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Podcast Episode Summary: Fly on the Wall with Dana Carvey and David Spade - Featuring Andrew Schulz
Episode Overview In this episode of *Fly on the Wall*, hosts Dana Carvey and David Spade chat with comedian Andrew Schulz. The conversation dives into various topics, including the nuances of stand-up comedy, the art of filming specials, as well as Schulz's unique approach to humor in different cultural contexts.
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Key Topics Discussed
Introduction of Andrew Schulz
- Background: Schulz is recognized for his edgy comedy style and has gained popularity through various platforms, including his podcast and stand-up specials.
- Notable Appearances: Mention of Schulz's performance at the roast of Tom Brady and his growth as a comedian.
Stand-Up Comedy Insights
- Special Filming: Discussion on how specials are filmed and the creative control comedians have today.
- Historical Context: Carvey and Spade reflect on their own experiences with filming specials in an era where comedians had limited control over the presentation.
- Schulz shares how he creates a visually compelling experience for his audience, emphasizing the importance of branding his specials effectively.
Cultural Dynamics in Comedy
- International Audiences: Schulz talks about his popularity in places like Dubai and Australia, noting that international audiences often have a unique cultural understanding that can affect comedy delivery.
- Adaptation of Material: The importance of tailoring jokes to resonate with local audiences while still maintaining a universal appeal.
Personal Stories in Comedy
- Schulz's Journey: He recounts his personal story about struggles with fertility and how it inspired material for his Netflix special, titled *Life*.
- Audience Connection: The hosts discuss how personal and relatable stories can enhance audience engagement and retention.
The Evolution of Comedy Specials
- Comparison of Eras: Carvey, Spade, and Schulz explore how the landscape of comedy specials has changed, particularly with the rise of streaming platforms.
- Retention Rates: Schulz indicates that personal narratives lead to higher viewer retention rates for specials.
Impressions and Character Work
- Comedy Techniques: Discussion around the current trends in comedy, such as the rise of impressions and crowd work.
- Audience Expectations: Schulz shares how he balances crowd work with prepared material to meet audience expectations without sacrificing his comedic style.
Future of Comedy
- Industry Trends: The hosts speculate on the future of comedy in the streaming age, emphasizing that one successful special can lead to a resurgence of R-rated comedies.
- Self-Production: Schulz reflects on the empowerment comedians have today to produce and distribute their content independently.
Conclusion
- Advice and Takeaways: The episode closes with Schulz expressing gratitude for the opportunity to discuss his work and the importance of staying true to one's comedic voice in a rapidly changing industry.
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Key Takeaways
- Cultural Nuance: Understanding and adapting to cultural differences can enhance the effectiveness of comedy.
- Personal Stories: Sharing personal experiences can create a stronger connection with the audience.
- Evolving Medium: The landscape of comedy is changing with platforms like Netflix, allowing for more creative freedom and diverse content.
- Audience Engagement: Retaining viewer interest hinges on the ability to blend humor with relatable storytelling.
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Additional Notes
- Episode available on various platforms, including YouTube: [@flyonthewallpod](https://www.youtube.com/@flyonthewallpod).
- The hosts encourage audience interaction and feedback through email.
This episode encapsulates the essence of modern stand-up comedy, focusing on authenticity, adaptability, and the significance of personal narratives in engaging audiences.
Written by AI. May contain mistakes. Listen to the episode to check what was said.
Transcript
Automatic transcript. May contain errors.0:00Our guest today. Who is our guest today? Let everybody know. Andrew Schultz pretty big comedian out there a guy I don't know really well I do think he's very funny though and I've checked in with him here and there he was on the roast with Tom Brady that's how a lot of people would maybe know him on a bigger scale even though he does do theaters all over of course big comic out there has a podcast kind of a controversial guy which is good shakes it up a lot of fun We had a great chat with him. Mostly we talked a lot about standup and a lot about how to film specials, how to sell them and what works out there these days.
0:41Yeah. Two interesting things. One is he is very much a powerhouse out there. He's very high energy and he steps outside the lines. He's definitely edgy, extremely funny. Then we got him on our show and he's kind of sweet and humble. It's sort of funny when you see this dichotomy of the performer and his real personality number two he says he's he plays arenas regionally but he's he's huge in dubai oh yeah huge in australia and so he films a lot of stuff even between his specials uh so he's a one-man band he's he's an ecosystem he's a business And he's very savvy and smart about stand-up. And like David said a minute ago, his special takes a turn.
1:35And it's a story, a sweet story about him and his wife trying to make a baby. Have a baby, yeah. And all the stuff that happens. Life on Netflix. Right. And he's got good hair. Check out Life. And here's Andrew Schultz.
1:54Thank you. This is a huge honor, guys. I just want to let you know. This is a huge honor. I'm sure you guys get this all the time, but I really appreciate it. Let's see. When Wayne's World came out, you were eight or nine. Yeah, so I get it. I'm 41. 41, but you read at a 44-year-old level. I understand. I'm high. I'm high. Yeah, but your specials are awesome. They're powerful, man. And I guess it's your generation, but the beginning of the one, the recent one on Netflix is so cool where you come out, you land two jokes, like a cold opening, the way it opens, and your dad introduces you, and then it's a shot behind, and it just says the name of the special, gigantic.
2:39I mean, it's like we would crawl out in the 90s. It would just say, what's up? It's just like it's an event. How much control did you guys even have with, like, how specials looked when you guys were doing none was it so hbo would just be like hey show up do the material and then we'll handle it you know i remember backdrop what do you want your backdrop i had an old one called take the hit and they said you wanted i want to do i want to do an arizona and they said what do you want your backdrop to be and i'm like coctuses i mean it's like so fucking stupid but it was like a desert yeah i was just like i go maybe live coyotes but what happened is no one actually looked at the back and uh and and also you just wanted to be enough to not take away from what you're doing or you disappear in the back what you're wearing so it's all complicated it's just is it any good what was it like like uh so so back then i love guests that ask questions i really told back then no i love that you're curious okay okay okay Because I was coming up at the downfall of the Comedy Central special.
3:48Okay. Right? Yeah. There was a moment when I was young, young, I remember the deliruses. I remember watching Martin, Chris. I remember these events. I remember going to watch a Martin Lawrence special in a movie theater. Yeah, yeah. There were just these insane spectacles, right? Yeah. And then the Comedy Central half hours, I think it was. You would try to get premium blend, I remember that, and then maybe you get a half hour, then maybe you get an hour. And I remember those impacting people's careers less. When you guys were doing your first specials, was it the next week you couldn't walk down the street?
4:27Were you already so famous it didn't matter? Could you feel people watched it? Mine came out, I'll just answer this, in 96. I'd already been on SNL and it was an analog world. So as just to be pithy, I never, you know, I don't know how you name your specials. I just called it Critics' Choice. Yeah, I saw that hit. Five stars. So for years, my sister would call me and then I was on cable TV, Comedy Central, playing on a loop. She goes, you got Critics' Choice again. So, but it was pretty, it was a much bigger impact then. So you felt it. you felt like people were, it was appointment viewing, people were watching.
5:07Once it got off HBO and was on Comedy Central a lot, you know, but that was - Oh, Dana, was yours HBO? I believe it was. I think that was the only game in town, really. When I got mine on, I was on maybe SNL or Just Shoot Me. And then it was a big deal because I didn't really know it was a big deal. We got paid pretty well. And I remember HBO only did a couple. So it was very rare. And it did have an impact on the stand-up. I didn't chase the stand-up as hard because I was working. And then I got more into stand-up later back into it. But your question is, yes, it had a little more impact. And now stand-up's everywhere.
5:47And it's on your phone. And it's clips. And it's people doing crowd work. So you go, is a special important? It's very hard to stand out still. Is it a game changer? From this generation's point of view to whatever, 2016, 2017. and people like yourself and neeper gotsy um i don't know tom segura you know name them uh they're they're matt rife whatever uh sebastian there's this phenomenon of gigantic and you're super global uh and you're killing in dubai and with these inside jokes and tagging them with your material which is it's a nice a nice thing to listen to because you don't feel like you're doing crowd work you feel like you're legitimately asking questions or making statements anyway speak to this phenomenon of andrew schultz from compared to like 2016 i mean i think i think okay i think there's like there's definitely levels right like it's like i think like nate and sebastian and like shane like i think they're doing a race in every city they go to and i think I'm like a regional arena act.
6:58Yeah. You know what I mean? There's something that, dude, Joe Coy goes to different spaces. It's bigger, smaller. Where are you loved most? Fucking in the Middle East. I was joking around with Tim Dillon. I was like, listen, if you do like a decade of women are annoying jokes, like you'll sell a lot of tickets. Women are annoying. Flies over there. So, but, but yeah, so it's like, I'll have my markets, But it is kind of weird because usually that's – usually white guys aren't like that. You're right. Like usually there's like an Asian dude will crush in like San Francisco, Hawaii, Irvine, right?
7:37So I'm kind of – I have like – I'm like an Asian arena act. That's kind of what I am. That's what I think. Like random international places. So yeah, it is cool. It's fucking awesome. I don't know what to tell. Well, yeah. Well, you're owning it. It's crazy. I mean, you're not like nervous out there. You're not, I mean, you have, when I get comfortable, you put the foot, one foot's on the monitor and you're playing to 20 ,000 people. And this is what you would do at a little, you know, hole in the wall. One foot's on the thing and it denotes, I'm relaxed, man. I am in total charge here. Would it be easier to say, at request, a step stool out there?
8:17It wouldn't look as cool, I guess. I just want the front of a boat. I want to look like George Washington crossing the Delaware. what about i have a question about when you do these i just talked i think segura went overseas and overseas i think when they told me once you want to go overseas they go what they do is they'll put you in a couple of small you know like clubs or maybe a small theater let's see how it goes see how famous see if anybody gives a fuck and come back and then the next time you have a gauge. I'm like, wait, go twice. So like Dubai and that stuff, I don't know because you must have bigger themes.
8:57I mean, you can't mention Ralph's, you can't talk about Sepulveda, you can't, and that's the hard part. The bigger you get, you have to go, this has to work for everyone. And I remember Rock, Chris Rock, I used to say, you're smart. You go politics, you go relationship, marriage and those will last you 40 minutes and those at least everyone gets it yeah is that what you need over there i listen i got lucky that my sperm doesn't work and everybody wants to have a family or a lot of people like having families so like that was a kind of relatable story that i ended up telling but uh what i noticed about like abu dhabi specifically like it is that they're more connected with American culture than the English.
9:41Because a lot of them are all educated here and in real America. Like Tennessee State. Not NYU or UCLA. Some rural American colleges. So they know all the references. But when you go to Amsterdam, they are... Those are some tough shows, but I'm not going to lie. Those are some tough shows. I'm sure they can. It's not even your fault. You pop in and you're like, I think they were saying some of these cities were tough and some were like full crickets and some were great. And you're like, I just, you don't even know. You don't know why. And probably someone does better. Full fucking crickets. Full crickets.
10:20Dude, I had full crickets to laugh back to the other night. I'm like, what's going on? Am I getting worse at this point? That's got to be a meme or something. But what you did in Australia is you backed into jokes about the aboriginals there. Oh, yeah. I like doing that. I like going to places and writing some jokes the day of and then seeing if it goes well. But I like talking to people when I'm in these places. And I'm trying to get information and see what they're proud of, what they're embarrassed of, and writing some stuff about them that they wouldn't maybe expect me to know. Yeah. what I find is like, if I can, you know, sometimes it goes well, sometimes it doesn't, but if it does go well, the rest of the show goes really well.
11:04Cause I think everybody there goes, Oh, okay. Like he, he cares about us. He's not here. They like something local for sure. They're like, he's made an effort and, and he's interested in this place. And, uh, you know, so that tends to, yeah. Here's an oversized laugh. I got just the other night. Sorry. I'm playing some Valley. Yeah. We're flying into Ketchum, and I said, I mean, I go, Sun Valley, that's the place I'm playing. I mean, Ketchum, I just thought it'd be a complete shithole. So that got such a big laugh because it's out of the blue. In Sun Valley, Idaho? The clueless guy. I just thought Ketchum would be a shithole, man.
11:42It's great, but the laugh is so big when it's local, and I was doing that since the late 70s. I mean, and always a few jokes about the place, and what's the shitty town that they'll laugh at? Yeah. Yeah. And also like, what is some like weird, like every place has a big story. You know what I mean? Like they're not talking about Elon over there or fucking Trump or whatever the politics is. Like whatever their local shit is, is fun. So, you know, how can I pull that? Like there are all these, it was all the Israel-Palestine protests when I was in Australia and there was all these Australians like give them back their land or whatever.
12:18So the joke I had is like, there's some Aboriginal dude watching these white Australians, but giving them back their land. It just kind of stands. So it's like the joke, that joke would work in New York, but in Australia, it really goes. So yeah, I try to write a joke that I would use anywhere, but that is the epicenter of where it would get the best reaction. but you're also auditioning like i asked or i was thinking if you were in ireland because these guys just went to ireland i go would conor mcgregor's just running for president do you say that is that something you don't even know what side they're on you start something yeah and they like it they don't like it i mean yeah i was when i was in ireland i was the guy who's president now is like he's almost like an irish stereotype have you seen what he looks like no he's like 4 11 like he looks like what you think like an Irish president, like literally, like he is a leprechaun or whatever.
13:20And so I was having some fun with that. And it's interesting because I was teasing him, but you could tell they really like him. So they were like laughing, but they were also like, he's good. Careful, careful. Yeah. I have a lot of Irish relatives. They're, they're underdogs. They're, they're amazed how much we love their country. You know, But I would say that when you do ad lib something that's new that day that you thought of that day and you get a laugh, then you're just kind of alive in the frame. I mean, I can tell by watching you like because then you're going to go into your your tried and trues because that's how you do stand up.
13:55But every time you do something that's fresh, just lightens the whole show up. Right. Oh, it lights yourself up, too. we think you're also like like like australia was kind of almost like cheating because i got to do like four or five shows before i did that one where i i put out the the australian material like usually i just got to think of it the day of but this was i got to work it out a few days right find the bits or whatever so that's always fun when you're you're away but it's just rare that you can go to a place where you just go to a country and tour five places and And I just have to, because we didn't do this either, but you're taping, you have your specials, and then when you travel the world, you've got a five-camera crew or something.
14:39Is that, and then you use it? Yeah. I have my one guy, Shifty, who, like, edited the special, and he was, like, instrumental in, like, directing it. And he's this kid. He, like, came to start working with us when he was, like, 18 years old. It's, like, unbelievable. And he brings five cameras, and then he just sets them up and then just hits record. So we don't have like this whole crew. We just have one guy that's doing it. Also, it's a little less stressful. But it looks like a special. I go, did he have another special I wasn't aware of? You know, because - That's the shit we can do now. It's kind of crazy, right?
15:10It's very, very smart. Well, it also takes away from the fear of, like I just did mine. It comes out soon. I wanted you to have you on so I could plug mine. But no, it comes out, but it was - Hey, you Andrew Schultz fans. It's hard to do the two in a row show. The typical sort of cookie cutter thing for comedians is get a, maybe a theater, two shows in one night, cut them together, do your best. And I didn't do any tricks really. I sort of regret it. I was just telling Dana before there was no like super tricky way to get in. And then you're getting algo briefings. Like it's gotta be the funniest in the first.
15:53And then all your bad material at the end, And I'm like, what badminton? They're like, oh, you want us to tell you? And I'm like, no, no. No, they'll tell you. Hey, David, you're open with your closer. And I'm like, wait, what's going on? So you got to just try to get them and all that stupid shit. Yeah. I saw Bert talking about that a little bit, I think.
16:16And yeah, like, I don't know. I guess it's like, I don't think any of us have ever opened with something bad. Yeah. You're supposed to open to get them going. That's the second hardest thing is a closer. Opener might be harder. You got to get them going. And if you don't get them going, you lost them. I went into the Intersectum at Netflix. And they do every minute. You made it to 12 minutes or 13 minutes. So it's like as if you're playing a theater where constantly people are leaving. Like you start out and they're leaving. And by the end, you've got like 12 people. You're playing Wembley. So you have to do a special As if every minute they want to go try And watch something else You know But I think what you're doing is great Just continue If you do a Like with mine it ended up being a story Like I didn't want to do a one man show I feel like It kind of is Almost like that because there's like a serious Moment or whatever but I feel like sometimes When you say one man show you're almost like asking People to like reduce their comedic expectations.
17:21Or to hate it, yeah. Definitely. Or to immediately fucking hate it. It really is a one-man show, but don't call it that. Don't call it that. If you call it a one-man show and they hate it, it's because they're not smart enough. Didn't you know that? No, I didn't know that. Oh, right. You must not be smart enough to understand this high arts. It's a one-man show. Yeah, yeah. It's so intelligent. Yeah, the guy who doesn't have jokes, he calls it a one-man show. But yeah, Jay is a purist and he understands that. So, so I, so, so I kind of wanted to like almost trick people and I wanted like, you know, just regular hard hitting jokes and then eventually kind of like get into it.
18:03And what we found, I guess Netflix told us they're like, yeah, the retention, like the watch through to the end was like insanely high. Because they're invested in this story. Oh, a story. It's like a long story. Yeah. It's like a phone call. Yeah. so like you pitch it yeah yeah i'm just gonna it's just like being on a phone call that's yeah you ever call your mom yeah it's like that it's like that so that's the first time you really at the at the end you're being sentimental specifically sentimental and you're getting awes and stuff you haven't tried that before but it uh it's interesting i just i i thought my life was boring my whole career i was like i felt like my opinions on shit were better than like anything going on in my life so i never talked about anything personal and then like when it was hard to get my wife pregnant because my sperm sucks i was there was the only thing i could think about so i started like writing jokes about it and then uh yeah fucking it ended up and it turned into this so it's cool i saw a video of your sperms at the finish line they're like this they're not quite making it they're just they're just kind of fallen it's a video that's going around now you gotta see it dude is this people are people are tagging my sperm in like pictures of the governor of texas i like that it's called life instead of like jizz patrol or something you could have really ruined it with the title they wouldn't be doing much patrolling it's just more like it's just standing here checking it where's the egg we got 10 minutes left We always recommend Shopify.
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20:34life. Follow and listen to Jill on Money wherever you get your podcasts.
20:43But I agree that it is funny. It's fun to tell stories because people will say, you should do this joke or this is a funny joke. And I do have some jokes, my act, but I do love telling stories because it's the only thing that's more of a fingerprint to you because I do do stuff about the airport. I do it about this and common denominators, but I'm trying to do my version of that. And longer stories are more fun for some reason, just maybe because I'm older to go, let me just tell you this thing. And then that's more true to me than going, I don't think anyone else is going to tell this story like this.
21:19Also, also like we get a sense of you, like your personality shines through because it's how you acted in that moment. But also I think that like, if somebody walks into a room and goes, guys, I got to tell you this story. We're going to give them 10 seconds. if it's boring after 10 seconds we'll probably go but everybody likes a story it's like our earliest form of digesting information like if you just give me a bunch of facts i'm gonna kind of look the other way if you tell me some shit that happened i'm kind of locked in like i'm rooting for you in your story when you tell me something happens i want it to be good i hear a tiktok story from someone i've never met and they started a story about a breakup of the guy and i just sit there and stare i'm like why am i even fucking listening to this but it's like 30 minutes It starts at everyone's starts.
22:02I like it. I go, I've actually told young standups who've asked my opinion and little teeny clubs. I said, pretend you just saw something on the street and you just came in and talk to your friends. Cause usually when you tell a bit the first time you're urgent about it and you're very specific and then you start to lose it. And Jerry Seinfeld says, Oh, check the setup, check the setup, check it out. Troubleshoot it. You got to check the setup. up on the rack you know that is a true statement like the first time you tell a joke you think it that you like and does well you think it leveled the room and then you go look at like the video audio and you're like oh like five people laughed but yeah it's just one loud guy yeah and then it goes away that's so true like the same joke the same words your excitement in it wanes a little also when you say one and you say it off top of your head and if you didn't tape it i mean i'm everyone's different but i hopefully record it on my phone when i go to the comedy store whatever because yeah when i audition these these turds and then i smash them in between two jokes that work you know and then i do one in the middle but if it somehow works i have to remember inflection when it was in the set how it worked what happened because sometimes i go oh i got that one next and I say it, nothing.
23:22And I go, nothing. What was the magic? What worked? And all that is so important. Yeah. Sometimes you'll work on a joke and then get it really good. And the joke in your set that follows it can no longer follow it. Oh, it gets hurt by it. Oh, wow. Yeah. It's not strong enough after how good this joke is. Yeah. Stand-up is the best. Sometimes you got to tell your joke, I'm moving you up to closer. That's a great feeling. You know, I'm going to try this. It seems to work enough. I'm putting it at the end and you go, fuck, I have a new closer. Oh, that's so great. Cause then the other one can do a little tent pole heavy lifting in the middle.
24:05What's, what's the deal when you guys go to the store? Like, do you have to respect the light or, or are you just at a point where they, it's a suggestion? Yeah. I go, I go when I go, how long did you, they go 15. I go great. They go, when do you want the light? I go at 30. But there's a lot of guys that get the light. I won't say names, but they literally get the light and then they start going names. So what else is going on? I go, no, no, no, that's not what else. That's wrap it up guys. The elbow is up on the mic stand. Yeah. They've already done 20. I'm like, no, we know where they're from.
24:40We don't care. It's over. This is my favorite shit. Like this is the, this thing that's like, and this has always existed, but it's really popular now. Like the, the comics pretending that they don't care. So they'll have like a notepad on stage and they're like, look like, all right, what else do I got in here? And then they'll look at the page and then do a joke they did in their last special. It's just like, you know, it's okay to care. We can, it's okay to try. We all try where we want to do well. You don't got to bring a prop on stage and take a leaf through it. By the way, it does better if you have a notebook because there's something about going, guys what do you think of this and then you read they're like that's pretty good and then you read your real act they go well not good enough for your real act but for this little thing you just thought of it sure this wispy idea yeah keep working on it do you guys like i mean when you do a group show at the comedy store and there's like eight nine people doesn't it become like a de facto competition like people you're not even thinking about oh man you were one of the best tonight or you were this like i don't really like one of group shows yeah it's gross but but you know right do you do the store a lot or not when i'm out there that's where i'll come oh right you don't live i don't see you there no i'm in new york man so yeah so you just do that right you have way more choices you can run all over right yeah there's i i usually just do uh the cellar and then new york comedy club so cellar has what is it one two three four 18 rooms.
26:13Yeah. Yeah. So it's like, it's literally like I got a kid now, so I can go there for an hour and a half and do four shows or I can bounce around the whole city for four hours. Yeah. And now I'm like, okay, let's, let's get the work in. I didn't realize that. That's fantastic. You go to one place basically and have four audiences, boom, boom, boom. And then get out. Yeah, you can. I mean, it's kind of like store has what? Three rooms. So you guys bounce around. Oh yeah, you're right. Go upstairs. do the belly room i don't know i don't practice much but anyway i'm down to the nubs i mean i'm like the only thing worse than having hits is not having hits so you know what i've seen interesting what i've seen now is that like you know how like everything in comedy just goes through these like cycles and like people new to comedy don't get it because they haven't experienced like the last cycle like impressions are really popular now have you noticed that um well for me it's i just that's all i do impressions and characters now i'm not trying to tell anything but just nail those no what i'm saying is like we've known that we've known that about you for for decades and then like things go up and down in popularity and i think like with trump and probably shane's like does this amazing version he does a great version of and i think with the popularity of that i've seen a lot of other people working in impressions and there was times like when i was coming up where like people weren't doing impressions yeah like crowd work is really popular there's time right Now everybody's like annoyed with crowd work and like all these things.
27:43It's just, it's just so funny. Like all these things go up and down. Cause I remember early on impressions, like when I was coming up, like seeing like Eddie, your best friend, Eddie go like crazy. We are best friends. Crazy. I know, just teasing. I mean, it was, it was amazing with the impressions. You know, so amazing that he didn't lean on them, but he was, Daryl Hammond called him our best impressionist, but he was only, he was doing prior. if you weave them into something too it yeah it doesn't look like a big setup you know you're just like they're like oh shit that sounds like it's a superpower yeah like it's amazing yeah it's we all love it like there's nobody it's so funny even watching comedians like comedians we can be like annoying with what with each other when like somebody's trying to be funny you're like sneaking a bit but when somebody does an impression that's spot on everybody shuts up And just listens and enjoys.
28:36Like, especially if you can do another comedian that we're friends with.
28:44Do you have anybody that we know that you can do? Someone's going to do Shane because he grabs the mic funny.
28:54Shane has a great laugh. Like I told Seinfeld that everyone has like a little bit of a laugh. with Richard Pryor, it was kind of a constant under. And Shane has a really good little giggle he does after every bit. And he holds it very much high like this. He's a big guy. But I didn't really realize that. So I'm feeling better about myself right now. But do you have an impression you do or would like to do? Because maybe we can help you out with it now. Oh, God. We can really coach. I'm bad, too. If I can't do someone, I'm terrible. It's a very painful thing to try to do. What do you mean? It's selective?
29:33You can't just mimic everything? At times, it takes me a long time. It took me a long time to get Biden. I would say like a year and a half. And then some are easy. I don't really have any methodology other than exposure. I have to hear something a lot or hang out with someone a lot. I'll do friends and stuff, but that's all. Do you tape it? I just start talking out loud to myself and it's terrible. you know and then finally i'll if it comes to me it comes to i don't have any i i see an impression i can't do and i'm i'm incredibly entertained you know what i've noticed is like uh sometimes i see people doing an impression of someone's impression yeah for sure yes that's the best way yeah yes because like you've distilled the four things about the person that like he physically does.
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30:25Get those little hooks. Exactly. And then, so you did the work and then I see people doing, oh, that's just a version of Dana's. Right, they cracked the code. Dana cracked the code and now he just cracked. But you don't get any credit for it. You don't get any credit for it. Which is kind of fucked up. The latest one I am doing, because it's kind of fun, is I've just extrapolated Jimmy Fallon into a thing that I like to, because I was hanging out with him at 8H Wines in New York. Let me see, Jim. And I did Johnny Carson getting pulled for drunk driving. I've said this a lot, but in 1972, and it's where where he what he had to drink and where he where he was drinking at.
31:01Oh, sorry, officer. I didn't know I was swerving. I had two slippery monkeys at the hook and crook. OK, so that's the setup. And then Jimmy Fallon is like, oh, my God, oh, my God. Sorry, officer. It's insane. It's insane. I can't believe it. So it's just this sound collage coming at me that was just pure distilled Jimmy Fallon. It was crazy. Yeah, he doesn't have to say much. Yeah, sometimes it's just a sound. Like, you could do this one. Christopher Walken sees an amazing magic trick. Just quick. Wow! Wow! Wow! Wow! Wow! What was that? Yeah. Didn't know where the rabbit went. It's like a language, you know.
31:44I mean, Kevin Pollak and others have wound down. A classic where when someone cracked Walk-In, it was like, fuck yeah. Now it's on. Everybody has Walk-In now. And it's so fun. And he's so unique. What about Goldblum? I feel like he talks in a unique way. Does anybody do him? Oh, my God, yes. Elon Gold does that. Yeah, I think Kyle Dunnigan does that too. Perfect version of him. Yeah. Oh, Elon Gold, Kyle Dunnigan, yeah. Who's doing Elon Musk? Has anybody done Elon good? Because he kind of. It's tricky. It's a, it, it, um, we're going to malls, malls, you know, I mean, Kyle Dunnigan, you have to have a little stutter.
32:23We're going to malls. Um, I did it for 18 seconds on SNL. I just did him at a rally, the dog mega, you know, that kind of guy jumping around, but I'm still trying to learn it exactly because he is kind of soft spoken, mostly on podcasts. Uh, so, uh, thinks a lot. Um, we, we, We've got to go to Mars. We simply have to telephone Mars. And he's thinking and the way he looks around. But I'm still coming on to that because there's two things. I mean, one is you could do a perfect Biden the first month of his administration, but people wouldn't be assimilated to it. They need to kind of, you know. So we saw a lot of people saw Elon at the rallies first.
33:04I've seen him on a lot of podcasts. So it's a work in progress. Andrew, I'll get back to you. yeah it's tough to crack some of that shit because there's not like a something to bite into you know my end was i used him as a setup for trump to get a laugh you know i did it on bill maher it's just you know he's like elon's there and trump's there with a red tie and said we're gonna go to malls over the set we're sending too much money we can't sustain it all that and then they say mr trump and trump says what he said what he said he's a smart cookies a tough cookies, a cookie crumble. So I just used him to set up Trump.
33:42That's it. That's it. It's word association with Trump. It's like every word's got to take you a little bit further away than the point that he's trying to make. Even he just thinks of it as he goes on. He just, word association. He's just talking. Cookie, a smart cookie. He's a cookie monster. He's a lawn of dune. You remember the lawn of dunes? Everybody loves the lawn of dunes. everybody loves them everybody loves them and they but yeah that's one way to use it as an as someone who does impressions that is so funny that is how he talks really it's like every word reminds him everybody loves him love him gaze he throws in gaze trump will never say so i uh so you know like anyone might run out of stream of thought he never does we're gonna go with it's like weak to him if you stop a thought so he just keeps going is weak yeah and repeating phrase five or ten or fifteen times loner dune loner dune everyone loves loner dune you see the loner dune you look at them and you got them and they're like people like the loner dune yeah And it works for him.
34:57I want to ask you, because you interviewed him, because his dialect, it is so infectious. It's so infectious. It's a singularity. And he knows how to use it. Like, for example, when he does that little rev up sound, like, we're going to do it. He's like injecting energy. Maybe he's slowing down and he feels himself. He's got to get back in. I've got to come back up. Yeah, yeah, yeah. yeah but like the fries are wearing off he called it the weave on the show like what you guys are describing okay and he was like he's like he's like he's like yeah i call it the weave it's like i'm in here i go out there i come back here and then i come all the way back around to the point that i was trying to make and uh he goes people think that i'm stupid that i do that you actually you got to be really smart to go all the way back out here.
35:51It's so funny. Surprisingly, it's a very smart maneuver. Yeah, I know. It is absolutely hilarious because you're just waiting for, okay, what is the point here? Where are we now? He like, he's like keying into like, like he said something without trying to be funny that I laughed at. Like he goes, he goes, he goes, after he got shot, he goes, he goes, yeah, and it fixed me up. because these country doctors, I'll tell you, you know, and I laughed because like, it's funny. He thinks that there's regular doctors and country doctors, like the doctors in the country are like these overall wearing doctors.
36:28Little house on the prairie. Yeah. So I laughed at it and he clocks me laughing and I swear to God, he hits it in the next three sentences. He's like, yeah, he's country doctors. Yeah. Yeah. Country doctors. See if you'll nibble again. He's like workshopping. Yeah. He's like, he doesn't know what the funny part is he goes i went to the general store also yeah yeah so because he got a laugh he was kind of like wanting to understand what did i do right okay i like when he goes someone asked him a question he goes another dumb question from an idiot over here and he's just like who says that it's always that's why comedians love it's just so funny you go who would ever say this wish you almost wish that he was just like um Just make him like a royal figure so he doesn't have to be politicized.
37:16So that we can just laugh without there being any scrutiny. Because it's undeniably funny. It's just funny. Another dumb question from an idiot woman. Another dumb question. This woman is a terrible person. Terrible person. Not polite at all. You're not a smart cookie. You're not a smart cookie. I'll tell you that much. You know you're not. You're not a smart cookie, I can tell you. Look at this person. I know the guttural one Is such a funny movie that I think Is kind of new but Cookie that's Magic Johnson's Wife how'd she not get it Cookie It's just like Should we all just talk like that all day He casually goes in Magic having trouble With the blood work but Wife's cookie and they're like what was that middle part They gotta take a lot of tests they take Them all the time and cookie comes out He shakes a lot of vitamins.
38:09He's back on his feet. There's a lot of that breathing thing, too. But, yeah, there's so many hooks and so many things to do with that guy. It's extraordinary. Oh, I have a special question, too. Oh, yeah, ask him what Trump said. He's back on his feet. He's back on his feet. Yeah, and you're like, why, was he laying down for a while? No, he's back. Magic is fully back now. And you're like, now? He is? It's from 35 years ago. Yeah, I know. They worked out. He got very strong. They had to do a cocktail. They call it a cocktail of pills. It's a cocktail. Excuse me. They had to get the right cocktail.
38:48They got the right cocktail of pills. And that seems okay now. But anyway, you had a question.
38:59No, I thought I was just back going back to his special where you had it and then you bought it back and i think that oh yeah that situation it turned out to be i heard different rumors but highly successful oh yeah it was it ended up being the best it ended up being the best thing for me situation i don't have any animosity by the way for amazon like i get what they had to do like you know they they made a business decision and they're like we don't want these jokes tarnishing the brand and i get it that's fine i bet you would be different now like i bet just culture has kind of changed a bit but um but uh but yeah i was able to put out and the people were like so supportive and it was it was incredible and then people made a bunch of lies online about how i i i told them to i told them that that it would never be available anywhere else and even though i told everybody if you can't afford it just steal it on the internet and then eventually it would be on youtube but it is what it is you know you have some you do something good and it's successful and people are going to find a way to be upset about it.
40:03And when you do something like that, it was great. Was it basically off your website? It's just a click and this is, and you pay? It was like, there's this company called Moment House that was bought by Patreon. So essentially it's like, it looks like it's on my website, but they basically put their mask on my website. So you go to my website and it just kind of like almost forwards it to theirs. And then And it almost just looks like Netflix or something like that or any other place and you just watch it. Because Theo and I were talking about this for this indie we just did. And this is one of the things I brought up.
40:41I brought up your situation. I mean, you guys could, I think you'd kill it with that. But I also think that there's an appetite. I think there's an appetite for you guys now. I think that there's going to be a lot of excitement about that. I think people would pay for it, 100%. But I think streaming is the way to go. I don't think movie theater is the way to go just yet. It's a tough decision because I've done movies and movie heydays when it was like big weekends, you're up against this movie, you're up against this. Yeah. And now it's tougher. And I was, when we were going over all the processes of what could be, because, you know, we sort of did it.
41:17Well, we did do it without, we just paid for it and said, absolutely no plan. and it's kind of fun and people think that's intriguing just because it's awesome someone's got to do it it's like okay now what and then just figure out what's surfacing is the best situation but you know when you say uh theaters i don't want any stink if something doesn't go perfectly right away because people back off and i go guys i've been in movies that don't do well it's fucking a dagger and and nowadays when it's all these superhero movies and you know even if Snow White doesn't make a hundred million the first weekend they're pouncing on it.
41:54Obviously it's a budgetary discrepancy with ours, but it's just, it's just optics. Do you want to look like it's a hit? It's very hard to figure out all that stuff. You're a hundred percent right. Because you see like the theater empty and the people take pictures and it's very easy for them to like pan the film based on that. But dude, getting people to leave their house is almost impossible now. That's the big trick. It's so easy not to leave your house. You don't have to leave. Yeah. And And also, they don't even know if the movie is going to be good or not. Like, at least with like a franchise like Batman, you're like, all right, I've seen a bunch of these movies.
42:27I'll get the babysitter. I'll take the risk. I'll go. But here's this movie where it's like, all right, well, I love all the people involved in it. But have I seen a movie where they're all in it together? I don't know. But if you put that on streaming, like for me, if that movie is on Netflix, there's no brainer the first week you're top 10. Yeah. no brainer because it's it's like the investment is so minimal it's like if i'm a spade fan i'm watching if i'm a theo fan i'm watching i'm sure you guys have a bunch of other like cameos from people like it's it's and then if it is good the word will spread and you'll stay in the top 10 forever but stream extreme extreme but what do you what do you recommend that they do do you actually audition it for all the streamers so netflix and amazon and hulu they're all they're all fighting for it.
43:18You need two offers. You don't have one offer unless you have another. Even with my Netflix deal, I had one offer and then that offer changed significantly when we got another offer. And I don't begrudge them for it, but they're not in the business of paying you what you're worth. It's just good. Paying the minimum when they can. There's nothing like another suitor. It's the same thing with single people or something. They want me to. If I'm Amazon right now, and I know that like Netflix, I mean, Theo did his last one on Netflix, right? So Netflix is like invested in building that guy up. I'm buying the movie just off the strength of taking, yeah, like brand war right there.
44:10So to me, that's just like a no brainer. So I'd talk to them. I'd talk to Hulu. I'll talk to Paramount, everybody. Right. We've been asked about it from the streamers that I've heard about. Any chance we could hire you to be our manager? Well, we'll do it. Totally outside of you. No, it's fun to think about it out loud because we haven't seen it. We're going to see it this weekend. This is the first time it's been rough together. So we liked it. We shot it. We liked the scenes. And I said, I've done a lot of these. I think it's got a chance. So let's see it all in a row. If it's how I picture it, we're in good shape.
44:42So, but you know, directors got it, you know how it works and they get eight weeks. So then we'll go in there and start fiddling with it. But I was like, I have a good feeling. And I've been asked about it from some streamers. Like, can we look at it yet? And I'm like, we're not, we don't even know what we're doing. We're not there yet. Yeah. And it's good because there is interest just because it's a weirdo move. But if a comedy works, it's huge. How many movies are made every year? I don't know. I mean, I kind of know why they don't, but I think they've slowed down. I mean, Sandler is responsible for most comedies out there.
45:20Like he has a deal. So he either produces them or he's in them. And that's a big chunk out there. Yeah. And that's on stream. So I think, I think we're like, we're basically one successful R rated comedy away from having like another decade of really funny R rated comedies. Yeah. So whether it's you, somebody else. It's going to take one. I feel like culture is at the point now where we can be naughty again. And if one goes, we're going to have some fun. Then people are ordering them. They have some edgy jokes in there, as Spade has told me. I mean, funny, but definitely different than... You guys have been entertainment for especially Hollywood for long enough.
46:04Everybody, what is it? They say it's a race to be second or something. Nobody wants to put their balls on the line. Oh yeah. Yeah. Right. We'll make one thing happen, then follow. Then you go, okay, that works. I was just going to ask the question or the observation that like looking at yourself, like you, uh, coming up at this time, it's like, you're the CEO of your career. You can either self-produce or not, or, um, you're not asking for permission. You're not auditioning much. You're not trying to meet corporate entities to help you. You're the CEO of Andrew Schultz. And so that the freedom that people have with social media to pump everything, YouTube is extraordinary.
46:47And I think it's great. It's a different world than what we came up in. Yeah, there's a lot more freedom, that's for sure. And now is the time if you just want to create shit to do it. Obviously, making films and TV shows is so expensive that you got to find a way to raise some money you guys are able to do it but you guys are all rich successful dudes you know we put most of it ourselves so and that's a good way if you can to just say you want to just green light this right now and go and i think fortune favors the brave whatever that cliche is i think it's true and i think that basically everybody's afraid to do cool shit but once it's there everybody wants to buy it so i don't know what you guys spent on it but you guys decide the price like right you know you could why is it not a hundred million dollar movie who fucking knows like right if it's gonna do i remember when they were paying a lot for uh comedy specials out of the blue remember i think the the top they've got like 20 million or something like their 30 million a clip like it used to be like two three million whatever was the biggest and then suddenly it jumped huge and i asked someone at one of those streamers and they said because if we do a movie with that person, it will cost us 20 to 30 million.
48:07So we're paying 20 and we're going to do four times the views on a special than a movie. So it's really saving us money in a weird way. And I was like, well, I didn't look at it that way, but they could have gotten them everybody for cheaper. And I think they got back down to earth after a couple of those real quick. I think it shifted. Yeah. I remember when Amy got 11 and said it was not enough. She said, why aren't I getting 20? And I'm like, wow. And she got, I think they kicked her some more. No way. Fucking, yeah. Well, because it was going out there and saying that would look bad. Yeah. Yeah.
48:46Yeah. That's when you could kind of use the, yeah, you can use like sexism or racism for a little, I mean, it's hard to say with it's Rock and Chappelle. Hell, I mean, it's ballsy to step forward and say, give me that. We're the same. I mean, I wouldn't. I'm not there. It lets you know where you are in the ecosystem of show business when you know people are getting 20 or 30. And then you get your offer. It's all supply and demand. If they feel worth it, they're going to give it to you. Okay, I got it. I know what they're doing. I understand. If somebody else is going to offer it to you, that's the thing.
49:18If somebody else is going to offer it to you, do you know where you're going with this one that you just filmed? Yeah. Can you mention? or i don't think i can because we have a press release coming out this week oh is it a done deal or is it just a possibility i shot it already yeah i shot it comes out in may so uh but i'll tell you you're special yeah yeah but uh i will tell you that when i did the hbo when you were talking about earlier uh to take the hit one and there was notice it was noticeable for me and then it took me all this time and i did a comedy central one and it was like it didn't happen actually i use dana as an example because dana was like i keep trying to watch it but i have to get on an app and then i have to sign up and then i have to go here and i'm like i can't even find it yeah and i'm like that's not easy like they air it once at midnight or something and then they air it a month later and it's not like you can just get it like on a street yeah so they got caught up it almost burned my material because i'm like can i just do this again because dude if i were you i would i would unless it exists on youtube or something like that i would just use some of the stuff that you really wasn't even doing clips it was right before clips so clips would have helped it like hey here's at least i could clip it out and say come to my next show but i'm like i didn't i would i would use some of that if you're not i mean there's like i think i'm pretty sure like chappelle use a joke he did an earlier thing in a later thing i mean It's like an amazing, just one of my favorite jokes that he's ever written, but it's the, uh, and I think he even made it like better, but it's the joke about, uh, you know, it's like a hard being successful in black.
50:57Like, uh, I remember my house got broken into, like these people came in, dropped my whole house, called the police. They showed up and they're like, he's still here.
51:10Yeah. It's just, it's fucking genius. By the way, how about, How about you do a joke that's a little undercooked in a special and then you still do it for a while on the road before it comes out? And I'm like, sometimes I still do them because I go, this thing is six minutes long now. It's so much better. I agree. And people go, oh, I think you did that. I go, I actually didn't. I did 30 seconds of that. Yeah, you got a very early version. You got a three-month-old versus a full adult. Yeah, and I go, plus who care? that's the thing is like is everyone really going thank god i got this all new mediocre material thank you that's what you got to tell the audience when they complain you think this is bad yeah let me do the whole hour of new yeah fuck yeah here's some new shit for you but it's hard they're like just throw together another hour i go relax with that casual throw together an hour you're good i go fuck i gotta get out there and grind it out and practice it's hard yeah it takes time man you also gotta have some shit you want to talk about like yeah i i take time off like after i felt like i haven't gone on stage since i recorded i went one time or something like that and like that's been months i probably won't go on for a little bit i'll like live a little experience and see what i want to talk about do people yell out stuff to you in your act like if They go, Diddy, what do you think of Diddy?
52:38And you have to go, you have to have something. I'm not there yet. Oh, wait a minute. Actually, that's, they will do a topical thing. Yeah. But that's also like, that would only happen if I'm like, just kind of meandering or not. Like if I'm doing well, usually there's not suggestions. If you're, but if you're talking to the audience, do they feel like it's open season to talk from back here when you're talking to this person up here? Does that get hard to do? The last special I did, like the last one before this, I did a lot more like crowd work and stuff like that. And then people, and I was putting out these like clips that were crowd work.
53:15And it was just like, it was the only thing that I could generate weekly. Like for me, when I write a bit, it takes like a while to make it a good joke and add tags and all these other things. I didn't want to give it away. But they just, you know, they just would go viral and whatever. So people were coming out and kind of expecting that. so with this special i i purposely barely do that at all yeah as like a way to just go hey i don't i get why you thought there would be a lot of crowd work because i put out all these clips now you see this whole hour now i want you to potentially expect this with maybe some interactions but it's not going to be just interactions the whole time because it's very easy where like and i've seen this happen like the algorithm can make you decide what kind kind of comedy you want to do instead of you deciding.
54:07I think sometimes people fall victim to that. Like something does really well. So they go, well, I guess this is what I do now. And it's like, no, that's good of you to switch it up because you, it's, it's hard to go in there and write a whole hour and not have any crutches. Cause sometimes, you know, you could go in and, and just with a few things, get things right back or, but it's hard to go out there and practice long sets of nothing. It's just, Oh, and it's you're bombing and it's brutal and if you're in the store here or even when you're at the cellar like when i went on last time it was nate was there and uh chris rock and you just go i'm not gonna try new shit because there's always someone there watching and you go yeah i want them to go yeesh and i go yeah it's a little undercooked but there's something there but they just go yeah i just remember you bombed i i think a lot of people liked it man i think a lot of people were liking what you're doing out there oh that when i did that night it was fun but when i that was me doing someone talking to you after oh yeah yeah i thought it was great great set of great they switch it to good right in the middle it was good it was good
55:22when i followed dane and i just did a gig together and when he come out come off after annihilating i have to follow this fucking asshole and they're like killing and then i get he comes off all excited and i go hey fuck that crowd and he goes oh look it's not your crowd those jokes are funny man don't don't second guess yourself why are they fucking standing
55:47i'm trying to fuck with his head right before i get out there not all crowds are going to be smart they don't get you yeah it's great when when did you uh have that term where you're like god damn i'm i'm getting really really good at stand-up i don't i think it's like is it gradual or was it i think i think you feel good and then you go up after greer barnes and you're like am i good you know like there's just you see people do it that are just incredible you're like am i or like even when i was editing the special like watching your own comedy a thousand times it's sickening you're like yeah you're like what is any of this funny like it's actually kind of nice because then when it comes out and people go wow this is so funny you're like oh really like yeah editing is horrible editing watching yourself to stand up gross the worst thing in the world push in i go push out the door and burn this fucking thing.
56:44Push in. Come closer. Goddamn, what? That's for a horror movie. That's not comedy. That's for fucking Saw 3. It's the cowboy shot, you know. Yeah, keep it loosey-goosey. That's how I edit comedy, though, by the way, like a horror movie. What are you going to go push in? For drama and stuff? It's like, yeah, tension release. not as exaggerated but like the same idea of like i don't like for example like some people the director on mine like for the first day he was doing like a line cut i think it's called like where they cut it yeah kind of live yeah like buddy there's no way you don't have my set memorized there's no way you could guess the right angle to go to you don't know which way my turn like yeah why are you wasting your time with this like it makes no sense what was that we said It's like catching a fart with chopsticks, like comedy.
57:42I don't know where my head's going to go. So it's like, we, what we do is make sure all the cameras are filming it and then we get in the edit and then we make sure that I'm not jumping out in the middle of a setup. Setup. Yeah. That's right. They can kill jokes, go on your back. All of a sudden you're like, Whoa, Whoa, Whoa. What are we doing? Have you seen that? You're watching somebody special and it's like in the middle of a punch line, they cut to the back of their head. Yeah. Or like the start of the setup is on their back. And you're like, why would I? Has anybody ever told you a story and turned around first?
58:17And you pay more attention? You know what it is for me? Sometimes you're watching it like someone is watching it sitting in a magic chair. And they're watching the special. And all of a sudden, they're flying way back up in the auditorium. And then way in close. And then in the back of the head. And they get tired of just watching the stand-up. And so the amount of cuts, you're like, fuck, I'm exhausted. So, yeah. Yeah. It's like build things. Also, like I don't ever do a crane. Like nothing has ever been funnier because the shot went like that. Yeah. Zoom by your joke. Drive by joke. They're telling me like the crane is$25 ,000.
58:55I'm like, what? Like for what? To ruin bits? To show that we did a big production. Yeah. Yeah. They like to show it's a big house. because I said in mine, could I do a smaller place? They're like, they like to show that they paid for you and it's a big theater. And I'm like, I think people would believe that I also do theaters, but it's fun to get into a smaller room. So I think down the line, I will switch it up. How big was the room for life? We did 3 ,000, but that was bigger than I would want to do. We were going to do this other venue and then they canceled my tapings after Trump was on the pod, which they say is unrelated and I believe them 100%.
59:39So we moved from that venue to the beacon. And I would usually – I like the venue to be under 2 ,000 seats for a taping. I think between 1 ,000 and 2 ,000 is the money spot because you can see every person in the room. You're with them. I don't think an arena is right for it. I think it's a flex, but I don't think it represents, I don't think it's a good representation of how connected you are. Also, the amount of time you have to wait in between laughs in an arena is a lot different than the person at home laughing. So now at home, they're going, ha, ha, ha. But on stage, you're still waiting for the arena.
1:00:22So now they're disconnected. I like these Shane ones. I'm like, how do you, it's so different to go out when it's, all the lights for the tunnels are out there for like at the basketball game. and there's so many things going on. By the way, if they want me to do an arena, I will do it and I'll film something there as a flex. That's incredible. Even if I bomb or just do 10 minutes. But I think mine is about 1700. It was about that pocket of a place I played I liked. Where was it? Where'd you do it? It was in Denver. Which one? In Denver's, what's it called, Heather? Paramount. So great theater, great audience.
1:01:00it's always when I played comedy works and stuff, it was always great audiences there. So yeah, they have good vibes out there. Good vibes. And they just, they like it. And I like 50 to 70. If I, for myself, because I'm doing little sketches, doing little people talking to each other and stuff. And his hand magic. And, uh, you know, the last special, I worked it out in 50 seaters. And then I put it in a 1900. I just love the idea.
1:01:39Anyone use dental floss? But I like the small. That's all I'm saying. I think it's better for the audience. I think the people watching at home enjoy it more personally. The 10 %ers like the big room to show people, look what you can draw and stuff. I get that. But creatively, I think it's tight. It's better for comedy in a small room, 100%. It's better for our bank accounts in a big room. And oftentimes we will let our bank accounts win that war. Dictates. That's a question I have for you. Would you do any commercial that they offered you if the money was good enough or discerning? Have you been offered commercials?
1:02:21No. I mean, no, I don't get offered really commercials. But there's certain things I just, I don't know if I could, I don't know if I want to do it. I don't have a moral objection. Like I got gambling advertising on the pod. You know, I got a boner pill. I'll do all that kind of shit. Yeah. Listen, boners don't go to style. You're fine there. Yeah. But like, I'm trying to think, I don't think I could do like a herpes medication. You know what I mean? American express. But yeah, not bio. Yeah. We're going to do a collab with you on that, but it's okay. That'd be great. Imagine. All right. Anything else for this young man, Dana?
1:02:58Just live on Netflix now. being well received yeah thank you guys so much man I really appreciate you having me it's fun hanging out with you anyway I can help with that film let me know I'm really excited about that I'll talk to you off cam this has been a presentation of Odyssey please follow, subscribe leave a like, a review, all this stuff smash that button, whatever it is wherever you get your podcasts Fly on the Wall is executive produced by Dana Carvey David Spade, Jenna Weiss-Berman of Odyssey, and Heather Santoro. The show's lead producer is Greg Holtzman.
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Jokes in other countries, bad sperm, and interviewing Trump with Andrew Schulz.
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