Nathan Lane on Death of a Salesman, Mouse Hunt, and Mickey Rooney

25:11Dana Carvey:Did I remember that one correctly? I don't think that happened. You had one daiquiri too many. Yeah, I didn't. A fake boob. I am sorry to say. I think suddenly that story sounds crazy compared to all the other ones. They're like, that could never happen. A fake boob and waves it around after Mickey. I'd say it was Whitefish, Montana. There weren't a lot of women there. They just had... Well, they tried to break me on the snowmobile. Remember, they said to you and I, who wants to take a ride on the snowmobile? And the lake was frozen over. And I think you, Smart, said, I don't think so. And then the guy tried to break me.

25:52Dana Carvey:He went off trails. It was just like he wanted me to kind of say, no, I want to get off. It was the weird... And then he went across the lake to you guys. He was over 70 miles an hour. Wow. Yeah. It was kind of a macho test of some kind. Yes. You were on. Nathan was on the beach with a Mai Tai.

26:14Dana, that's the kind of thing where you say no, and then you're scared your agent's going to hear, I heard you were difficult during the promo. You're like, no, because I didn't want to get on a snow wheel and go drown in the lake.

26:24Dana Carvey:But it was really cool. One of the things that was very cool was you'd take me to piano bars where you would eventually sing. And I was from the suburbs. I didn't know piano bars in New York. And we'd see all these incredible singers. And then you would go up and steal the show. Me? Oh, not little old me. Whoops. I do remember you and I'm coming to seeing you do stand-up. And then you were always, you would joke about the fact that you did this bit, but it always killed, which was old time stars, movie stars having sex. Yes. And orgasming. Right. And you knew Jimmy Stewart having an orgasm. Well, then I did a movie after this with Burt Lancaster and Kirk Douglas.

27:13Dana Carvey:And then I learned to do them by hanging out with them. And then I would make them into lovers. Yeah. yeah of course what you called tough guys was that it yeah it was called tough guys tough guys there's a cult film but what you know everything is surreal about that one too just hanging out with burt lancaster and kirk douglas right talking to imagine yeah yeah what's the weirdest thing if you think you're blink besides one of the boys one of your weirdest gigs or a thing you got into in your career you went this ain't i don't know if this is gonna happen i i was offered this film called the nutcracker in 3d the untold story being directed by this russian director andrei konchalovsky who had long wanted to do the nutcracker on film and i think he had done a film called uh was it runaway train that had been successful?

28:17Anyway, I read it, and it was the Nutcracker story, and in the ballet, there's a character called Drosselmeyer. In this version, he's the character who brings the Nutcracker and the dollhouse that sets up the whole thing. In this case, the character was Albert Einstein. So he wanted me to play Albert Einstein, And there were musical numbers set to Tchaikovsky themes with lyrics by Tim Rice. Okay. I had done The Lion King. Anyway, I said no. And I kept turning it down. And then it was four weeks in Budapest. And then finally, it was so much money. I said, well, I guess I'm going to Budapest. Got to do it.

29:13And that is a lot of money. And it was with Elle Fanning was just a child actor then. And even then you could tell, oh, this is a gifted child. She's like Meryl Streep. She's so much older than I am and much more professional. And Richard E. Grant was in it. John Turro. And it was a strange version of the Nutcracker. Or instead of mice, they were rats. Okay. And Juan de Toro played the rat king And he had these prosthetics This sort of rat face And he had an opening He had a musical number In which he sang about What an evil guy he was And at the end of it He had an electric Harpoon And he framed him with a CGI Water tank with a shark in it And he harpooned the shark And electrocuted the shark part of the finale number that's kind of the world i was in i was albert einstein and i had a song called everything's relative okay did you do a german accent yeah yeah yeah sure i did that yeah anyway um it was you know it was just the craziest thing i've ever been involved with When does that come out?

30:41You know, they didn't release it for like two years. And I thought, great. You dodged it. Got the money. One Christmas, they said we're opening it. I think it got like zero on Rotten Tomatoes. They had negative numbers on Rotten Tomatoes. Anyway, for some reason, it was like, this is Nathan Lane's film. And I was like, they always do that. A film by Nathan Lane. You know, this is, don't blame me for this. Nathan Lane. You know, it was, you thought, how did he get the financing? You know, there was like a lot of Russian money. People in, you know, black sedans would arrive at midnight with, you know, bags.

31:31Yeah.

31:32Dana Carvey:Yeah. Yeah. So that's, that's a good story. I like that one. He used to talk to you during the take. He would say, he would say, I, I'd be, you know, I had a scene with a little, a nutcracker and I, you know, I had to go over and get it and give it to the journalist. He would say, now go over to the, go to the piano, get the, get the nutcracker. now i would say you know i can hear you and if i can hear you talking the sound guy can hear it eventually they'll hear this in multiplexes maybe you should talk to me during the take i love it it was just giving you notes we'll cut all that out yeah anyway yeah i'll talk that out one thing just very real quick i want to uh put in what's just i i find very entertaining is you in The Gilded Age.

32:26Dana Carvey:I love the character. Oh, yeah. What's his name? I don't know. He's just a Southern guy. You know, he's a Southern guy. He was a real guy. Now I can't think of his name. I'm old now. Let's call him Bill. Let's call him Bill. He was a real guy. He was sort of Mrs. Astor's major goal and the gatekeeper to high society. And they literally made fun of his accent in the papers when he wrote this book, which they sort of we covered in the show where he was ostracized for writing this book. Society, as I have found it. And it was all about him traveling through Europe and learning, you know, about cuisine and wine.

33:13And, you know, especially European etiquette and throwing parties. And he cared all about that stuff and brought that to New York society. And yeah, it was he was a strange little guy who, you know, yeah, it was it was a fun role. It seems just fun to do that. It's coming back, right?

33:36Dana Carvey:That show. Yes, it was renewed for a fourth season. Yes. I did that. Asked me to do that kind of voice on an animated show with Tina Fey. And I just I just kind of took it from Daniel Craig. And I was why. Well, you know, it was a little more cartoony, literally. Yeah, yeah. He leads into it. Yeah. Nathan, was the mouse hunt with was walking in that? Yes, he was. I fought to get him in it. they didn't want to because he was too expensive and i said oh but it was gorm verbinski's first film and and i said you know you gotta get christopher walken to play exterminator i said if i open the door and christopher walken is standing there that's a huge laugh it's a laugh and uh fine and i said give him some of what you're going to give me pay him out of that i don't care just ask christopher walken and they they finally worked it out i mean he only had to work for like a week or something and they they paid him whatever his his fee was and and he was hilarious and brilliant i thought he he worked with me on something after that we covered his fee and uh there's some actors that you call to do something and they go they don't even need to read it they're like here's the days tell me the days smash it into and then here's the fee so anyway we all love walking he's a superstar so but in one i've told dana this but i don't really do a good walking but no it's funny and it's a good one of the breaks we're in a house but we're coming out of the house and it's nice what's dark in the house while we're all standing there and i don't know him well we've worked a few days and we're waiting for action they're like camera problem hold so we're just in the dark and then he goes David do you ever work with a actor dog and I go an actor dog uh well there's one in this actually yeah um and I'm trying to think like it's a normal conversation I go yeah and he goes they're good they know they know things you know and I go yeah and then it's paused and he goes hey you ever work with an act a cat and I go I don't I don't think so i don't do that many movies but yeah he goes they're not good they don't they don't do anything you know like they the trainer yells at them and they don't do anything but if they yell hard they'll jump but any cat does that and i go yeah that's a good point you know and then uh i don't know if it's over yet and then he goes david you ever work with an actor mouse

36:17that's why i want to know about mousetrap because i go i don't even know what he's talking about i I go, oh, wait, Mousetrap. Yeah, Mousetrap. Mousetrap, yeah. Yeah, he goes, they're smart. I go, oh, they are. And he goes, you tell it to go up, take a beat, and then keep running. And they do it. They know. And I go, well, I don't know. Well, I think they're animated.

36:39Dana Carvey:What was he like on your show? He was great. He was just great. Chris is so sweet. And he's just, you know, he's in his own world. and he but he plays it so you know he because he's so serious it's it's just wildly funny yeah and he no he was i do remember the mice they they some of those those mice were literally read and trained just for that film i love it i love that it's true there was a mouse that was good at running or jumping it's unbelievable give me your fastest mouse for this yeah and so when we had to be chasing if it wasn't cgi and it was a kind of primitive form of cgi back then and it was also like a huge animatronic mouse that i think stan winston built that for like close-ups and things but but uh they would have a guy the trainer would be there with a with a hair dryer and so when it was ready to go bts turn on and you can imagine being a mouse and this behind you blowing hot air at you of course you would run yeah get the fuck he did they would run but that's smart they would run the mice were very was it really hard like was matthew broder who was in that way a wonderful british uh comedian named lee evans oh yeah he might you You might remember he was in a film, his first film in America was called Funny Bones.

38:16This movie he did with Jerry Lewis. He's extraordinary in it. I know the name. So that's how we became friends was doing that film together. And then later I worked with him and we opened the producers in London and he played Matthew's role. He played Leo. And he's just brilliant, brilliant. He sells out Wembley Stadium when he was doing it. no no we all do we all do um but um i've never been over there but uh it's big if you're on mouse hunt and is it and you're seeing all these salesmen there next season

38:56Dana Carvey:do it the world cup it's shea stadiums yeah yeah i like so if there's real mice on mouse something there's probably a couple handful of pros um does it take extra long or did you get into that movie and you go i don't know what this is going to be like or because it turned out to be pretty big hit i think it was the it was right after i had done the birdcage and i thought perhaps you know i because of the success of that i it might lead to other films and i was offered it was up in two one was um uh mr magoo and i met with the director and uh i said so mr and it was a great deal of money and i said mr magoo so i said am i in prosthetics or the bald head and i'm and i can't see and he said no we're not doing any of that this is a whole new magoo and i was like really that's that's really all it is he's a little old man who can't yeah you know i can remember jim backus did you know yeah that whole thing walking into walls or talking to hat racks creating havoc behind a wispy premise anyway on the cartoon we're not going to do any of that then i well then it's not mr mcguan it's something else old guy yeah it could be anything um so uh and the other film i was offered was was um mouse hunt and they said the guy who's directing it you uh he directed the budweiser frogs commercials yeah and i said well okay so not saying orson well was it joe dante or some one of those commercial guys uh no it was gore vrapinski oh i'm sorry you said that it was his first big film it was one of the earliest films for DreamWorks.

40:47And I met with him and he was really smart and a lovely guy. He talked about, he would reference Roman Polanski's The Tenant. And I would say, yeah, that's a good movie. We're doing a film where we're chasing a mouse for two hours. The Tom and Jerry cartoon with Laurel and Hardy as Tom. It walked so Ratatouille could run. But it was a very dark comedy we made. It was like a Coen Brothers film for children. But I had a great time doing it. And it was sort of the beginning of his film directing.

41:41Dana Carvey:So only murders in the building. Didn't you get an award for that? I did. I did. After seven. This is all your hardware. All your hardware. Oh, my hardware. Oh, Jesus. Someone flipped you that. No, I actually studied it and wrote it down. Oh, my. Yeah. it's like a star trek when they would and now you know william shatner is on trial and they say this award this award that you're like that three tony awards seven drama desk awards a lawrence olivier award three emmy okay we get it screen actors you know so anyway i uh yes i had been nominated like seven times and then finally won for only murders in the building yeah nice but it It was weird because it was, you know, this was in the comedy category.

42:32And where most of these, I was nominated for drama for The Good Wife once, but this was all for comedy. And then it really wasn't a, I mean, there was a little bit of humor, but my character was a rather dark guy. And so it was surprising, but very, very nice. It was, you know, there to work with Steve and Marty and Selena was fabulous.

42:56Dana Carvey:That would be fun. I have a question about your early career. Sure. Before one of the boys? Yeah, a singing telegram performer. Now, if you, I know a joke about this, but you must know it because you're a singing telegram performer. But early on, I heard a joke where the guy comes to the door and knocks. And the guy or the woman says, oh, it's a telegram? is it a singing telegram and he says no it's not it's just a telegram and she said oh could you sing it i've never had a singing telegram you know this and he goes he goes oh your sister rose is dead she died in bed she was really great but she was 88 oh your sister rose is dead and she He goes, thanks.

43:49Yeah. You must have told that every day back then. No. No. No, I did not tell that joke. No, it was really a secret singing audition for you. It was, you know, my years as a struggling New York actor. It was one of the many, you know, jobs to survive. and they give you I remember they gave you like a very cheap sad tuxedo and like a felt top hat which I tried not to wear but you know the thing about singing telegrams is nobody wants them I mean you would have to go to business offices and people are in the middle of doing accounting or whatever it is this sad Tuxedo would show up. And, you know, and so you rarely got a tip because they were just embarrassed.

44:47And I remember the one of the one time I got a tip was from Sam Waterston was having a birthday party. And he you could I went in and I had to sing to Sam Waterston and he was so kind. Then looked at me and knew I was a struggling actor. And he gave me a very big tip. And so I'll always remember how generous he was.

45:14Dana Carvey:That's nice. I do want to say one thing, because when I said I hate plays, I've fallen in love with the theater as a senior person. Yes, I saw The Ferryman in London. Yeah. And I want to ask you a question when you do so many shows, but the show I saw seemed extra, extra in the pocket special connected with the audience. But I wasn't sure if this was like an extra, just one of those nights where it all and the lead actor, after they came out for all their bows, he turned around and he kind of happily way just leaped up in the air as he walked off. You have a range of emotions when you come off and sometimes do you leap up in the air?

45:55and how hot did you not not with the same verbs i use um you know there i mean it that's very true is that it's not every night is magical some nights it's more technical and you know you they're like in this particular play with death of a salesman it is extraordinary it's a kind of silence that you only hear in the theater where people are are so riveted to what's going on the story the characters and their dilemmas and but um you know you can tell if the you know is suddenly if there's phones going off or you hear people talk back to you like it's a television screen or something but um those nights when you do connect and that's what it what it is i mean that's, it's the last bastion of the human connection in telling a story is that you're there and where they're doing it for you.

46:53And when it does, when you do connect, it is, it is very, uh, fulfilling and rewarding and you do feel, Oh, something special happened tonight.

47:02Dana Carvey:And people are, are, you start crying right at the end of super emotional, uh, death of a salesman. Well, it is very, yeah, it's very big. It's a huge confrontation at the end with my son, played by the brilliant actor Chris Abbott. And it's very, very emotional. It's intensely sad. Just reading about it today where the son says, you know, we're kind of regular, we're mediocre people. We're not going to go anywhere. I mean, there's so many themes in this thing that are heart wrenching. Well, yeah, it's still as sadly relevant as it was in 1949. Or more so. The one thing I do think about theater, when I think about AI and digital actors and digital everything, the last thing they'll get is robots doing live theater.

47:52That's true.

47:54Dana Carvey:Then they can do 12 shows a week. You can make 10 ,000 Nathan Lane robots and go global. Four shows a day. Yeah. They will walk through it. I'm sure someone is thinking about it. Do you go crazy with repetition? Or is there some don't bother you and some do? Sometimes it's actually work. Yes. I don't think people were meant to do, for example, this play, eight times a week. The history of this play, Lee J. Cobb, who originated this role in 1949, he lost his voice after three months, and he wanted out. He wanted a two-week vacation, and they said, you can't, Lee. We're a big hit. But he left the play as soon as possible.

48:43Dustin Hoffman started off in his revival doing eight a week and then reduced it to six. Dennehy was a good friend of mine. He was hospitalized for exhaustion when he was doing eight a week, and they reduced it to seven. But it's just, it's a really difficult thing to go through, to put your mind and body through that many times a week. It's all based on, you know, years ago, some producers said, we'll do eight. We'll do eight a week. Two on Wednesday and Saturday. Boy, we'll really cash in. And, you know, some plays, this one in particular, it's a really tough one. Emotional for you, too. I mean, you can't just walk through it.

49:24You get into it, I'm sure, every night. Oh, no. You get depressed. I mean, we're all the four Lomans in this production, Laurie Metcalf, Chris Abbott, and ours. We gather in my dressing room beforehand as sort of a ritual, and we just talk about what's going on. And all four of us are like, I would pay any amount of money to not have to go through this tonight. It's like going to be sad. Let's go be sad.

49:49Dana Carvey:What's more exhausting? Because I thought it was interesting when you guys were doing the producers, you and Matthew, and you had some magazine or you knew our times or something and all you guys talked about was this it wasn't about it was just about physically trying to survive it so are you more exhausted with the emotionality of death of a salesman or were yada la da you know which are they equal exhaustion well in musicals as i've always said are a young man's game but it was we were um My mistake with the producers was that I didn't protect myself. I wasn't safe about my voice. I was trying to live up to zero must-tell.

50:33So I'm yelling and screaming and carrying on and singing and dancing and doing big comedy. And then after about six or seven months, my voice was shot. And I really had to deal with that. And so, you know, on something now at this stage of my life, you know, I don't do anything. You know, I just go and I do the show and then I come home and go to sleep. There's no going out. In the old days, you go out with friends for drinks. Sardis. Well, maybe Sardis. I don't know. I hear David quietly say things. I know. That's the whole podcast. that's all i do especially when i know nothing i'm like plays oh my god look it's just it's it's a rigorous schedule whether it's a musical or a very emotional play we do stand up it's the same i mean we're doing an hour hour and 10 and it's not the same because you're doing a lot more and well and i've had practice doing i mean i've done angels in america which is two plays that's seven and a half hours.

51:45I've done Iceman Cometh, you know, five hours. So this at three is a breeze. And comparatively, that's a chunk. But it, it, it does. And it does. There's wear and tear on the psyche with your, you know, you have to kind of stay in this mindset. And it's, it's, it's difficult. It is difficult. I mean, it's, but the other side of this, and nobody wants to hear actors complain about about being in a hit but it's the other side of it is when people come back and and and literally are weeping or fall into your arms weeping or just saying it's the best version of this i've ever seen and and you see you can hear them you hear them you hear the silence and then you hear people weeping out there and it's it's you feel like i've done something meaningful uh you know for for folks and it's cathartic for them and on on some level it's cathartic but you know i you you do start to look to the closing date and think how many more yeah as much as i love the play and i do love the play it's a it is it is uh it and it's a real test

52:58Dana Carvey:but you do you follow do you like you're so successful you're not exactly willie loman but You must have had periods in your life that you draw on or something, right, to build the character and inhabit it yourself. Well, it's a guy whose whole idea of success and his self-worth is built on the opinion of others, which is a recipe for disaster. Never good. But it's a lot of people. And certainly as an actor, as a comedian, we all know that we have that. We deal with that, the opinion of others. And he's everything for him is about being well liked. And all you have to do on Facebook to see how many people are looking for lights.

53:43So it's his misguided view of the American dream, which he firmly believes and drills into his his two boys. It's you know, it's kind of he's he's a massive contradictions and insecurities. And and yet he's optimistic, even though he's suicidal and depressed, he still thinks he's going to win, which is what drives the play. and this character, and I think is what makes him interesting and why people empathize with him ultimately, even though he's not the finest, as his wife says in the play, he's not the finest character that ever lived, but he's a human being and something terrible is happening to him.

54:29And so you certainly call upon, well, you know, it's those, you know, process, talking about process, it's just horrifying to me. It's personal. You know, you certainly draw upon things from your own life and to things that are either emotionally triggering or things you've been through where that are, you know, whenever you begin, you look at how am I like this man and how am I not like him? And how do I find those things?

55:01Dana Carvey:And again, people don't want to feel sorry for us, but show business is kind of in general, I call it an emotionally violent sport.

55:14Dana Carvey:extreme emotional yeah yeah if you're in this shitbox film and then you're just publicly humiliated most people don't have to you know and so um yeah it wouldn't be that big of a leap but um when when when is it ending wow i want to i want to i want to put on my calendar when you get a rest yeah you know it's it is uh like when you have a day off uh it's like oh this is nice this i don't have to think about getting in that car and suicide today um yeah it's it's it's you look these are the these are the actor issues these are things we talk about amongst ourselves Oh, yeah. No, we don't need specifics.

56:00We're not going to air this. I'm also incredibly grateful, you know, grateful that this which took a very this has been in the works for a very long time and that it finally happened. It's that that it happened is a miracle. And the fact that it's so successful is beyond what I ever dreamed of. And so, you know, I feel all of that as well. But, you know, I'm 70. So there are days when you think, oh, how many more do I have to do? But each one, you can only think the way out of that is I can only think about the show I'm about to do. If you start to think about we got two tomorrow, you'll need it.

56:42Yeah, yeah, yeah. For sure, for sure.

56:44Dana Carvey:And I assume that when you're in the moment, like in any other thing with Laurie or whoever, you might in a moment surprise yourself a little bit with the way you deliver a line. And then they'll sort of surprise you. Just these nuances, I assume, also keep it alive some nights. Oh, absolutely. Yeah. These are people all at the top of their game. And so with Laurie, I mean, we've known each other for 40 years. So I she always it always to me, it's like it seems like she's making it up sometimes. She's just so spontaneous and real. And it's yes, that does happen. And the play takes you places you don't expect to go.

57:25And wow, where did that come from? There was one day in the last couple of weeks where I I was, you know, where you're really in it, you know, and you just you know, you lose yourself in it. because it's so powerful and the words are just – there are scenes in this that I wanted to do my whole life. Wow. I mean, I saw it when I was 10 years old. It was a CBS special presentation of the play. So 1966. And it was Lee J. Cobb and Mildred Dunick, the original stars, doing it. And I remember then being affected by it. even at 10, I was upset for this salesman. And then a year later, my father, my own father, essentially committed suicide.

58:16He drank himself to death. He sort of announced that he was going to do that. And then he did. And I always kind of connected it to Willie Loman, to this, you know, this, this man who kills himself. And he, Willie kills himself because he wants to leave something to his son this twenty thousand dollar insurance policy and it's the one thing he can give him and it's the one what allows him to finally go through with a suicide brutal um the feel-good comedy of the year says the new york post that's the thing about this play and and i remember dennehy once said to me you know it's not a funny play and i was like big shoes um Death in the title.

59:03There is humor in this play. And Miller actually wrote about it and said how important he thought it was because he said people don't think about that because it ends so tragically. But it's very deliberate. There is humor in this play. And when he wrote it, he would laugh at the things that Willie would say, his exaggerations and contradictions. And certainly, Laurie has found humor. and I knew she would it would not be a sentimental performance but she has found the the humor in Linda Lohman it helps to keep it moving teach you a lot yeah and it draws people in you know

59:43Dana Carvey:uh just real quick you hosted SNL in 97 if you want to touch on that will you go back or I was the one the one-timer yes I don't I don't think you get a jacket for that you get a sweater vest They should give someone a one-timers club jacket during their monologue. No, I've done three. You've done how many, David? Two. Two, and you've done one, so we're five right here. Yeah. Six? Yeah. We could get a jacket. You get a sleeve, and I get a... Yeah. No, that was, you know... It was 97. What were you promoting, do you know? What was I promoting? um i don't i'm saying 97 i believe yeah i usually go on when a movie pops on or something yes i i not i don't quite remember i might no no no do you remember enjoying it or being scared or there's i think as many people have said it's a singular experience but i i mean i am used to live theater and but it's it's like nothing i've ever done and and yes it was i mean look i got to do sketches with sherry o'terry and will ferrell yeah great great you know it was uh it was get bored with that performance because it's over before you know it you're like yeah now now i have it now i can do it and it's like yeah it's done no i i you know i loved it i loved it um yes yes and then after at the after party i do remember sitting with lorne and he said you're you're good at this and uh and uh oh i said thank you and he said well you may you'll do it again and then i never did it again um you'll you'll do it again uh mercy right down the delivery Do you have, I mean, you've.

1:01:39Oh, Lorne Michaels just wanted Tony. How about that? I saw that for Schmigadoon. Oh, Schmigadoon? We worked very hard. Wasn't Schmigadoon on TV? Yes, it was on Apple.

1:01:54Dana Carvey:Yeah, that's a Broadway show. It's a different cast. And then they did it, they just did it on Broadway. Not with the same cast, though. No, not with the same cast. Yeah, oh. Oh, rip off. Yeah. No, a whole new cast. And it's yeah, it's. Mega Dune by Nabisco. Yeah. I thought they were crackers. There he was. What he said, he was funny. He when he accepted, he said, I'm not going to attempt in front of YouTube an impression. But he said, it's been a long night. And he said, and sometimes all you need is some singing, some dancing, and a few good jokes. Yeah. Yeah. That's what Lauren said? Yeah. That's good.

1:02:42He's not there to milk it out. He's not going to go too long and play it off like a fool.

1:02:47Dana Carvey:He's done pretty well, you know, that guy. Yes, he has. Yeah. Just one last question. So you've got this. Go ahead. Were you in that documentary about him? i was one yeah dana's in it yeah dana's in it you were off to the side just no mine was a hard pass no i uh no i um i don't think we did a bunch during the 50th i didn't do a lot of yeah i was in they just had me in a room where i live up on a farm and i did i talked about they did a whole documentary on the cowbell sketch with walking oh right A whole documentary. And then Lorne and Lorne's movie. And now it's Schmick of Dune. Right, right.

1:03:30Dana Carvey:Yeah. So anyway, Nathan Lane's been our guest. Congratulations. I think it's very cool that you got to do this. Well, me too. I can't thank you enough. It's a pleasure. And it's because it's been so long since I've seen you. Well, I'm mentally healthier. I knew that you were incapable of becoming, hey, you know, I'm Nathan Lane. You're never going to get altered by your success. And a new guy shows up. The guy I knew in 81 was not capable of going, hey, guess what? Don't you seem like exactly the same? I mean, you've grown as a person, but the core of you is not. but I can see it's really gone to your head.

1:04:21Yes. Yeah. It is unsufferable, but I feel like Mickey Rooney knew he was working with insufferable.

1:04:29Dana Carvey:He went to state school. What did I say? Unsufferable. It's not a word. Homeschooled in Arizona. Worse. Okay. Nathan, by the way, you cracked me up a lot. It's great to talk to you. So much fun to have you. And I learned a lot. I learned a lot about it. Well, if you're in New York, we're there till August 9th. If you hear someone playing Angry Birds in the audience, that might be me. Yeah, that'd be you. I'm like, I didn't know. So totally off?

1:05:07All right, listen, if you're enjoying The Fly on the Wall, of course, hopefully you are. Click follow. We don't want to be desperate, but obviously smash that goddang button. on your favorite podcast app. Leave a review, a good one. Leave a five-star rating, nothing else. Whoops. And maybe even share an episode with a friend. If you're watching this episode on YouTube, please subscribe, Dana. What do you think?

1:05:32Dana Carvey:I'm going to tell you this right now. Hit me now and believe me later. Fly on the Wall, believe it or not, is presented by Odyssey. And executive produced by, hold for it, Dana Carvey and David Spade. or David Spade and Dana Carvey. We don't write this stuff. Heather Santoro, Greg Holtzman, and Leah Reese Dennis. The show is edited by Evan Cox with production support from Phil Sweetech. Talent production and booking by Sophia Lepore.