Bill Hader Returns

26:09I loved the way it wrapped up last season. And I was very much fascinated with what's going to happen. And usually what happens is you might get sent an episode, but I got sent almost all the episodes. Yeah, you got sent everything but the finale. And my pact with my son, who adores this show, loves it, and has great taste, is that we watch them together. And he has been unavailable. And I was like, I don't know. And And also, I didn't want to cram. It was like this beautiful meal has been laid out that I'm looking forward to. You want it to last. And so what I did was I decided I'll watch One and a Half Without My Son, which I did.

26:49And then I will watch the rest of the season unfold. And I trust you. I trust you guys. I know that you know what you're doing, but you have painted yourself into such an incredible corner. And I'm riveted. I'm absolutely riveted. I loved it, and I love where it's going. But you've put Barry in this impossible situation. Not just Barry, but I don't want to give anything away, but these characters are in this position where you think, I don't see a way out. I'm just enthralled. Just absolutely enthralled. Yeah, that tends to be what happens at the end of every season. We'll write it, and then beginning of season three, I think my first day in the writer's room, I said, well, he needs to get caught.

27:34and so you know i think we're writing towards that you know i don't see how this can keep going and then we did that and speaking of larry david i saw larry and he goes i watched barry that's it right i said no we have a whole new season and he went why

27:53i go well i think there's more story to tell and he's like but it's done this is because he ended steinfeld with them all in jail yeah right right he's like hey they're done yeah and so exactly i didn't think about that that's true jail means it's over jail oh it's like monopoly uh but he said uh but he said uh but he was yeah he was just you know we so we have that and so you start every writing session for season four and this one was during the pandemic like the pandemic happened we were two weeks away from starting to shoot season three the pandemic happened and when i went to hbo and said is it okay if we just write season four to have something to do and then as we were writing season four we started to go back to season three and so i see three and four is kind of one that's a big season it kind of like we kind of it all kind of rolls into each other but you know season four yeah you start off with him in jail and everybody he loves hates him and no one ever finds the stuff I find funny funny.

28:53This doesn't ruin anything but the opening of the season is Barry calling Gene Cousineau and the first thing he says was did you trick me? Did you trick me? He's such like a child. Did you trick me? He goes, did you trick me? And no one has ever laughed at that but me and Ali Greer, the editor, Frankie Gutman, the other editor, we are crying laughing at how he's like Homer Simpson we say that he has gotten progressively dumber. He's got progressively dumber each season. And so, yeah, we just, you know, it's you start with him there and then it just turns into like, well, what would happen? What would what would you do?

29:33You know, and the character is kind of really dictated. And so you kind of walk through all these steps and you take a lot of, you know, missteps. You go down avenues and doesn't work. And and from working at it, started live for so long and doing this where it It was such an immediate thing. What was so nice about the show is you could create something and feel like good and then walk away from it and then come back six weeks later and go, what the hell were we thinking? This has nothing to do with what the story is about. You know what I mean? It's more about this, isn't it? You know, and that was so helpful.

30:06So we had, you know, two years of being able to kind of percolate these ideas. and then even with that you're still on set going duffy boudreau who's the co-writer and uh my oldest friend we've been friends since high school he yeah he's he because he's been my friend for so long you kind of know how it is where you're like on set my show and so people are very nice and i feel like i'm a very nice boss but it is kind of like you hear the uh bill's on set you know what i mean it's like uh bill's here so it's like you know it's like conan's coming up the conan's cars Oh, trust me, there is none of that here.

30:42I assure you, there is no reverential time. It's more like, oh, God, Conan's upset. Put on your listening ears. Get ready to laugh. Put on your pretend happy face. No, but it is that when I show up, it's like, oh, gee, like, you know. And so it is, everybody's kind of, and it is nice to have your friend from high school there going, like, well, that's dumb. Yeah. You know what I mean? Yes. Or like, there's a scene in this, there's a little bit in the trailer, so I don't mind, but there is a scene this season where Barry is at his lowest, in the first episode, where he's kind of at his lowest point and he's in the bathroom and I kind of flip out in the bathroom.

31:22That's a great scene. Oh, thank you. Very, very intense. Very intense, yeah. It was hard. It was, you know, you have two cameras, I'm directing it, so it's like, okay, we put two cameras on me, I'm going to flip out and then we'll just keep going and I'm going to hit a wall and we'll just keep going. and um i do the first take and i'm feeling wow i really brought it you know that was really good and the door opens and duffy comes in and goes uh it's a lot of acting dude

31:54i go what i go well that's why it's called you know and you get into like a fight like you did like with your friend from high school like well that's what i'm doing man he's like i don't i mean look i'm from oklahoma what do i know but it's just it was a lot of like a lot of like hey look at me you know and he just walked out and so i got mad i'm like all right let's go again and then and then i in the scene i start hitting myself so the action i'm looking at myself in the mirror and i start hitting myself and behind the wall i hear there he is like there you go come on man but he doesn't have any like you know there's no reverence There's no reverence.

32:33There's no anything. He was like, come on, man. What are you doing? You know? And then Gavin Kleintop, our first AD, and Aida Rogers, our producer, they got to that place, too. And that's infinitely helpful. It's so helpful. And our editors are like that, where I go, hey, you're not going to believe this scene we did. And they look at it, and they go, that's a pretty corny pill. You know? And you need that. You need somebody to say, this doesn't feel like the show, man. I don't know what this is. This reminds me of one of the times that I think was the first time Gary Shandling came on my late night show.

33:06We'd been on for a couple of years and we'd gotten through the rough spot and things were really starting to gel. And then I heard Gary was going to come on, which was just a huge, you know, thrill. Never had met him in person. And he came on the show and was fantastic. And then afterwards he came into my dressing room and sort of shut the door like he just wanted to talk to me and see how I was doing. And he said to me, well, how's the staff? How are you guys? Do you feel good about? And I said, yeah, I do. I really have excellent people. And he said, do you feel like you have too many yes men or something?

33:38And I said, Gary, I would kill for just one yes man. And he was laughing at that, but it was true. That's the kind of family I grew up in. There's not a lot of, I mean, people just sort of make jokes. and I know that we all love each other but we make a lot of jokes and so there's not a lot of hey I just have to tell you your work really inspires me that's not the environment I would be comfortable in just thinking about it what if I said that to you I was like Conan you really inspire me so good I would say how much money did you get paid where's the camera what's the joke you really inspire me to do the opposite to nap inspire you to nap Yeah, that's what it's also the big the best thing that I've learned over the years when you're writing it and shooting it and then editing it just keeps changing each time.

34:32And then what I always do, and it drives everybody nuts, but it's true is I'll sit down and say, okay, you just saw the latest episode of Barry. You go to a bar and you're sitting with your friend and your friend goes, oh, you just watched the latest episode of Barry? Yes. And they go, what's it about? What do you say? You know what I mean? And it's like, well, it's about a guy. And like that order and that of the information is how we should probably lay the story out. And it'll be interesting is they'll tell the story and it's going smoothly. And then you go, that's great, but you've never once mentioned Fuchs.

35:04So we got to go back and make it so he's, you can't, you can't talk about it without mentioning him. You'll talk about the whole thing. Like, that's great, but you never once mentioned Barry, which happened season two. We had a whole episode that I wasn't in. And Alec Berg and I went, you're not in the show. it's my favorite episode yeah it's my favorite episode he goes you're in two scenes that's the only one I've seen oh yeah that's the Emmy winner I thought yeah I thought Henry was buried I'm buried people are always like what's it like working on Henry Winkler and it really is all about the cake that he brings to set he just brings bunk cake I'm like Henry you're losing your mind in this scene and you're on the verge and he's like and then after that can I give the crew the bunk cake like robert wisdom's gonna scream at you and make you cry and he's like right right well i have the coffee in the brunt cave right over and he has a story about everything right over in this corner you know gene shallot attacked me or whatever it is you know he wasn't attacked he was one of the first celebrities i saw when i came out to LA with Greg Daniels in 1985, we went to something and one of the first celebrities, not the, but one of the first celebrities, and you have to remember you guys are too young, but, but happy days in the seventies was the biggest thing in the world.

36:29And the Fonz was the biggest part of happy days. And, you know, in my school, in my English class, there was a big poster of the Fonz on the wall in an, the teacher had put it up just to like try and pacify us. He was such a big thing. So I get to L.A. This will calm them down. This will calm them down. How do we calm these children down? Here's a picture of Abraham Lincoln.

36:56Here's one of the Three Stooges. Oh, no. The Fonz. Cool. Cool.

37:04Look at them, sir. Look at them. We went to some event, and I couldn't believe it, but everyone was going to their cars and like this big, almost like a station wagon pulled up. The valets brought up a station wagon and it was raining really hard and one of the windows had been left open and Henry Winkler came out to claim the car and his wife was getting in the car and he opened up the back seat and he took like this big rag and started wiping the water off the back seat and I thought, what's the Fonz doing? He's some schlub wiping water off the back seat of a station wagon. Yeah. What happened?

37:40He jumped in the car. He quickly went, eight. It is him. No, he's the sweetest guy on the planet. Very sweet. Very nice guy. And so he's a guy that you can also, when I was on set, be kind of overwhelmed or whatever. He would always be like, I just want you to know you're doing a wonderful job. And he would walk away. That's so nice. That's sweet. My son and I are such Barry fanatics that we last year decided we need to go back and rewatch them all. We did that before the last season. So we went back and watched all of them. Again, what struck me was how there's an arc to the tone of the show.

38:22It's very organic. It's a compliment. But if you watch the first Barry, second Barry, third Barry, it's much lighter. It's almost when you start down this path, and I was loving it, the tone starts to gradually change, but it's subtle. And now, if you look at where we are now, you can't believe the arc. You can't believe where you started, which to me is a real achievement. When you're writing it, you kind of start with this kind of idea that is kind of on the face of it could be a very kind of glib idea. And then when you try to do it realistically, you kind of move on. and then it's finding it and you go, oh, this is like, you know, this is the tone of the show.

39:02And I think there was just some touchstones. I mean, one in season one was when Barry is in the car with his friend Chris and he has a choice to like kill him or not. And he kills him and there's no joke after that. And I remember being in the edit and going, Alec Berg directed that episode and we were going, well, the next scene is like a comedy scene. You know, what do we do to, well, let's just put it in there and see what happens. And it didn't hurt anything, you know, and it was like, oh, that's interesting. We can do that. So it was a bit like having some sort of machine that you went, well, it's still, we're still afloat, you know, we're on a boat and we're trying all these things and we haven't sunk yet.

39:37So let's try that. You know, we can go in that direction. But a thing I always thought of as we were moving forward was, um, the movie Rosemary's Baby. If you watch that movie starts off very purposely like a Doris Day movie. Yep. It starts off, there's nothing overtly creepy about it. It's like a very nice couple buying a place, you know, at an apartment, you know, and at the Dakota and it kind of moves forward and then as it's happening, the tone starts to slowly shift, you know, in a way. And so that's always stuck with me in that, to what you're talking about. But then I don't know about you, you've experienced this too, when you're writing something, you're kind of like, it's how you meet people too.

40:20It's like we're writing the character and you're meeting all these characters and it's how you meet somebody. It's kind of superficial and you have your initial take on them or impression of them. And then as you hang out with them, you start to get to know them better and they've just become, you know, slowly and increasingly more complicated, you know, and it's just trusting that. And then also I think the other thing I'll say is when you're dealing with murder, it was very hard for me to be funny about it. you know it could be strange but it was hard for me to have someone get you know the janice moss character get killed and then kind of forget about it and i was like no no when she dies it's for the whole show like you can never forget about her every episode she's mentioned because i think that's what happens when someone loses somebody and so you would be in the writer's room and everybody's going what was the company you know and it was like no no no but we got to hold on to that we have to hold on to that and just and just trust that it'll work but also is it a comedy why does it have to be a comedy yeah that was in their room that's true yeah i get that's funny you say that because i just did it but i do bris i just i've been doing a ton of press so i'm a little tired but uh so i was the last piece of press you did literally this is the last thing you want no i have more press no i have more press after this oh i've done just about every shitty thing you can think of.

41:42I'm scraping the bottom of the barrel. They reintroduced me to shows that were canceled. I went to... I just did Regis. I just went to Bonnie Hunt's house. I said, Bonnie, let me tell you about Barry. And she said, I don't have a show. And I was like, listen, Katie Couric, she doesn't want to hear all these people. They don't know. They don't know me. and said, why didn't you get the episode? I saw you on Hannity. I was on Hannity. I was like, look, look at me when you talk to somebody. When you talk to a man, you look at him.

42:28No, but it is a thing you get a lot of, which is, is this a comedy or not? And it's like, no, we're just telling a story. It's so funny because this season of Barry starts off in this very dark place. I'm not giving anything away, but at one point, Noho Hank is with his partner and they have a cut to him and he's wearing this hat and these glasses and I lost it. it's such a funny and i was and so to me this idea that things can be incredibly dark but then you can you and to me it makes the funny much funnier yeah also if it what we learned was that as long as it stayed within that character where you would say well no ho hank this is what he would wear in santa fe yes yeah you know this is what he would want to wear that's what he's wearing which we always thought was very funny so it's always like when it comes out of honesty it kind of works.

43:25And the things that wouldn't work was when I would, you know, hand of God, you know, comedy nerd, try to come in and create something that wasn't coming organically out of a situation or the characters. And that was usually the stuff we would lose quickly. Well, I built a career on forcing it. And I have to tell you, I'm a big believer. I think you're missing out. Conan O 'Brien's new podcast. Conan O 'Brien, why'd your mind go there? A new podcast.

43:55Why am I talking like Jim Signorelli? There's a reference. Yeah, there's a reference. Jim Signorelli did all the films at S &L back in the day. Yeah, he did. And what I remember is that he wore his watch so that the face of the watch was on the wrist side. Doctor style. Yeah, and the band was really loose. And I remember thinking, I guess that's the way you're supposed to wear a watch. Especially a director wears a watch. I don't think I had a watch then. Yeah, yeah. It was a swatch. And he shot, I remember he goes, here you're a film fan. He goes, I was the DP on Superfly. And he was. Well, I'm glad.

44:30I have a pact, which is anytime someone brings up Jim Signorelli, I have to wrap it up. Oh, yeah. The Signorelli lights on. Yeah, that's when Obama was here. And he was like, Jim Signorelli.

44:43Was the inspiration for. I remember the time I went down to Pink's Hot Dog. That was a bit that mean. that is still my favorite thing that fred and i would do is yeah yeah obama at the base of the capital records building just talking about his time in los angeles he's like i went down to pink's hot dogs where a writer from grace under fire said mr president what are we going to do about this wga contract

45:11i was like i went down to venice beach where in the 60s a band taught us that if we work hard We can break on through to the other side.

45:21Why is it that the more specific an impression is, the better? And then one thing was that he got to run background. I went down to the set of two broke girls. They let me run background, which is... Fred did this, and I felt like he's like, it's when people are, you see the people in the background talking, now they're not allowed to speak, so you got to tell them, hey you go in there now you come out now you're eating you're drinking coffee you two are married now you go in now you can't talk at the same time i'm gonna bring it back to dana which is he does an impression of obama pitching to netflix it was obama pitching and all of his ideas are things they already have so it's it's just so i was like you know well i'm thinking of a show or a bunch of people vying for the you know they're vying for the throne of uh you know and different kingdoms and stuff like that.

46:15And they're trying, and it's sort of like they're all trying to get the throne and different families, and there's rivalries, and there's battles, and a lot of sex. And they just come off and they go, you know, Mr. President, it sounds a lot like, and he's in the meeting with Mrs. Obama. Mr. Obama, that sounds a lot like Game of Thrones. Well, fuck me. Mish, what do you got?

46:36And that was my favorite part. Fuck me. Mish, what do you got? Mish, what do you got? Mish, what do you got? Mish. have you heard him do his his thing I guess he did where he and I think it was Jan Hooks would because at the table reads at SNL Lauren Michaels has to read all the stage directions and that they wrote a sketch that was called Mr. Poopy and it was all stage direction and they wrote it solely so Lauren would be like and Mr. Poopy walks into the thing and then Mr. Poopy comes out Mr. Poopy then walks in And he sees, he sees, he walks out, he sees the mailman. The mailman wants and says hello.

47:15He gets in the car. Mr. Poopy now is in the car. They just were up late going, I just want to hear Lauren have to read through all this. Mr. Poopy, say it 700 times. Yeah, he said Mr. Poopy like 100 times. God, I would have been in there for that. And I don't think I was, I was not there. I would remember that. Mr. Poopy thing, Mr. Poopy defends. He would always, that was the worst because Lauren, he would kind of mumble. And then if you weren't paying attention, you would just hear, and it's a involved person. In walks Bill. And you're like, oh, Jesus. And the read-through's been like two hours long.

47:51Yeah, and you're like, what? Oh, it's me. Oh, Jesus. Yeah, so. I remember the thing that made my soul die was if I'd written a sketch that all turned on one reveal. You've developed like a, you've made a 600-mile-long domino string, and you've hit and the first three fall but the fourth doesn't. Yeah. And you know that this is going to last for eight more minutes and there's not going to be one single laugh. It's the worst. I really wish that there was a time you could just in those moments just say, can we not do this? Yeah, forget it. Forget it. Moving on. Moving on. Kill it. Kill it. Kill it.

48:27Because it's just like we had stuff like that happen all the time where it was just me and Will Forte I remember we wrote my first table read ever wrote a sketch called emmy attire and it was me going it was him i'm trying to remember what it was it was him and and when biking attire and then and then i'm in the other room and i go hey you ready to go to the emmys he goes sure i am and i go uh what are you wearing he's like i'm wearing biking attire what do you mean you know he's uh you know the you know the helmet the the shorts, the fingerless gloves, biking attire. And I go, go change. And he goes, why?

49:07And then I come out in biking attire. I go, because I'm wearing biking attire to the Emmys. I like that. And he goes, what? And then Jason Sudeikis came in in Viking attire. And we were like, oh, this is very nice. Are you going to the Emmys? You know, he's like, you know, I thought you guys said biking attire. I thought you said Viking attire. And it was this whole thing. And at the end of the sketch was, it was like this voice came in and goes, what you've just witnessed happened four years ago. in my mind and then a thing that said from the from the desk of jimmy carter

49:42and it goes hope you enjoyed it and the and it was my first table read and i just remember the look on tina face face was like what the fuck was that and i just was like okay all right i just Well, I'm glad I could bring you here to bring back those lovely memories. Oh, my God. You know what? I'm just delighted to know you and to be friends with you. Thanks, man. And you bring me so much happiness. And Barry, as I said, I watched the first episode and a little bit of the second one, and then I made myself stop because I'm watching these with my son. And it's really brilliant. Oh, thanks, man. I'm really proud of you.

50:25Oh, thank you, man. That means a lot. Thank you, Conan. That means a lot. Really does. That's crazy. No, I'm super proud of you. Thank you, man. Sadly, this must come to an end. We must stop because you're a busy man. And just, I cannot thank you enough for doing this. I can't. Thanks, Conan. Thank you, guys. This is always a pleasure coming here. Thank you very much. Thank you for reading those kind words, just as we wrote them. I love you, Conan. Conan O 'Brien is loved. That should be the name of this podcast. Yes, it is.

50:59Okay, well, take a moment here because congratulations and felicitations are in order. Today is Matthew B. Gorley's birthday. I know B is not your middle initial. Nor is today my birthday. I thought you said today's your birthday. I just, no, someone said this episode was coming out on the 22nd. My birthday's the 23rd. Oh, well, what the hell, man? What? Right before we started, didn't you say this is coming out? You asked me when this is coming out, and I said on the 22nd, and then you go, that's my birthday. Week. Oh, come on. But that's what, Conan's birthday was on the 18th, and we recorded it for the 17th, so it was like the same thing.

51:38It's not like we can't talk about your birthday. I didn't stop the whole momentum and the magic to point out a small accounting error. It is more or less your birthday, but now I started off with this feeling of generosity and everything, and now I don't have it anymore. Wait, I'm just curious. No, it's coming out the 22nd. My birthday is the 23rd. All right, well, who's going to announce that to America on the 23rd? You going on The Price is Right? What are you doing? That's exactly what I'm doing. I'm going on The Price is Right for my birthday. Okay. Have you been on The Price is Right? No, but I have been on more game shows than I care to admit.

52:19Is that true? Yeah. One of those people that just went from game show to game show? When I was younger, yeah. when I was younger. Yeah, well, I'm turning 50. I mean, come on. This is your 50th birthday tomorrow. Can we just say it's today? Sure. Also, people don't listen to podcasts necessarily on the day they're - Look at this guy telling me how podcasts are. Well, maybe someone should. Wow. They don't necessarily listen the day that they're put on air. That's, well, you lost it. You lost it. It's okay, you tried. No, no, no, they don't. You know what I mean? This drops, but then someone might be checking it out tomorrow.

52:49And guess what? If it's the 23rd, then happy birthday Matt Gorley thanks boss and it's the big 5-0 eh yeah that nothing yeah that ain't nothing I don't know what are you talking about I don't know I feel it you know 50 is I mean with all the advances in science and everything 50 is the new 49 48 you know you can't worry about it I know that you're first of all you're a very youthful chap well thanks you come across as very young you were getting kind of upset when we'd mentioned your 60th birthday yeah so you tell me that's because and I'm upset now that you brought it up again I'm trying to get it out on Wikipedia that I'm 51 or 49.

53:25Okay. I'm also trying to get some other stuff out there too. What? That I was in porno for a while. In porno. In porno. Yeah. No, people who do porn don't say I'm in porno. This was a long time ago when people said in porno. No, I think porno was in you. No, it was 1981. Oh, that's a good porno time. Yeah, I was going to say that's my favorite. Yeah, and back then we called it in porno. Did you? Yeah. Sexy. Yeah. Someone would say, hey, you, what's your score? And I'd say, I'm in porno, that's the game. That's how people talk back then. Wait, what were some of your movies? Oh, you don't want to know.

53:59I do want to know. Okay, Look Out, Unzip. Oh!

54:06That doesn't feel like Look Out, because here comes something sexually formidable. It feels like Look Out, you're in danger. Look Out, Unzip was one of my best-selling movies. Yeah. So yeah I'm trying to get that on the internet What was the plot? What's that? What was the plot? Oh there's this guy And he goes to get his zipper fixed He wears these really tight corduroy pants And this guy's packing Let me tell you Is there any sex in it at all? I wouldn't call it sex What would you call it? But there is an extended segment Where just the penis Just keeps coming out And out and out Come on It's like a magician Would pull scarves out of their mouth Yes Well that's it There's a scene Where a magician He does, he's wandering the earth trying to find, you know, a way to make a living.

54:50And then he teams up with a magician at one point and the guy's pulling out, you know, and pulling and pulling and pulling and it just keeps going. And it's called Look Out Unzipped. Look Out Unzipped. Well, look for it. And then there's a little, you know the way sometimes there's a title underneath? Yeah. It's thwabada hobbada hobbada hobbada hobbada. Thwabada hobbada hobbada hobbada. Oh, twice or is it just the one thwabada hobbada? Depends on which country it's released in. I've seen ones that were, you know, I saw a copy that was being sold in the Canary Islands. It's thwabadawabadahabada, coobadahabadadeeba-da-dabada.

55:22Okay. But it depends on where you get it. But all of this is my way of saying, happy 50th birthday, Matt Gorley. Whoa. And you know what? You should feel grateful. You have a beautiful wife. Yes. You have a lovely daughter. Yes. And a gorgeous home. And you get to work with Sona and Conan. And that's a pretty rare. Yeah, I get to work with Sona. Yay. And Conan. And Sona. And Conan. And Sona. And Conan. Two bucks, buddy. Two shunts. The three together that might get work. Two pals. Two pals. And another guy. I'm going to go sit on that two-legged stool and see how that goes. Is that another one of your in-pornos?

56:04Yep. Well, that was one-legged stool. That's the other one I made, which didn't do as well. People were disappointed in the ending. One-legged upside-down stool. sold as a stool. Oh God. And then I'm just this long sequence of me, erect, and people are having coffee, using my back as a table. For my birthday. And I'm in a, I'm at a French cafe. And they're on really tall stools, cause that's, God, it's really packing, yeah. Yeah, this is all true. Oh my God. You know, maybe this is a great birthday present for you. No, it's not. Yes, you can gather the wife and daughter. around the radio that plays podcasts.

56:48No. And you can listen to this wonderful memory. I'm going to salvage this by drinking out of Javier Bardem's cold coffee cup. Ah. Nope, there you go. Now that's a birthday I can savor. Yes. There it is. Well, happy birthday, seriously. Happy birthday, girl. Thanks, you guys. Thanks, we all did. Clay, would it kill you to lean into the mic and say happy birthday? Happy. Well, he told me it was the 22nd. I know, but so what? We let that go. You're still nursing that? Happy birthday. It seems like there are qualifications to that. I don't accept your happy birthday. All right. Well, as long as we ended in bitterness.

57:24Let's get out of here. Conan O 'Brien Needs a Friend. With Conan O 'Brien, Sonam of Sessian, and Matt Gourley. Produced by me, Matt Gourley. Executive produced by Adam Sachs, Nick D 'Leal, and Jeff Ross at Team Coco, and Colin Anderson and Cody Fisher at Earwolf. Theme song by The White Stripes Incidental music by Jimmy Vivino Take it away, Jimmy Our supervising producer is Aaron Blair And our associate talent producer is Jennifer Samples Engineering by Eduardo Perez Additional production support by Mars Melnick Talent booking by Paula Davis, Gina Batista, and Britt Kahn You can rate and review this show on Apple Podcasts And you might find your review read on a future episode Got a question for Conan?

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