had any kind of technique background. Now, I have to tell my co-host Frank something right now. Yeah. Marcel Marceau was a Jew. Really?

Yes. Oh, he didn't. Are you guys being facetious? No, he was Jewish. Well, I know he worked with the French Resistance. He was what? I know he worked with the French Resistance. See? During? I know he worked with the French Resistance during the war. Jew.

Jew. It's untied. We should explain, Lorraine. Gilbert has an obsession on this show of pointing out who's Jewish and who isn't Jewish. Who's Jewish? It's become a runner. You know something? Have you ever seen that magazine, Hebe?

Oh, yes. Sure. Our podcast was reviewed in there. We got a nice review. Oh, I love that magazine. H-E-E-B. Yeah. And I don't know where I saw this, but it was an article called Jewtastic.

Or it might have been, you know what? It might have been a film that was on, like, HBO or something. What most people don't know about you is when you first walk into your apartment, there's a photograph of you with your two beautiful children, and you're wearing a pair of underwear on your head. Yes. So you are clearly an underwear enthusiast. I am an underwear enthusiast.

I marched on Washington about underwear. Did you? Yes. I didn't realize that. In the 60s? Yes. People don't realize. And they were getting the police attack dogs after us

and trying to hose us down. I thought I knew everything about you. Yes. I had no idea. Because I was marching for underwear. Now, everyone needs underwear. Most of us wear it every day. Some of us even wear a fresh pair every day.

And that means we spend a lot of money on underwear. And if you want to wear something... My life savings. Your life savings? I started into underwear. Yeah. Well, it's a cause that's meant so much to you. That's what's great about MeUndies, by the way. They sell luxury underwear at half the retail price. All you have to do is go to

MeUndies.com slash Gilbert. You pick out what you like, the color you like, the type you like. There's no shipping. There's a money-back guarantee. And if you don't love the first pair they send you, you get to keep it. You have nothing to lose. And if you love the first pair, you can go out with it. You can marry it.

Yes, you can start. You know, I've never seen you in underwear, but I have you pegged for the type that wears the boxers with the little anchors. I'm going to take my pants off right now. Just go to MeHundies.com slash Gilbert and you'll get 20% off your first order. That's 20% off an already great deal. It's great underwear. It's an amazing price. And it helps support our show.

They also have socks, sweatshirts. Just think, Gil, socks. You could like the ones you swiped from Steve Gusembi's firehouse. Yes, yes. And I just want to sincerely apologize for never standing in front of you in my underwear.

Well, listen, our relationship is still young. So one last time, that's meundies.com slash Gilbert. M-E-U-N-D-I-E-S dot com slash Gilbert to get 20% off your first order. And Frank, I'm going to take my underwear off now. Go for it. To show how much I respect you.

Go, buddy. But, you know, I think the younger generation of Jews are very, like, you know, waving their flag and proud, They're very like, you know, waving their flag and proud, which is so refreshing, you know, from the wish to assimilate and all that kind of stuff. And all the Jewish stars would change their names. Yes, absolutely. And now you look at, you know, everybody and nobody changes their name anymore, which is great. With old Hollywood, the whole idea of the white Anglo-Saxon family with the white picket fence, and it was invented by Jews writing those pictures.

Yeah, wanting desperately to assimilate themselves. Like they were making the Andy Griffith Show and Hee Haw and all those things. Well, before that, the schmata salesman who ran the studios. Oh, yeah. You know, Samuel Goldfish. Yes, yes. You know, let's talk about the Groundlings, Lorraine. Okay.

And just a little bit, Gilbert was delighted in the fact that you worked with Pat Morita and Jack Su. Yes, this is unique. A friend of mine wanted me to be his audition partner for CalArts. And when I did his scene with him, they offered me a spot there, too. So I thought, what the hell? I'll never get into any other college this way or with the grades that I had. So I was there for about three months but it was just not my cup of tea and my sister Tracy uh was involved with this improv

workshop quote-unquote because it wasn't we weren't a company of any kind it was just people you know working out scenes with improv games. And that first cast of people that eventually became the Groundlings was Valerie Curtin, who was Barry Levinson's writing partner, Jane Curtin's cousin, Tim Matheson, and Pat Morita and Jack Sioux. And I was so excited because I had seen Jack Sioux in this great sitcom called Valentine's Day with Tony Francioso, where he played this kind of swinging bachelor.

And Jack Sioux was kind of his wisecracking valet. Oh, God, I remember that. Wow. Yes. Valentine's Day. That was my, I remember that. Wow. Yes. Valentine's Day. That was my, because this was before Barney Miller. Yeah, the world knows him from Barney Miller. Right, but that's where I knew him from, and he was great.

And then Pat, you know, was the hipnip. The hipnip, yes. And, God, we had some adventures. There's a restaurant on Sunset that was the Imperial Gardens. It was a sushi bar. And they had, like, talent night one day a week in a smaller part of the restaurant. And Pat and my sister and I would get loaded, smoke pot, and go and watch these talent nights, which were amazing. But, yeah, they were in the company.

People forget or don't know that Pat Morita was a stand-up comic. I remember Pat Morita. The hipnip. And Jack Su. Jack Su's also on a great Odd Couple episode. Oh, yes. He's a wrestler. He turns up in a lot of stuff.

And Pat Morita was on an Odd Couple episode. Right. He was the soldier that runs into Felix in the jungle. And wasn't he on Happy Days? Yeah. Oh, yes. Yeah, he was Arnold. Yeah.

Also, you were on the infamous episode of Saturday Night Live where Milton Berle was the host. Oh, yeah. We talked to Alan about that. We love your perspective. Well, he was a big grouch. I remember we were posing for, Gilda Jane and I were posing for a photo with him. And he said, let's do a soft shoe.

And none of us knew how to do that. I mean, Gilda later took tap lessons, but at that time, none of us knew that. And, you know, I can understand from his perspective, coming from his background, you know, vaudeville and things like that, you had to be able to do everything. But times had changed, and he said, you don't even know a basic

soft shoe where's your talent wow oh jeez he was Uncle Miltie who we all just idolized and he was so mean you know I didn't have the privilege of seeing

it we're talking about his legendary cock. You knew Gilbert was going to go there before we even went there. Yeah, I got nothing. Yeah. I'm going to tell you now, I got nothing. Because I think Swipe Bell. Swipe Bell says he saw it.

He showed him his cock. Oh, my God. His story was good. At least if you would have seen his dick, it would have made that week passable for you. Is that what you think, Gilbert? Yes. You'll go on thinking that. It's Milton Berle's cock, for God's sakes.

That would do so much for my morale. I just know that there's a cock that big in the world. That's how our troops won World War II. That's how we beat the Nazis. You brought it full circle. Milton Berle would go over there and wave. It's a show they don't tell you about. Yeah, Milton Berle would wave his cock in front of the troops on the D-Day invasion.

Oh, man. Didn't Alan told us something that, I don't know if you remember, where he was. He was talking about what it was like a 70th year in show business. And he said below the frame, he would just kind of like beckon the audience to applaud. Oh, yes. Give him a standing ovation. Oh, my God.

Out of frame. You know, people that know SNL know that for years. That could be considered a bit, though, too. I mean, I don't know if you saw Tig Notaro's special, but she was saying, you know, I had this dream. I think that's what she was saying. I had this dream that, no, I know that you're going to try and give me a standing ovation, but don't. Please don't. You know, of course they did. But, I mean, she really played it so beautifully

because she kept slipping it in there. She is funny. I don't want a standing ovation. Well, and SNL aficionados know that that was the episode that Lauren tried to bury over the years. Yes. The military episode. I have to figure that, you know, first of all, I don't remember.

I only remember a couple of sketches, and I don't know. I mean, I don't think any host was ever particularly bad, and I don't think Milton Berle was bad, but I think that he was just such an obnoxious asshole that Lauren hated him and wanted to bury it for that reason. Yeah. But you forget that when the soldiers assassinated Osama bin Laden, Milton Berle was on the plane with them, waving his cock at them right before they shot down Osama bin Laden.

Right. You know so much interesting history. Yeah, that's good. And it could be seen from land. Martians were pointing at it. That's why they're considering visiting. We don't need the big bopper in that fucking time capsule forget that we want milton burl schlong come on didn't the uh you said no host was ever bad but didn't the uh didn't the cast kind of

mutiny uh when frank zappa hosted wasn't there a problem not to my knowledge no no i mean again you know everybody had a different experience. It was a Rashomon situation. I remember when we were told that Steve Martin was going to host for the first time. Some of us didn't know who he was. Some people that felt like because he came from stand-up that he wouldn't be able to do characters and he would work alone, quote-unquote, if you know what I mean, in sketches and wouldn't become what most hosts, you know, the best hosts become part of the ensemble. And everybody was certain that he wouldn't. But, of course, who had the last laugh? Well, of course, he was a writer, too, from the Smothers Brothers. Yes.

A writer. You mean, what do you mean? I mean, he wasn't just a stand-up. I mean, he was a sketch player from the Smothers Brothers show. Oh, that's right. From the Kenberry Wow Show, he was a cast member with Terry Garr. Right. For the four people that remember that. And what was your experiences there with what everybody seems to remember

about Saturday Night Live saying, like, the amount of drugs? Well, again, you know, it was considered a very benign thing at that time. Nobody really knew the, you know, bad side of those things. I can only speak for myself. You know, I had a pretty bad drug habit, but I had it when I got there. know it wasn't something it's like oh I can't deal with the fame where's the hell you know it's such a naive uh notion to think that but and other people who had drug problems they arrived there with them so you know I again don't want to talk about anybody else, but I never performed high. I never was high on the show. But, yeah, I had a pretty bad problem.

Well, you were just a kid. I mean, it was 1975 when you were in your early 20s. I was 23. 23? Yeah. And did the appearance that you did on the Lily Tomlin special that Lorne produced, was that how you came to his attention, Lorraine? Yeah, yeah.

That was a great experience, too. It was very exciting. And it was a—I mean, I had nothing to compare it to because it was my first experience. But it was such a—you know, it was all women. All the writers were women. Rosie Schuster and Ann Beetz. Yeah, and Marilyn Miller. Marilyn Miller.

Marilyn Suzanne Miller, yeah. Yeah. Didn't they tell you, didn't Lauren tell you it was a 13-week run with a five-year option, and you thought, yeah, five years, that's never going to happen? Yeah, exactly. Yeah. Yeah, that was what our meeting at the Chateau Marmont, where he was living, consisted of, is his telling me that. You know, because I would never have gone to New York to, like, make my name. I just, you know, that would have been terrifying to me.

People forget that it replaced Johnny Carson reruns. Well, that's what it was used to be on Saturday night. Yeah, that was the note. Now, the other host I hear a lot about was Louise Lasser. Uh-huh. Could you tell us anything about that? Well, again, it was a long time ago. I do remember her locking herself in her dressing room

and having to be talked out of there, which no host had ever done. And I'm not going to lie, that was a bad moment, you know, but it all worked out. You know, I honestly don't remember how she was in the sketches themselves. Now, I had heard that they were planning, if she doesn't come out of her dressing room, planning if she doesn't come out of her dressing room that Chevy Chase would put on pigtails all of her characters that's the story I forgot all about that yeah which I wish that was an

actual plan I wish that would have happened yes wouldn't that have been great oh my god what was the tipping point like, Lorraine? I mean, here at first, you know, you have this meeting. You think, oh, this thing's going to be 13 weeks and gone. It's never going to become a five-year show. And then suddenly, you know, in pretty short time, it becomes the biggest television show in America. You mean like what year? I mean, how wild did it get at its wildest point?

I think that, you know, the after parties where you would see major movie stars and major film directors attending. I remember hearing these stories about like, you know, Robert De Niro and all of the major rock stars, all the major film stars. Yes, absolutely. In fact, Robert De Niro, I think he was at one party and Gilda and I were like, you know, talking to him totally, you know, googly eyed. And unbeknownst to us, Rosie Schuster had tied our hair together. So that when we tried to walk away, it was literally that bit of like, that rascal. You hate it when people compare the casts, don't you?

I mean, I saw an interview with you and you said that. I don't think it's fair. I think that, you know, every cast for every generation is the best cast because it's it's not only the quality of the performers. It's also how significant it is at the particular time of that generation. Then you are awakening to comedy. Then you obviously never saw my season of Saturday Night Live. I was going to say, except for the one that had the misfortune of following you guys. Oh, you know,

no, I did not see that. There's a lot of stuff I didn't see. And then when I had kids, I didn't see a lot of SNL because they didn't have DVRs yet. Well, Gilbert, he says something very interesting. What's your analogy about the deal? I said,

at that point, they were already attacking us just the very height. That's just a – I mean I don't know how anybody could have tolerated that. Because it was kind of like – I always say it's like if in the middle of Beatlemania, John, Paul, George, and Ringo left, and they got four other schmucks, and they said, they're the new Beatles. You better enjoy them. They're really talented people. That's the problem. It's just that there were administrative differences in who was running the show, and I think Lorne is the one that has to run that show.

in who was running the show, and I think Lorne is the one that has to run that show. You know, you can't just take someone who comes from a different perspective and expect them to produce that show. You know, Dick Ebersole actually did a pretty decent job, but other people didn't. And because it's like, you know, I'll get in big trouble for saying this, but, you know, I don't think just anybody can direct a horror movie. I think you have to be a specialist. That's why I didn't think The Shining was that good. I really didn't.

Yeah. No, I'm not a particular fan. You like The Shining? What? I was asking Gilbert if he likes The Shining. I think I kind of like The Shining. Yeah. It doesn't deliver like the book does.

Yeah. Yeah, and, you know, whereas when David Cronenberg does a Stephen King book, you know, you have The Dead Zone, which is unforgettable. Love that one. Oh, yeah. You know? Did you... But then they did that awful TV miniseries of The Shining.

Stand? No, The Shining. Was that the one with Steven Weber in the lead? It was pretty bad. Yeah. Yeah, I agree with you about The Shining, Lorraine. Oh, you do? Thank you.

I think it plays like a black comedy. Well, I'd have to watch it again to look at it from that perspective. I've never thought of it in that way I just thought it was a runaway train I don't think Jack Nicholson was directed at all the funny thing

about that movie he's supposed to be a man, a normal man who slowly is driven crazy and in the first scene to be a man, a normal man, who slowly has driven crazy, and in the first scene, Jack Nicholson's out of his mind.

Maybe it needed a different actor, like John Voight, or somebody who was a little more normal, and you could slowly crack up. Well, but the thing is, if you remember the book, and I even think that they alluded to it in the movie, but they should have done it more, was that he had an incident where he hurt the child because he was a drunk. Right.

So he was trying to quit drinking as he was trying to write his book. And that, I think, were the elements for, you know, the guy. What is that thing of suffering quietly? I don't know. Quiet desperation. Oh, a life of quiet desperation.'t know. Quiet desperation. The quiet desperation was getting his help. This is a perfect segment

to say Stanley Kubrick, who directed The Shining, also directed Full Metal Jacket and were desperately trying to find Papillon Susu. She was the girl.

Trying to find the girl, love you long time girl. Yes. Yes. That's his idea of a good guest for the show, Lorraine. Even if it's just for like five seconds, we found her. That's an interesting goal, you guys. A really interesting goal i could end the podcast after that tell you about our lives

i have to ask you that somebody wanted me to ask you lorraine what what was you've been you've been asked this a hundred times but and i know it's 40 years ago but what was your fondest memory of the show and by that that, I mean creatively. Did you have a moment where you thought, you know, I'm doing really good work, that kind of state of grace? You know, in terms of the ensemble, is that what you're talking about? Or just yourself. I mean, the Christy Christina character, Lena Burt Muller, the squeaky from, there's so many highlights. Was there a moment that you thought, boy, it's gelling, I feel good about this? Yes.

I mean, it's just it's so long ago that I couldn't pinpoint. There are lots of sketches that I like, but the ones I like the most, I'm often not in. Interesting. You know, the stuff that I brought from the Groundlings that was my material and my characters, you know, they really found a nice way to slip that stuff in, and I felt very at home with that. Which one in particular? And, you know, I remember once when Danny wasn't there to play Leonard Pintgarnel for Bad Playhouse. They cast me as Lady Pintgarnel,

and it was one of those things where I absolutely did not have a handle on that character until the air show. Didn't have it in dress rehearsal, but I had it for the air show. So those kind of moments are really thrilling. You were fun on those E. Buzz Miller sketches. Oh, thank you. That was a real guy. Was he really? Yeah.

That I never knew. He was a guy in Rangiroa. He had one of those stands and sold, you know, the image of the topless Polynesian women on postcards. The Gilbert Gottfried Amazing Colossal Podcast Producer of the Month is DFA Records. Thank you, DFA Records. Be just like DFA Records and get rewarded for supporting our podcast. head over to patreon.com slash Gilbert Gottfried. For a set amount each month, you can get some colossal benefits,

such as access to new podcast episodes before anyone else, early access to tickets to live podcast tapings. Exclusive video hangouts. And just added, I will record a personalized roast of you and only you so you can share with your friends me telling you what a schmuck you are. Well, I don't have to join Patreon for that. And you don't have to pay me either, because you are a schmuck. That I do for free.

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or did you nearly drown during a sketch? Oh, it was, yeah. I mean, it was Theodoric of York, medieval barber. Right. And it was, you know, the drowning pool. If he thinks she's a witch, if she floats, she's not or vice versa. I can't remember, but you know, you're in these really heavy, uh, game of Thrones, like, uh, costumes. And what they'd set up was the drowning pool with

this container that met up with the end of the set. And then I was supposed to swim under that and come out the other side backstage. So my hands are tied. I'm weighed down, and I'm swimming on my back. And it got pretty – I had a bad moment during the dress rehearsal, so I was really kind of nervous for the air show. Isn't that a fun story? I love that one.

I was wondering if it was true. What do you recall about making the special with Bob and Ray? I have fond memories of that one. Oh, they were great. Bob and Ray and Lorraine and Jane and Gilda. I know. Well, that was a

Franken and Davis labor of love and it really had the flavor of their writing all over it. Having us do that Rod Stewart song, you know,

If You Think I'm Sexy, that was so much fun. And the spelling bee sketch. Yeah. And I think there was something with like a shoelace factory, if I'm not mistaken. But it's been so long. I remember there's a jogging pad sketch where you and Bob are running on treadmills, and you have cardboard flaps attached to your feet, and there's an egg timer.

Do you remember any of this? I have no recollection of that. 40 years. You're going to hear that a lot during this. I mean, we've got that. 40 years. You're going to hear that a lot during this. I mean, we've got eight more minutes, but you're going to hear that a lot. Do you remember anything about making the movie Holy Moses with Richard Pryor? Yeah, absolutely. Tell us a little bit about that.

We love that cast, Gilbert and I. Oh, yeah. James Coco and Marty Feldman and Dom DeLuise. Oh, yeah. I think it was Jimmy Coco. Right. Andrea Martin was in it. That's right.

And Dudley Moore and Richard Pryor. Well, first of all, I made terrific friends with Dudley Moore, and he was a riot. And we were on location in Lancaster, which is like up around Valencia, and there was nothing to do. And Dudley loved these cookies called pinwheels, which were like, they looked like little bundt cakes with marshmallow inside, and they were chocolate covered. And, you know, the place, there was like a 7-Eleven right next to the motel that we were

all staying in. And you see, we'd do this thing where you'd be walking for the motel and just kind of like lean to the side or walk over to the 7-Eleven like it was pulling him. And he could move very fast. It was very funny. But I remember I was never imagined myself in the position of playing like a quote-unquote leading female role so it was always uncomfortable with that and i remember seeing the dailies thinking i gotta get some help you know and consulting i think carol teagues the model and she recommended this guy uh she said if colin can't help you, no one can.

But the guy, you know, who was the staff makeup guy, he was from that lineage of, you know, the Bud Westmores and the Bill, not Bill Nye, but. Oh, I know who you mean. Yeah. His name went out of my head. It is Nye. It is Nye. Yeah. But, you know. It was Louie.

Not Louie Nye. No, no, no. Louie was doing my makeup. I'll think of it. You know, I was saying, you know, I need help. I don't think I'm looking good. And, you know, the makeup guy thought I was impugning his abilities. And he said, you know, I used to make up Marilyn Monroe.

Well, I said, well used to make up Marilyn Monroe. I said, well, I'm not. And, you know, it's probably not difficult to make her look good, but it was a puzzle for me. And you got to work with Richard Pryor when he was still at his best and his strongest. Oh, yeah. Well, you know, I met Richard Pryor when I was 14 because my sister was an emcee at the Bitter End. So she knew all the comics. And she invited the whole family to come see Richard Pryor at the Troubadour,

if you can imagine. I mean, this is when he was still wearing suits with skinny ties, and it was the 60s. It was the late 60s, and he was great, you know, just right away, and I had seen him. A lot of my education came, obviously, from TV, but especially with stand-ups. The Merv Griffin show came on in the afternoon in L.A. And, you know, you would see everybody. And obviously Richard Pryor, but a lot of amazing John Beiner and Bar Beauty. Oh, Pete Bar Beauty.

There's a name. Oh, my God. Yeah. Yeah. And, oh, Jackie Leonard and Jackie Vernon. Yeah, Jackie Vernon was the one with the

phony slideshow. Yeah, at the clicker. Oh my god, was that a brilliant bit. Here are some slides from my vacation. That's exactly what it sounded like. Here's Manuel leading us around the quicksand. Here's Manuel

from the waist up. Exactly. Here's Manuel's hat and his rope. I tried to find footage on him on YouTube and there is very little. If any. And he's not doing that bit.

Mostly known for being the voice of Frosty the Snowman. Oh, that's right. Jackie Verne. Oh, my God. That's Jackie. There he is now. There's Jackie. Hold on.

Hannah, can I call you right back, baby? Yes. I'm at home. That's fine. All right, Dolly. Yes, I'm at home. That's fine. All right, Dolly. Bye-bye. My younger daughter is working for that rapper, Tyler, the creator.

And she just did a taping down in Santa Monica and now she's coming over to visit before she goes back down to college. You know, I worked with Pryor in his last film. I was there for about two weeks.

With whom? I'm sorry. Richard Pryor. Yeah. Oh, okay, got it. His last film. I was there for about two weeks. Was that called Another You? Yes.

The one with Gene? I didn't make it to the final cut, which is just as well. It was a god-awful movie. But Pryor was so friendly to me. Yeah. And, like, he followed me around like he was my biggest fan. He was fun to work with. That's so great.

Because he went through phases. I know that when he did our show, he was not particularly interested in befriending white people at that time. He had Paul Mooney with him, who's a great writer, and he was, because of Richard's stature, he was the only one that was allowed to bring a writer with him. And Paul wrote the Exorcist sketch. Oh, that's a fun one.

Yeah. With that character actor. Is it Thalmas Rasulala? Yes, Thalmas. Good one. Yes, Thalmas Rasulala. Yeah, he's playing the older priest. Right. We should ask you about your voice, your incredible and prolific voiceover career, Lorraine. You've done voices for everything, Rugrats, Cow and Chicken Monsters, Ink, Cars, Toy Story, Justice League, WALL-E, Tangled, the list goes on and on. Yeah, I love it.

Did you always want to do voice work? Well, I didn't even know it existed. I just knew that I loved, was always fascinated by dialects, and I did characters. And I became aware of cartoons because of Tress McNeil, who's a Groundling, and also just like the Mel Blanc of women voiceover artists. She works on The Simpsons, and she's just brilliant. She works on The Simpsons, and she's just brilliant. And so my manager at the time got me a meeting with a voice agent, and it took me two years to break into that because it was a very – first of all, they considered people with names stunt casting.

Because a lot of people, very few, you know, actors could do that kind of work. You know, they didn't realize all of the skill that was involved in it. And even, you know, it took like maybe this stopped happening five years ago where, you know, people would say, you know, for someone who just comes for, you know, has, you really do this work well. You come from improv, I mean. And you know what's funny? I always talk about this.

And that is, it used to be cartoons and movies, the voiceover people that no one knew, but they were all great. Like June Foray and people like that. Oh, yeah. Sure. And the people in the Jungle Book, all character actors, great voices. They were known by the voiceover community

as major stars. But now, if you do a cartoon, you go, okay, we need Julia Roberts, Tom Cruise, Tom Hanks. Yeah. Well, you still do a lot. You still do a lot of cartoon voices. I do. I'm very fortunate that way.

But it's taken a long time, and I still do ADR. And you worked with Dick Shawn, one of those legendary people who died on stage. I know. That's just, I don't even know how to, I mean, is it sublime? Is it ironic? What is it? Would he have liked it that way? It seems like it should be the way to go.

Good way to go. You've got to drop that anyway. He didn't seem to have been suffering. He wasn't like flailing around or anything. He was keeping perfectly still. So it may well have been like probably the ideal way to go. You worked with so many interesting people. I have a list here in front of Gilbert, like Desi Arnaz on Saturday Night Live and Lily

Tomlin and Elliot Gould. Yeah. And of course, we love Buck Henry. Yes. Because Desi Arnaz pretty much invented TV as we know it, it seems. That's right. The three-camera way of shooting. And he really did refine the sitcom.

It's funny how, you know, unless you're, I guess, maybe in our line of work and are interested in that kind of thing, I don't think people know that. You probably won't remember this either. It's, again, 40 years ago. But I knew Tom Schiller a little bit. And a lovely guy, by the way. Oh, I love Tom. I love his writing.

Yeah, he's a genius. He really is. He is. I agree. Nothing Lasts Forever is a vastly underrated film. But he said that Desi Arnaz showed up on SNL and was basically walking around saying, you know, I invented all this. He did?

That I don't remember, but that's fantastic. But, you know, Schiller also had a connection with Desi Arnaz because his dad wrote for her. Yeah, Bob Schiller. Yeah, he wrote for I Love Lucy. Yeah. And, you know, I was doing my research on you, Lorraine, and I found it interesting that you said that, again, you were, what, 23 when you came to the show? And you said, I found this interesting, you said you'd never met anyone like Michael O'Donoghue. No, I hadn't.

I don't remember saying that, but, no, I mean, there were a lot of people there that I'd never met that were unlike anybody I'd ever met. You know, Richard Belzer was one of those people, too. I'd never met anybody like him. Belzer was the warm-up comic, wasn't he?

Yes, and he was in a couple sketches, too. Yeah, you look faster. You can see him in the early seasons. Yeah, such a great guy. It's an interesting career, too. We're going to have Richard on the show soon. Oh, please give him my love. I know this is my podcast, but could you just carry some messages to me?

Would you mind doing it? It's like giving an errand. I just want to ask you the last thing, too, is about the uncle, the infamous Uncle Roy sketches. Oh, yeah. With Buck Henry. With Buck Henry. It's like basically. Yeah. Oh, my God With Buck Henry. It's like, basically, ha ha ha. Yeah.

Oh, my God. We loved doing them. Because we knew that they were so wrong. Now that I'm a parent, I'm not sure. You know? He was this perverted uncle. Yeah, for anyone who doesn't remember. You and Gilda were the two little girls

that he would watch over. And he was this pervert uncle that would take pictures of you lifting your skirts up. Right. And like grinding on the glass coffee table, he'd lie under it and take Polaroid. It's such a bold sketch. And the Polaroid was such a great prop, too. It somehow just drove the point in really hard how perverted what he was doing was. I saw an interview with Buck Henry for the Television Academy, and he's really proud of those sketches, especially the part where he looks into the camera when Bill Murray says,

You're one of a kind, Uncle Roy. And he looks into the camera and he says, Oh, there are more of us out there than you think. Oh, that's right, that's right. And how depressing. You know? It's such a dark, brave sketch, I mean, even on a show that broke a lot of ground. I don't know who wrote it.

I think he said that Rosie Schuster and Ann Beetz wrote it. Oh, that's right. Yes, that is right. Well, again, I don't think anybody who was a parent could have written it or found humor in it. You know, but none of us were. We were all kids. Does it blow your mind on some level that Al Franken, the man who wrote the Theodoric of York sketches and did Hominy the Magnificent, is now a U.S. senator? It absolutely does. But I've seen Al at some of his fundraisers, and he's remarkable. He really is.

But he was always a brilliant guy. He went to Harvard,, he was extremely bright. But he would be given to tantrums at times. So it always amazed me the transition he made into politics, because by God, if there were any situations that would, you know, propagate a tantrum, I would think that would be it, where you work hard and you got this bill and you really think you got it just where you want it. And it's, it's gone through all these,

you know, different, uh, committees to be approved. And then some things are attached to it that you can't live with. What an odd career path though, from, from, from a sketch comic to a senator. I know, I know.

I should see his impression of Bernie Sanders. Does he do an impression of Bernie Sanders? Yes, he does, and it's fantastic. I love to see it. I'm not going to try it through, but I just know that his cheeks pop up a lot. You worked with Karen Black and Bud Cort, and Gilbert's curious about them. Ah.

Yes. Karen was an eccentric person. But lovable, you know? I met her once. She was very nice. Nothing wrong with her, just eccentric. I mean, I worked with her once. She hosted Saturday Night Live, so she was okay there.

But I worked with someone who worked with her in a film, and I said, oh, is she a little odd? And he said, she's crazy as bad shit. Oh, well, she was eccentric, you know. I mean mean i did a movie with her too i did invaders from mars and her son was cast as my son and this kid was not happy being an actor he was just miserable he'd made this big impression and done really well in this movie called paris texas and uh it was the beginning of summer when we started shooting this movie, and he wanted to be playing. He wanted to be working.

So he gained 10 pounds during the course of production. And that movie didn't do all that great, I heard. Yeah. Yeah. Oh, no. Paris, Texas is a good movie. No, it didn't. Paris, Texas is a good movie. No, it didn't. Paris, Texas is a good movie.

Yeah. I've never seen it, but I do know that it's supposed to be a very good movie. I heard somebody, one of the actors who worked on Invaders from Mars said, I think he worked on the original Invaders from Mars 2. I forget his name. Oh, really? That movie scared the crap out of me. He said that he was talking about how bad it was.

And he said, if you can get a bad performance from Louise Fletcher, then that really shows something's the matter. I love Louise Fletcher, then that really shows something's the matter. I love Louise Fletcher. Lorraine, before we run off, anything you want to talk about or plug? Anything coming up that's exciting? Secret Life of Pets. I think that's Illumination.

And oh my God, it's so terrible I can never remember what the hell I'm doing Sketchfest will be in January which is an alternative comedy festival that's been going on in San Francisco for 15 years

I'll be appearing there and I'm going to be well come to Stan Lee's Kamikaze October 31st that's in downtown LA Stan Lee's a Jew I know Stan Lee's a Jew

I know he's a Jew I know he is a Jew you know who else would create a hero? We need someone to keep us from the police. Stanley Lieber, right? Yeah, yeah. Is it really? That's fantastic.

Because I always, when I would see the name, I always thought he was Chinese. Well, it's another guy who changed his name. Of course, why not? We're talking about Jews who changed their name for the business. Oh, yes. There's another one. Okay, so. Yeah, I'm out of questions.

So, this might not have anything to do with you necessarily, but throughout the news and on the internet, they were talking, bringing up the Zabruta film. And they found something new that there's a part where someone opens an umbrella and closes it. And then Milton Berle waves his cock. And that's right a second after that. They shoot Kennedy. Wow.

So his schlankey was kind of part of the countdown to Hugh the sniper. I have no idea how many times Uncle Miltie Schlong has come up on this show. Lorraine, thanks for playing along. Oh, my God. Well, this is I'm Gilbert Gottfried. This has been Gilbert Gottfried's amazing, colossal podcast with my co-host, Frank Santopadre. And we've been talking to the very funny, talented and most importantly, my co-star and problem child, too. Yes. Thank you so much, guys. Most importantly, my co-star in Problem Child 2.

Yes. Thank you so much, guys. I really do appreciate that, you know, you have like that kind of archival knowledge about stuff that's interesting to me. Oh, you'd be the one. That's so great. And you really did major, major research. I appreciate that. A lot of it's wrong, but at least we do it. Thank you, Lorraine.

Thank you. Thank you, guys. Thanks for thinking of me. Lorraine Newman. Bye-bye. Bye-bye.