RE-RELEASE - Adam Sandler (LIVE from LA)

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Listen, you know, you're always talking about Quincy, the old show you watch, but there's also Quince.

I love the reference.

And you're always talking about

the

grouchy

mortician or whatever Quincy was.

Well, you always, when you hear it, you always think it's Quint and you think of the guy in John Jaws.

That's right.

Yeah.

but that is not what we're hearing

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Yes.

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It's great.

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Dana, you know, Adam, friend of the show, friend of ours, happy Gilmore coming out July 25th.

We thought we would re-air his live show because it was a lot of fun.

We got a lot of good feedback about it.

We cracked it.

It was one of our best.

One of our few.

It was like at the wheel turn.

It was like 2,000 people.

Oh, yeah.

Was it at the wheel turn?

That's right.

Yeah, that was kind of early on in our tenure.

It was great to have him live in LA.

That was fun.

Yeah.

Back when I used to comb my hair a little bit.

And now,

of course, Happy Gilmore 2 had to happen.

The fans wouldn't have allowed it.

So it's back and it's out

July 25th on Netflix.

We had a lot of of laughs.

We talked about so many things, and then we did a few act outs in front of the crowd.

When there's a crowd, they're always trying to ham it up a little bit more than you can.

Oh, definitely.

Yeah.

I went full ham on a couple of times on that.

Oh, yeah.

I went full ham bone.

And

Adam came to play, which was good.

He didn't walk through it.

He was great.

And

let's hope you like it.

Here it is.

Here it is.

Happy Gilmore himself.

All right, all right, all right.

Run, run, run.

That's how the fucking thing is about.

That's what you gotta do.

You gotta get to your seat.

You gotta get your drink, and you gotta get to your seat.

Sit down, it's starting.

You gotta get to your seat, you gotta get your drink, you gotta get to your seats.

You gotta get to your seats and get your drink.

In what order, David?

Welcome to the Olson Twins Show.

Yes.

It's Clickbait.

What has happened to the Olson Twins?

Look at them now.

Whoa, it's it's a cute fast upgrade.

Yeah, yeah, yeah.

You know, we played here in 1962.

You know, it was a shit storm then.

Ringo couldn't even keep his beat.

People are rushing in now.

This is the show, by the way.

I hope you are able to write off your ticket.

You know, just send it to your account, and hopefully, you'll get money, a rebate.

Let's settle down.

Yeah, we're gonna settle in.

This is our podcast, and by the way, all joking aside, thanks for coming.

I've never done anything like this.

And we have our very, very, very, very good friend who we all adore as our guest,

which is very cool.

Look at this.

All right.

Okay.

Let's do that.

All right, this next young man coming to the stage.

Yeah.

Dana, you can introduce.

Ladies and gentlemen, please welcome our very dear friend from Saturday Night Live in about 100 movies, the one and only Adam Sandy.

The middleweight champion of the world.

Hey, yo, Rocky, what are you doing?

Oh, yeah.

I didn't even know it started.

We don't, it hasn't started actually.

What went on so far?

Did you guys talk?

We talked.

You got a mic?

You good?

You know,

I wear a hoodie sometimes.

It takes about a year and a half off my age, I feel.

I think it's smart.

It's good.

Look at this.

Yo, yo, what's up?

This beard is blocking so much.

I like it.

I like the look.

You could suddenly be on Skid Row and be like, hey, what's up, bro?

Dude, I'm just kidding.

No, no, I'm with you.

I'm with you.

I'm with you.

Adam, I have to tell you something.

Danny, you can listen.

But I, um,

this time.

last time he made me go in the little boy place.

Go ahead.

Actually, today we did a

memorial for Norm McDonald today.

And that was great.

We all love Norm.

We all work with Norm.

Yeah.

And

when there was a break in the action,

that's stupid, but I went to McDonald's just because I had to do it.

You did?

Yeah.

What'd you order?

What's your McDonald's order?

That's a great question.

Then we're going to get to you in a minute, but I want to get to me.

We like to talk about ourselves.

Oh, yeah, that's right.

I listen.

Good God.

You I like listening to you.

I can't fucking believe.

I'll let you talk.

I know.

No, Adam, it's not that.

I have a lot to talk about.

All right, go ahead.

All right, back to David.

Oh, this shirt?

12 grand.

What did you ask me?

Anyway, so he's rich.

No, here's what happened.

I went to McDonald's and I got scared because I went in and people go, Do you actually, they can't believe I go to McDonald's and they can't believe I go in.

No one goes in anymore.

But I'm man of the people, you know?

So I go in and I get fillet of fish meal deal.

That's okay.

By the way, I go, what's your filet of fish of the day?

Is it a Britanzina?

Take a break.

And then, oh, we laugh.

And then we laugh to the bulletproof class.

And then

I cut.

So then what happened?

And then I get six-piece McNuggy.

I don't even know why I'm telling this fucking story about Adam here.

But Adam loves this kind of shit.

This is real people stuff.

So

I get my nuggets and my hot mustard and I sit down.

And I sit down in there.

I get a table and I just want to make some fun because I got to go back.

And I'm eating bloop bloop.

And naturally,

it's outside.

There's someone who's acting a little crazy.

At the McDonald's.

Yeah, of course.

It just comes with the deal.

So

I'm like this.

I'm getting nervous because there's a line of cars and he's banging on the windows.

And I go, why the fuck did I come in?

Because now I'm trapped.

Starts heading toward the door.

I go, there's no chance.

Bam, door opens, drenched in sweat,

and he walks right up to me.

He walks up to me.

He walks right up to

Ted Sarando.

It was Ted Sarandos.

No, it wasn't.

Ted Sarandos.

No, it was

just a guy.

And he was kind of, I don't know what was going on, but he's a little crazy.

So he goes, hey, man.

This story keeps fucking.

I know, but you guys are interrupting.

We're going to take a short break.

Anyway, he goes, give me some money for some food.

And I go, all right.

And he's just talking to me.

So I go, okay.

And I give him 10 bucks.

And then he goes,

give me your McNuggets.

That's fucking

dropping sweat.

He's like,

and I go, like, this.

But I know I don't have a lot of time.

And I don't want to argue that he's going to kill me.

So he goes, I go, I'll give you one.

What?

I gave him one.

This is a fucking.

I swear to God today.

And I gave you a bunch of people.

You worked this out of the store.

I'll give you one nugget.

Give me one rib.

I gave him a goddamn nugget.

Chris Rock.

Chris Rock has it.

Anyway, this is a newer version of that.

And then he goes, give me another one.

And I gave him two.

And then I go, that's it.

Did he dip it in sauce?

Did he do it?

He didn't want any sauce.

I wasn't going to let him.

He goes, I'll just dip it in the sweat.

So he had two, and then I go, just go buy some.

And the people in the catchers were waving me off, like, don't send him over here.

And so he went over there, and then I just, I got up and left because I got scared.

But that's all.

Adam, our guest tonight.

Bring that guy out right now.

Nugget man.

Let's look at a clip.

You met a crazy man in a McDonald's.

That's pretty good, though, David.

Anyway, Adam.

Remember that maybe the crazy man you saw your first day in New York?

What did I say?

Where you saw a man masturbating in the park?

Yeah, we thought, yeah, he was masturbating in the park, and we're walking by.

We just got to Manhattan.

We're like, hey, let's go to the walk in the park.

And he's masturbating.

We're kind of trying not to look.

And he goes, hey, have you got the time?

It's like, he's jacking off on a car bench, but he's really worried.

And park bench, sorry.

Anyway, yes, Adam.

I don't have a memory like a steel trap.

I loved it.

We had some fucking crazy times.

Me and you together was the best.

David would come by, we'd be like, all right, we got to listen for a while.

No, no.

He'd have a McDonald's.

Remember the Jack of the Box story?

It was like 20 minutes.

I think it was great.

But we, yeah, we had some crazy.

We had that one crazy gig where we got lost.

Yes.

Me and you

went on a great gig I opened for you.

You were the king, and you let me do 10 minutes before you.

It was upstate New York, and there was no cell phones, and we started getting lost.

And we just realized, wow, we're really, really lost.

So we showed up like four hours late.

Yes.

And the students were just sitting up in a gym like this, dead silence, like a church.

Yeah, they were pissed, right?

So I go, go get him, Adam.

Yeah, you sent me out there.

Did you have your guitar with you?

No, I wasn't.

guitaring then, but I just, Cajun Man just started.

Oh, it was Cajun Man, so I said, onion,

and they gave me some sort of noise, and I was like, okay, this is a new life I got, man.

Bucking.

Cajun Man.

But I said, 10, 15 minutes, I I did fine.

Yeah,

you said I did great, but I probably did fine.

But then you went up and annihilated.

I don't remember it that way.

Yes.

I thought we both had.

Was yours at eight minutes of Cajun, man?

Anytime something didn't work, I'd go, funny old?

And we ate Cajun afterwards.

We found a place in the Pocono Mountains or something, right?

Yeah,

we tipped back a few, drove back.

No, we went crazy in the car, let's admit it.

On the way back, Adam and I just got a case of the fuckets, and the car was full of beer, and we started drinking it, and then you brought out cigars or somewhere

cigars.

So we're drinking beer and having cigars and playing

steward for like hours.

And we went crazy, and we ran out of beer, and then we went to a liquor store, but you were with me, and you looked 15 at the time.

That's right.

I had an ID, but he goes, I'm not selling it to you because of him.

And he pointed at you.

And then we got him on.

I said to him, remember, I said, Agnon?

He goes, shut the fuck.

Usually that worked.

They would just hand us a six-pack.

Onion.

All his own.

We went crazy with that.

So let's get to when Adam started Stand-Up because you started before me, but you were in New Hampshire.

I did start before you?

I think, no, no, maybe it was about the same time.

I started when I was like 18 and a half.

And then you,

how old were you?

I was 17.

Oh, when you started Stand-Up, where did you go on?

I went on senior year in high school.

My brother told me, my brother was going to Boston University, and then he said, remember I told you, somebody went to Boston University here?

No.

Hey.

They're like, whatever you want, Adam.

It's a good school.

Congratulations.

But anyways, my brother, we were at dinner.

And he said,

hey, I got you that lottery ticket.

I told you.

Remember, you had to wait online and get a ticket to go on stage?

And I said, oh, yeah.

God, you got that?

And because he mentioned it a couple of months earlier, and then I went,

he said, it's tonight.

So I put on a dress shirt.

I remember I had a nice dress shirt with stripes.

I folded.

I didn't know how to button this.

I was never good at buttoning my own

piece right there.

So I rolled it up like spade right there.

Yeah.

And then I.

Because I still don't know how to do it.

I don't know.

Has that happened still?

It's funny.

You would think to wear the first time, because

I wore a...

shirt and a tie.

The first time you went in, really, that's nice.

Because I wanted to look, also I wanted to look older.

I looked very young.

And and I had to go to a real bar to do it, and the age was 19 in Arizona.

What was the bar?

There's one called Chuckles, and then Anderson's Fifth of Starship.

Chuckles.

I know they all have goofy names, gutbusters.

Was that in Scottsdale?

The loony bin.

Yeah, Chuckles was the first place I went on.

And let me stop your story.

So you, but where could you go on a bar when you're that young?

I went on at a place called Stitches Comedy Club.

See, Stitches.

Stitches in Boston.

You're 17.

17.

When I was in the business, I don't give a fuck.

It's so funny.

They let anyone go on young.

I didn't even know what to talk about.

I was driving down with my brother, and he said, Did you write anything?

And I said, No, no, no.

I'll just

wing it.

Your brother was like your manager.

Yeah, he 100% was just going, you got to do something with your life.

And so I,

there's nothing else you could do.

You really can handle nothing.

So

I went on.

I went on.

I did the five minutes.

I had a retainer

because I was still young, and I remember just total silence.

I was saying stuff that, you know, that I thought they would love, that my family's loved for years, and they were just going.

And then I remember hearing one guy go, he's got a retainer.

And I was like, smiling.

Dana, do you remember anything from your jokes?

Didn't say anything that made sense.

There's nothing to remember.

I don't even know what happened.

I used to get that blank mind like the first two years, three years of comedy.

All day long I'd be practicing and all the shit shit written down and like I'm gonna

say this, then that, then this, and then I'd get on stage and I'd be like, well, I fucking hate it here.

Why am I here right now?

Space out.

You guys space out, I'm sure.

Back out.

I would blank out all the time.

I would be nervous all day long, just adrenalized, sweating, just a bright red neck, terrified, pacing.

Yeah.

You know, and funny, because this was while I was sleeping.

No, my point is this.

No, it was stage fright.

I mean, you had just basically

by the time, well, I don't want to go forward, but by the time you got on SNL, it seemed like you had a lot, a lot of confidence pretty quickly then.

I don't know how, but yes.

I'm just curious about a little bit about early Adam, just for a second.

Yeah, yeah.

You guys are curious about what made Adam sound like, I just,

I mean, you know, whatever you want to, I just, I do this sometimes with our guests.

Just, you know, a favorite toy or a favorite bike or your first guitar.

Would you have memories about any of those?

All of those, I would say.

Okay, favorite toy?

Favorite toy was probably the fucking Evil Knievel.

Oh, yeah.

SSP.

Evil Knievel.

So you twind it up and pull it.

You'd create your own little jump.

He'd put pillows and cardboard and fucking Evil Knievel would fly off of that.

That was fun.

I would scratch my mother's tile and she would yell at me for that.

What was the second one you said?

A bike.

Stingrays were big when I was a kid.

Did you have a bike that was a big chariot for you?

Mongoose.

I had a mongoose.

A mongoose.

I had a mono shock.

I used to do jumps.

It was a little, it was very daredevil-y of me.

I'd love to see you doing jumps.

That would be awesome.

Oh, yeah.

Now he is.

I do a little cross-up tabletop.

Don't worry about it.

But I also had the Evil Knievel.

That Evil Knievel thing was really good on the commercials about jumps.

And then in person, it's fucking impossible.

And they drawn the wall and stuff.

Yeah, yeah.

I just go over and fall.

But when did you get, when did you be mute?

When were you musical?

Can I tell him about my fucking bicycle?

No?

I'm fucking so.

Hey, we're new to this.

He's going to hear it from me.

We're moving on from my bicycle.

You took over the whole bike thing.

No, I thought it was.

I had just heard a failure.

We're learning.

We're learning tonight, which is great.

Dana, you're fantastic.

Thank you.

It's not true.

But, David, no, so I had, I always wanted a Huffy.

I wanted a Huffy like everybody else.

Now tell me about a Huffy, because that's...

A Huffy has like a longer

seat, so it was like a Stingray.

Like a Stingray.

Stingray's got a...

It'd have a banana seat, they could have a banana seat, right?

So the friend could ride in the back.

Yes, yes.

A Huffy, I had more of a cushion-y seat.

It was like a banana, but a little thicker for like dirt riding, right?

Like if you write, you know, ha ha ha ha ha.

Was it sold at Sears?

Was it from Sears?

Well, here's the problem with the Adam Sandler Huffy.

So I said to my family I'd like a Huffy.

Of course, I didn't get the Huffy.

I got something else, a green bike.

They took the seat off.

My father bought a Huffy seat and put it on

the bike.

And I would go down to Webster School, my elementary school, and everyone's popping wheelies and on their huffies.

And I showed up with my Huffy seat and the green bike.

And I was like, hey, and they were like, get the fuck out of here with that fake Huffy shit.

Was that a budgetary thing or teaching a lesson for your dad?

There was a time when my dad, he didn't tell us.

He was so cool.

Yeah.

He didn't have a job for like a year and a half.

And I remember he just kept it from us.

I'd be like, dad's always fucking home.

This is incredible.

And I would ask him, I'd still ask for shit.

I'd be like, I saw this thing on TV.

Let's go.

Give me that.

Let's go.

And he was like, yeah, we'll get to that.

I was like, we'll get to that.

What the fuck is happening?

Wow.

So it it was out of love when he did the Huffy ski.

But I think he, yeah, he had to kind of build that fake Huffy for me.

Were you a daredevil at all?

Did you get hurt as a kid?

Did you

rough things, break things?

I was definitely tougher as a kid.

I was more fearless as a kid.

Now, I was a good skier.

I was a good skier.

In New Hampshire.

New Hampshire skier, yeah.

So we skied all the time.

You, Dana?

You ski?

No, I was for rich people.

We would have a little, we'd have a little inner tube.

We'd go to like, you know,

snowball, you know, just go down like that.

But the big people up there could pay the money to go up this next one.

Oh, but there was no money.

We had Huffy skis.

They were fake.

But in New Hampshire, your mountains were like 300 feet, right?

We would have some more in California.

Yeah, yeah, yeah, yeah.

So how did you get hurt a lot?

Did you just fall on the side?

I used to, I was pretty good.

I used to do, back in the day, you did a helicopter.

Oh, yeah, on the skis you did.

And that was like a big deal.

Jesus.

Now it's fucking, I don't even think anyone does a helicopter anymore, right?

You never see these guys on TV pop out a helicopter.

They're always doing those flips and shit.

Well, they can do anything they want.

It's a whole insane Olympics now.

It doesn't even make sense.

There's one guy in my hometown, Robotile, his last name,

Jay Robotile, he used to do flips.

He'd fucking, it was at this place, McIntyre.

It was a little ski area in my hometown.

They'd build.

a jump for this guy and no one else could do it but he would just come down knock out a flip everybody like what the fuck Yeah.

Well, wait a minute.

You go down, and then you go up.

He leans forward, he gets in the air, he leans forward, does a full flip.

Oh, a front flip,

front flip.

But you would go like a complete

360.

I could do it.

And then land your ski.

And then land.

Yeah, I was cool.

Thank you.

Yeah.

Thank you.

I was very good when I was like up to 15.

And then I started getting scared.

Okay.

Not being as cool.

So then when did the guitar come in?

Like, I got a drum set at 14.

When did you get a guitar?

Yeah, and you're great on drums.

We had some good jams back.

We had some good jams, too.

Yes.

My guitar happened, my dad had an acoustic.

Okay.

So he used to play, he'd always sing Mariah, the

away out west,

the wind and smoke and fire.

And they called the wind

down the hill.

And they called the wind Mariah.

So thank you.

You didn't know that one?

Do you guys know that?

I did.

I knew when to be quiet.

You've beat me down so much I didn't join in.

Even though I have the voice of an angel.

So you got it.

Well, we'll get David in on

the side.

Sorry.

Okay.

Favorite entertainment that you saw in your formative years.

I say 5 to 13.

Like TV show or movie that fucking blew your mind for a comedy.

Wait, West?

No, you're too young.

I like that.

Yeah.

My favorite thing, I think, the thing that knocked me out when I was, yeah, I love movies.

I loved all the comedies.

Like, I'm sure everybody

up here, you know, the Melbrooks and all that stuff.

You know, yeah, young Frankenstein and Simon Movie and Blazing South

and all that stuff got me.

But I'll tell you what really got me.

I look back at it.

I think I was in Florida, or Florida, as you would say, David.

But I was in Florida.

Florida.

Yeah.

And so my parents took me to see

Eddie Fisher.

He sang.

Oh.

Eddie Fisher.

And somebody went on before him.

Oh, from Singing in the Rain.

You go on stage, you can do that kind of thing.

And I got kind of like wanted to get into that.

That's interesting.

That sort of turned you on just a performing.

Like, they didn't know if you'd even like it, and then you really liked it.

I guess so.

I mean, I don't think they were trying to talk me into it.

They were just trying to have a nice night out in Florida.

And then I was just kind of locked into it.

I used to sing a lot in the car.

I used to sing a lot.

My mother always said I sang good.

My father would just stare like this.

What would you sing?

You remember?

Just songs off the radio.

Oh, my God.

It was a pain in the ass because

I sang a lot of Johnny Mathis for my mother.

Oh, really?

She'd always sing Chances Are.

And I'd be like, Chances are,

because I wear a silicream.

Whatever I did.

And it was fine, not great.

Chances are you wear.

Are you the same?

You see him?

Yeah, big vibrato.

And

I sang Maria from Westside Story.

I sang.

This is when I was little, you know, like 10.

But my mother always said I had a good voice, and my father was like, he's all right.

And

didn't your mom, who was such a cheerleader, that if Sinatra came on, she would say, You're better.

Oh, yeah, you could do that.

Yeah.

Supportive mom.

Well, you know what's funny?

My mother, speaking of that, my uncle worked

at a clothing company.

And when I went to NYU,

I was a stand-up.

There you go.

And

I was a stand-up.

I was making no money like all of us.

And my mother called my uncle and said, Can Adam model for you?

And

my uncle was like, You know, I'll talk to them.

And she's like, He really needs to work.

Help him.

And I'm like, Really?

I'm a model.

She's like, You're gorgeous.

And

then my uncle.

And then my uncle had to just go,

He's fucking looks terrible in a suit.

He's not good.

There's not a good angle on him.

You own a suit now, don't you?

What?

You own a suit now.

I actually, because of my daughter's bot mitzvah, I had to get that fucking suit dry clean this morning.

I don't think it's going to fit either.

I've been swelling up.

What can you do?

All right, so.

Go ahead, Dana.

You had so many questions.

I know.

Well,

then

you go to NYU.

That's your hero, Adam.

He doesn't know anything.

Yeah, there's a lot of people.

We're kind of up in that area.

Toy bike.

No, I got to have a roadmap.

This is good, man.

Wilt joke.

Stud boy.

The stud boy is.

Oh, yeah.

Wilt joke.

Now, Chris Rock called that one of the best pure jokes ever written.

Thank you, Chris.

And that was early stand-up.

Yeah.

Yes.

I mean, David, you want to.

Because I'm just thinking of Adam grows up, up, he goes to NYU, and then he's in New York, he's 17.

Within six years, you're on Saturday Night Live.

Yeah, yeah, yeah.

So what happened in those six years, David?

Oh,

well, Adam was a great stand-up, had a very unique perspective, interesting delivery, good, memorable joke.

It was more like one joke, one joke, one joke, right?

Yeah, not really stories.

It was kind of like that.

And I wasn't even, you know, we didn't have YouTube, all that shit, so I didn't know you until I actually physically saw you.

Yeah.

Oh, that was in the Valley.

It was at the improv.

And the Valley Improve.

You ever go to the Valley Improv, Dana?

Did you ever do that?

Oh, yeah.

I did that when I was living in New York in 1981, doing a sitcom with Nathan Lane and Mickey Rooney.

Wow.

I worked a, yeah, one of the boys.

Check it out.

And with Scatman Carruthers as well.

But you, you,

like, Jack Jerobuto told me once that he was your, you know, your partner for a long time, and he knew you back then.

You would just just do a bit, you'd go to a club, wouldn't quite work, and then you keep going and going.

Then you'd come back like a week later, and you had it killing.

So you were very tenacious about this.

Yes, right?

Yes, I don't know why.

I was not, I was probably the same as you guys.

You just,

I don't know.

I believed in it.

I kept doing it, found a way to kind of phrase it right.

Do it until it works.

Or do you ever take, I used to tape mine, and it was very excruciating to listen to your own voice, but you would think you killed, and it was really just one person laughing loud yeah

or you think it was nothing but then you said something you forgot in between the jokes that was good so you'd sort of like piece it together and then try it again and tape it and yeah I did the old I did the same thing you do where you pulled out of a hat but it was more sickening because I drove off from Arizona and then they'd have at the improv amateur night and so I'd sit there and they'd pull a name and read it and you'd come up so we're all waiting yeah and every time they pull it you get nervous and it's not you.

And I go, oh,

you almost don't want it to be you sometimes.

So you're like, oh, good, they're not going to get to it.

Right.

And then it was tough.

And then by the end of the night, I'm like, scared.

I'm going to need it now.

It was.

And then I never, it never worked that way.

And I think it was rigged.

I think they knew who's going up.

They had friends and friends.

But

I finally got a few things.

But then we wound up running to each other.

How did you do your first night?

How did I do?

Yeah.

First night of stand-up?

Yeah.

That's a good question.

When I started stand-up,

I take the mic off.

Can I get you anything out of him?

No, it's actually

the first time as a matter of fact.

We were spoiled because when I got to Saturday Night Live, or I was in the Valley, and I was seeing comics, I was seeing guys like Drake Saylor was great.

I saw Adam was great.

Schneider was funny.

Yeah.

And

I was just wound up seeing guys that in a million years.

How would we all get on SNL?

It was so weird that it would happen that way.

When you came in, it was like a firestorm, but you guys really, you kind of like had 20 minutes, right?

You weren't headlining on the road.

You had a minute, 20.

And then SNL people saw you in the clubs.

That's right.

And they liked your writing.

You got hired as a writer.

Yes, yes, yes.

Dennis hooked me up.

Dennis Miller.

Dennis Miller.

Dennis Miller.

Dennis was the one who saw you.

That's true.

Yeah.

Dennis Miller saw me a few times at the Santa Monica Improv.

And he waited in the back after.

I think you guys knew each other already.

I knew Dan.

He was my favorite comic writer.

You probably introduced us then.

Maybe, yeah.

And he watched me and he said he liked some of my jokes.

And he was so nice to me.

And we loved him.

We idolized him.

And

he heard they were looking for, Lauren was looking at new people, and he said, you should check out the Sandman.

Sandingo, yeah.

He gave you that anoniker.

Yeah.

Because the dentist never, he always has a name for somebody.

Yeah, right, right, right.

You know, Sandman hitting it heavy down at the Prav in Santa Monica, okay?

Tearing up the beach communities with his wilt of stilt humor.

Sorry.

I love being dentist.

I love being in that attitude.

But

thank you.

So

what was your, do you remember your first bit that kind of became your

rock?

Like, even if the set was not going well, you had one that started closing.

Yes.

I had one one that

I don't, I said,

Vic's vapor rub.

I used to say, remember Vicks Vapor Rub?

When your mother would rub it on your chest.

Oh, yeah, yeah, yeah.

And my mother would be rubbing it on my chest, and then we make eye contact.

And I was like, I thought we were just friends, Ma.

That was, that was like my

big guarantee back then.

Did you ever see this one when you go, I remember that joke very well.

I thought that was a great one.

And he said, when I was, people say, if you could live your life over, would you change a thing?

You go, yeah.

When I was walking down the, when I fell down the stairs, I might have grabbed the rail next time.

Oh, yeah, was that sort of thing like that?

Yeah, yeah, that was it.

Jeez, I forgot that.

I mean, there's obviously Will Chamberlain, but you had so many good jokes, and they were so different and odd.

And then

Dennis got you on.

Yeah, Dennis.

But it's good to be different.

It's very hard to be different.

And so when you.

When I did it, when I auditioned that night, it was with Rock,

Dana Gould, and three other good comedians.

Where were you?

I was in Chicago.

Flew to Christian.

That's right.

Rock was Chicago.

Rock did great.

I did fine.

Dana Gould destroyed.

God damn, that's what meets him.

He was incredible.

So

he should have got it.

I don't know why.

He wrote for the Sims.

He did a lot of great stuff.

But somehow I got hired as a writer like David did.

And then it would be David and Schneider, me, and who else was a writer?

Anybody else?

Just us three?

Me?

Oh, yeah, because Farley and Rock got hired that year, and they were just straight

feature customers.

Everybody wrote for themselves, like Dana wrote, but Nana was never accredited as a writer.

If you got on as a main player, you never got a writer's credit for some reason.

But whatever, it's just part of the deal.

That was good, sneaky money, though.

I didn't want to be a writer, but you know, we didn't make much money, but you'd get kicked a rerun

in perpetuity, and that was nice, even though it was two cents, but it was nice to,

you get a stack of checks, and it's the host.

So it's like 18 cents, Alec Baldwin, 18 cents, Tom Hank.

So that was kind of fun to rack that up, the bricks.

You invested wisely.

Yeah, invested wisely.

And then,

but we didn't make a ton.

I'm sure when you started,

we didn't make shit.

I don't think we even, we couldn't believe we were getting paid, right?

Yeah, yeah, yeah.

It was just a big deal to be get money.

Maybe, yeah, like you net, like maybe 20 grand for the whole season or something.

Yeah, just live live in a hubble.

Yeah, it was really,

you know, there I was with Phil, late great Phil, Jen, Jen Hook, Scott Bosnum,

and Mike Myers and Lovetts, and the show was really cooking.

And then you guys came off like the mothership in closest encounters, you know, becomes rock and Sandler.

And I remember the first time I saw you in the office, you were just kind of sitting at the big table on 17th floor, Sarah.

And I was doing pretty well on the show, you know.

But I liked you immediately.

You just had had this vibe about you that was really, really funny

and likable, you know, and that's a big part of the show.

You sensed

the love we all had.

Dana was the king.

Dana, I'll tell you, remember it was almost like at a stand-up club.

If Dana had a skit and your skit was going on after, you were just like, oh, no.

Yeah, yeah.

Oh, no.

Because Dana

so hard.

You got to follow church lady or something.

Are you talking about read-through or read-through?

read-through is bad but on the air on the air was the biggest explosion in the place and then your skit would do fine but in your weird comedy brain you're just like how the do i get those data lasts yeah well i had a lot of help you know make a talk show yeah and then have phil hartman and jan hooks come off

you know

but uh so so you come on you get on the show you're like what's your first big uh what was your first you probably did update first right?

Or did you write Racky Pete or something?

No, that was uh, Al Franken wrote that.

Yeah, aren't you supposed to do the noise now?

You do that?

But, um, I'd like to ask you a question.

Yeah.

So, like, in classic comedy,

sorry, David, you weren't finished.

Sorry.

You're going to like this one.

Because you didn't really lean on it much, but in the beginning, I remember in the classic comic sense of the idiot.

So, like, there's Jerry Lewis as like the king.

And then I remember you would do the hunched over guy, and he would do that sound.

Like,

where did that guy come from?

Because that instantly made me laugh so hard because you were so committed.

Wasn't it?

I don't even know, man.

It's very musical.

Can you do more?

It always felt good in a microphone.

I don't even

know if that ever got on the air, if I ever did that.

I just remember you seeing that and really loving it.

But there's one character I want to break down unless David has a question.

Sure?

Go ahead.

We're really close friends.

The

opera man, the evolution of opera man.

The operaman

that

then became the indestructible killer bit of all time by the time you got it on the update desk with the pictures and you were mixing

so good wig, Adam.

I'll let you fit.

But talk about the origins of that and the way you did it, and then the way you ended up doing it.

It evolved, right?

Gotcha, yes.

Okay, go ahead.

Yes, that's my question.

Thank you.

Yeah, that's a good question.

And I remember

you knew the guy.

So there was a man on the street who used to sing opera on the street.

He used to hold the can up and you'd be walking down the street and he'd kind of come at you and go, hey, hey, and he's singing really hot.

And he'd charge you.

And you'd be like, oh, and you give him money.

I didn't know that.

That's kind of where I first started being interviewed.

I love that.

I didn't know that.

I met that guy today at McDonald's.

He wasn't singing, though.

He's in between sets.

Adam,

what would a guy like that be ordering like a McDonald's?

How would he sound?

Hey, barbecue chose.

The thing that you can sound exactly opera is one more gift.

On SNL, if you can,

if they'd write a singing sketch, obviously Adam wrote a lot of his own, but if they'd write somewhere to sing, you can get in.

If you can play an instrument, you can get in.

There's so many things if you can do dance.

So if you do, I didn't do a lot of those things, which was kind of a drag, but Adam can sing so well and actually write songs and actually write songs that are catchy because a lot of those things you don't update were actually really catchy on top of just being funny.

And so that combo is big.

And that Operaman was a fucking cruncher.

That always

is a bad thing.

Didn't you do it off

on the stage next update initially?

Yeah, no, first time I did it, it was just gibberish.

It was like

a theater thing.

And I think maybe you, or was it Phil?

That's what I remember.

I don't know if you remember that.

Maybe you, maybe you, you.

But I was in my office.

Yes, that's it.

Adam used to go around the office

on all fours.

So then I hear a little knock, and I'm in my office.

So I open it up, and you're on all fours.

You're like, oh.

And then

you were asking me to do something, introduce Operaman.

You were the man.

So I did remember that.

You were like a theater guy who would say, tonight, the operaman.

Yeah.

Something like

goes from the emotion of, you know, like trying to catch the bus.

But unfortunately, he misses the bus.

But then he sees his mother, you know, is behind the bus and picks him up.

Let's watch the operaman.

Or something like that.

And I'd

walk.

I'd be like,

and then I'd see my mother, I'd be like, oh, yes,

something like that.

And that was it.

And it did good.

It did good at the time.

It did good.

You know, Sandler, it's good if you...

A trick on SNL is if Adam was probably slightly newer then, but if you anchor it with Dana, who they love,

and then he brings you on, and then they go, Dana seems to like it.

And then they start to help the new guy.

It helps.

When you're new, it helps.

No, it was a Dana's the best at it, so that's what it was.

But anyways, it did fine.

It was up.

At the table, it did well.

Everybody, remember, after a while, they started liking us at the table.

When David and I first were on us

at the table, and we try to get on and we do full skits for ourselves, everybody else was kind of like, calm down.

That's enough, guys.

Yeah, that's enough.

Not yet.

Not yet.

Not yet.

Right.

But then by

this time, they were like, all right, give them a shot.

And then we did that, and it didn't do great, so Lauren didn't put it on.

But then the Turners, out of nowhere, Bonnie and Terry Turner.

Great writers.

Both of the show for eight, nine years.

Wayne's World.

Wayne's World.

Yeah, they were.

They wrote the first Tommy Boy draft, too.

What's that?

They wrote the first draft of Tommy Boy.

That's right.

Tommy Boy, that's right.

They were monsters.

I don't even know why we don't hear about talk about them more.

They had some huge sketches.

You guys should have them on this show.

They'll get it.

We would love to.

Yeah, they're good.

Hi, Bonnie.

Hi, Terry.

Hello, guys.

I'm listening to this when it's released.

But they wrote what?

What we said?

And Lindsay and Lindsay, their daughter.

Their daughter, Lindsay.

Yes.

But, anyways, they wrote this thing and they talked to me.

I was in my office.

They were like, so remember that Opera Man thing you did?

We came up with an idea for the news and they showed it to me.

And I'm so

dumb and young and whatever I was.

And I was like, yeah, I guess.

I guess we could try it that way.

It was Operaman on the news that he says, Operaman on the news.

Showing current

menu and then re-singing and singing.

Blah, blah, blah.

And I didn't really, I was like, No, Operaman speaks gibberish, and that doesn't make any sense.

You don't understand Operaman.

So then it became a divorce.

You know, you heard events with like Trumpo and

just crushed.

That was all those guys wrote it.

I got to be it.

They would give me the melodies, and Cheryl would write Cheryl.

Yeah.

And they would just give me all the goods.

And I mean, it was the greatest gift ever.

That was a home run.

Got to wear the.

Did you do it with Eddie Vetter or not?

So you sing like Eddie Vetter once you were here?

I sang like Eddie Van.

Was it as Operaman or was it something like that?

Operaman singing about Pearl Jam, yeah, yeah.

And then, yeah, yeah.

And remember when I think they were even on the show, Pearl Jam, that night.

Oh, that's right.

So, what would he say?

A Vetter?

What do you mean?

I mean, you just got the pipes, kid.

You were going, yeah, I'm sound one of those homes out.

I'm made of concrete.

Yeah, yeah, yeah.

But you sound exactly like him.

I can't do it now.

I know any better.

It's a certain

thicker, lower voice.

No, his voice is unreal.

Yeah, he's a juicy voice.

We share an office, me and Farley, and then you walk through our office to get to Adam and Chris Rock.

So when the door was closed, I'd hear, oh, ho, ho, ho,

ho, ho, ho.

I'm like, oh, my God, he's got a killer cooking in there.

Oh, yes,

it's in the oven.

We all got excited when we landed on a good impression.

But I did one with Lovitz, an opera man with Lovett.

Yeah, that was great.

Oh, that was a great one.

He can sing great.

And that was a perfect only other guy who could do it besides you, because he's got pipes.

And he's just a funny one.

So that was a killer.

That was amazing.

He played your brother or something.

It was Glenn Close and

Lovitz, and maybe they were my parents.

I don't remember.

Yeah, yeah.

Remember that too?

The kids.

only on Saturday laughs.

Yeah, that's right.

Can we?

I'd like, I could go anywhere.

It's so much fun.

I want to ask about when he does bits, when you get to bring in one of the musical stars.

I think McCartney did Red Hood sweatshirt with you.

Oh, that was great.

God damn it.

Farley did something with him.

You did something with him.

I left just right before McCartney hosted.

You weren't there then?

I missed it.

I missed it.

I was a fool.

You know, he was upset, you know, because we'd met at 86 at Lauren's house.

He called me up.

He was like, I don't know why you didn't stick around then.

You know,

we could have had a plunker.

We'd be plunking, looking at each other.

I go, who is this?

Nobody in Bolton.

No, he's cranked.

I missed that, but you got to do a thing.

What did you do with Paul McCartney?

It was red out of sweatshirt.

I wrote it with Ian Maxtone Graham and I forget who else, somebody else.

And we had dip, you know, I had dip, dip, dip, and

stuff like that.

I say it.

And then as it progressed, Kevin, maybe Kevin Nealon did it with me.

And then I said, let's call out Paul and Linda.

And Paul and Linda McCartney, we wrote it for him.

And then Lauren said, I said, will they do it?

He goes, well, you have to talk to them.

So I went to Lauren's office.

They were eating.

They were on the show or they were just visiting the show.

Paul was the guest.

Okay.

And Linda was with him.

You walk in and you have to convince them.

I just had to come in with the dopey guitar and be like, my heart's pounding through my chest.

Did you crawl in or did you walk?

There was a skip or something.

That was when you were going to pitch it.

Remember, you'd skip across?

No, I'm making that up.

Sorry, go ahead.

So you walk in there.

I mean,

Lauren's eating Shundle.

Shundley.

And Paul and Linda, and Linda's amazingly nice, and Paul's amazingly nice.

And I sing them the little thing.

And

they laughed.

And then I left.

And then I was like, I don't know if that worked or not, but then they said yes and

forever, I got that.

I sang with them, hung out with them after the show, hung out.

Stella was there.

Remember, Stella was a kid?

She came to the show.

Oh, Stella McCartney, the fashion designer?

Yes.

And she was such a nice kid.

She was like our age then, you know, like whatever we were.

Yeah, let's keep the numbers out of it.

I saw him.

Discipline his kids on Long Island went over to his house and you know, I think James had a little toy sword, a plastic sword he dropped it down on his sister and Paul goes you do that one more time we're gonna have a problem

see him as hysterical yeah see him as a dad I remember

some comic said he had a bill he was the first one with a billion dollars and they go uh you know if he lost his wallet in a cab and there was 500 million in it, he'd still have 500 million dollars.

That was some comic joke.

But do you remember when Farley's brothers came to the show when McCartney was on that stupid story?

Where paul paul looked the same as paul mccartney growing up but he had a little bit of gray hair and so far's brothers were standing there with red cups there was no security so the music comes out of their dressroom walks by the eighth page desk you know that and they walk right into the show and they go paul mccartney one minute till you're on live and so you see he comes out with a bodyguard on the front and back and he walks out with his guitar and it's fucking paul mccartney i'm there with farley's idiot brothers and they're all drunk and he comes around and they go and one of them goes, hey, Paul.

And he looks over and he goes, getting a little gray.

And he goes,

I remember that.

And he walks out.

And I go, are you an idiot?

He goes, he looked.

And then he goes on the monitor and they're like 15 seconds.

And he looks in the monitor and he goes like this.

He got in his head right before he went out.

Oh, no.

And you know, he's like, is my.

And then, anyway, so

I will say one of my proudest moments, because sometimes Adam and I would try to write together or we would all try to think of excuses to all be in the same sketch or whatever.

And the one I like the best is the Gap Girls when we were

in the

mall.

And then Farley says, lay off me, I'm starving.

That is one of the funnest ones we ever did.

And Schneider was in it, and Sarah Gilbert was a host.

Oh, yeah.

And we were all, that was just the fun for me because

we would all just rehearse.

So, you know, you write it if it gets in, you laugh at read-through, you laugh, you know, when we talk about who plays what parts and what we say.

And then

I wrote all that stuff, though.

I know, but then everyone adds jokes, whatever you want, and then we got to do it on.

So you have to rehearse all week or once or twice.

You have to be together.

That's a good reason to hang out.

Is it a rehearse?

Yeah, that was amazing.

Does everyone know about the Gap girls?

Because there's a young gap.

Okay.

Because there's some younger people here.

It was just a sketch where we all worked at the gap, we played girls, and it was infuriating.

And how did you talk?

Whatever.

That's right.

Yeah.

Weren't you at the folding meeting?

Yeah.

And I went to the gap and studied it, and they showed how they put a clipboard in the sweaters and pulled them out and folded them up.

Mesmerized.

And then they would actually, this is when you feel kind of like a big deal because if you get a sketch on and you're just some doofus from Arizona and it's like a dumb sketch about the gap.

And then when they bring the sketch is written and and it's put up on its feet, they bring in, they talk to the gap and brought a whole section of the gap over.

So if they had a security guard, because it would cost so much, it was real pants, real sweaters, and it was just a chunk of the gap they moved in and the gap liked it because it was free advertising.

Yeah.

Even though we made them all look like morons.

But it was still really fun.

And then we all hung out there and

would practice in there, rehearse, whatever it's called.

And it was great.

So we did a couple of those.

We did Gappardy, what was Jeopardy.

It was just a fun way for me, you, and Farley to be in sketches.

Yeah.

And that was

our names again.

Say it again.

What was our names?

Christy.

Lucy.

He was Cindy, and you might have been Lucy.

Yeah.

Yeah.

And does anyone know?

Something like that.

All right, baseball fans.

Here with Dana.

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Hello, it's Lena Dunham.

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It's a chat show about women whose society is called crazy.

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My wife's in-laws came to visit, and they're in their 80s and they're Irish.

And they didn't, we wanted to put them up somewhere.

And so we got an Airbnb

and we went to it.

It was right in the little town, and it was spectacular, it was just amazing, and they loved it.

And so they had privacy in their time.

They could walk around the little town, and we didn't have to put them up here and have someone say, Do you know, could I, where would I get a towel if I needed a towel?

You know, that kind of thing.

Where do you keep your shale?

Could I get a washcloth, please?

But anyway, where do you keep your potatoes?

They were really,

this goes to Ireland, you know.

No, but they're, they're incredibly sweet and they had a great time.

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Do you remember the one that, because

a lot of times you don't really get to rock and roll with somebody in a sketch.

So you and I

had a crazy sketch.

When I came back to guest host,

weeks?

No.

Did you play drums?

What?

Pepper Boy.

Oh, that's a good one.

Let's talk about Pepper Boy.

So that,

yeah, that was incredible.

That was like, you and I were peaking on the show.

Chris Farley was, Tim Meadows was.

Farley crossed his arms.

Let's talk about that for a second.

Steve Corin started that.

That's right.

Wrote it.

So did the, it's just two.

I was kind of the, he was my protege.

I was the mentor.

I was obsessed with how to do the pepper.

huge peppermill and and adam was kind of the underlaying and really eager and we

we it i'll just set it up for a second we did it we did well in read-through yeah pretty well in rehearsal dress show pretty good yeah yeah then steve corn comes to me and tells me something you want to do what was it between shows was it so at one point we had the i was gonna

uh you were going crazy you were so nervous remember i slapped you yeah yeah yeah comedy it's always threes

and then I can't butt you, right?

Yeah, with the sound effects.

So, between dress and air, Steve Corn, the writer, comes in and says, Adam's gonna put the pepper sugar between his legs.

So, you're gonna do this.

Oh, yeah, yeah, yeah.

Yeah, yeah, yeah, yeah.

And then we timed it great, but we really peeped on air.

Yeah, that was amazing.

That doesn't happen every time.

We committed so hard.

I mean, because Tim Meadows was sitting there and I was doing the peppermint.

You like a pember, huh?

I mean, it became way, I don't know if it was sexual or something, but we were just on another level.

Every

i'd say once a uh um two weeks if i'm in a restaurant a guy with the pepper thing will be like

fresh a pepper

yeah yeah and do you remember what happened like farley was always the best at breaking people because he could be explosively funny remember his line and what he did on i know what it is we were we flew in from tommy boy yes for just the show and then we had to fly back oh and he goes, I have a line in Pepper Boy.

And didn't he have a big beard?

Yeah, he looked ridiculous.

He really hammed it up.

His line was a why, thank you for Pepper Boy, right?

He says, I'm going to make you laugh.

He goes, Etsy, I'm going to make you laugh out there.

I think he over at you.

He taunted

before it started.

He goes, Etsy, I'm going to make you laugh out there.

And I go, all right, all right.

And then I think he leans back and goes, why?

Thank you, Pepper Boy.

I've never seen a human being being transformed like that.

I think he's like 12 chins and perfect amount of pepper.

But huge beard for no reason.

But he squinted for the air show.

He did.

Yes, he lost his eyes, too.

Adam starts to turn purple.

That's the stage.

I'm over here.

Adam's turning toward me and trying not to go.

The sketch had gone so well that I stayed in character, but

I said

don't break.

Do you remember that?

Of course.

That's funny, man.

Don't be afraid of the music.

Yeah, you were the pro.

You were the pro.

The funny thing is, as Farley wasn't even supposed to say it that loud, it made no sense.

He was supposed to go, why, thank you, Pepper.

But he was like, what?

Yeah, he lost his marbles.

Yeah, well,

but that was an electric sketch for a restaurant sketch.

And then Il Cantonori, when we did that, well, you guys wrote Il Cantori, it was always major.

It was explosive.

But you, you, you would take the reins, murder, murder, murder.

Yeah.

Then we'd have a little thing to do when we were like, let's jump on the Dana fucking thunder store.

Well, I don't know.

You guys killed, too.

You and Schneider came in when you're on.

You're good, but you got them all ready.

That was an Italian restaurant where all the waiters are too sexual with Christiali and

all the women that come in, they're like, oh, Belissima, Belizima, Belizima.

I start licking Christiale's face.

I'm supposed to lick her face really hard.

I remember in rehearsal, I go, is this okay?

And she goes, oh, yeah, go for it.

Whatever you want to do.

Belizima, I like it.

Oh, you you like it?

But you guys were just, you know, crusher.

You and Schneider came in.

Schneider had no clothes on or something.

I had no clothes on.

That was the, I was the guy back then,

I could take my fucking shirt off and feel okay.

Now there's a reason the sweatshirt's on at all.

He has another shirt in case that somehow falls off.

You know, there's another crusher was Lunch Ladyland and a great song.

I called Tandler about a year ago.

I go,

it's on my iPod, and it came in.

And this is a good song when you go, Slap and Joe, Slap, Slap and Joe.

Yeah.

I go, the way you write it, and it's actually funny, and then you do a sketch, and it's funny, and then you hear it again, you go, that's actually a good song.

It's always catchy songs.

I sang that on my album before I sang it on Saturday Night Live.

Oh, yeah?

Oh,

I did it first on the album, and Farley was at the taping of my album.

And so when I'm singing on the album, Slavedro, I think I'm in Santa Barbara, or I don't remember where I was.

Just a cool club.

I'm sorry, I forgot the name of it, but it was a club.

We were recording.

Farley was in the crowd going nuts.

And then

his crazy voice is so what I'm going, Slavedo, Slava, Slavedo.

You hear Farley going, La Vedo!

Like, you know,

that he never even heard the song before.

He just kind of said, all right, he's going to sing.

Did it.

Yeah, that was a crush.

Was that on They're Gonna Laugh at You, which was

Two Times Platinum.

That was a biggie.

You're the last guy to really sell comedy albums, I think.

I mean, my God.

I don't know if there's been some after, but with that back in the day, that was, you were on it.

Yeah.

Everybody was on it.

Hey, buddy.

Hey, buddy.

The buddies.

We did buddy, dude, buddy, dude.

Homie.

Yeah, that was a great one.

What the hell happened to you was another one.

Yes, yes, yes.

Thank you.

That was where your real acidy humor came out on those albums.

That was where I got to curse a lot for the first time and David cursed with me and we all we were so excited.

It was like being on Saturday night.

I just thought it was like jazz.

I mean, I mean, the one about the announcer with the champion, you say the word champion.

It's a golf announcer.

You do it.

You say the word champion like 500 times golf.

It's about a

golfer who has like a nine-stroke lead and he's on the last hole and he keeps missing butts.

And you're the announcer.

I'm the announcer going, the champion is is feeling it today and he's about to set the course record and the champion and then he he puts it and you hear the crowd go oh and you know well the champion laughs that off

eight stroke lead now

you know all that kind of shit and then it gets more and more uh just insane closer to being like choking and he's like well he's up three strokes hopefully he can put this one in and and then it's blake clark is doing the voice of the chat

champ and he's going, God fucking damn it.

Anyways.

Those albums were good because they lay into the crowd of college kids in the summer and then you come back and you're even bigger on SNL because they're like playing them over.

The albums were the biggest big

steel

besides Saturday Night Live because like you said, I would go out on tour.

The

kids who were coming to see me knew the albums.

So they knew some of the songs.

They knew some of the characters.

And that definitely relaxed me on stage yeah all of us

we used to have fun well let's just say because you've given me a lot of props that by the time you you're after about two years in on snl you you really were just like top notch i mean you were crushing consistently on that show and the audience was falling in love with you because

you know when you'd sing hanuka song when you would do your guitar or thanksgiving song right right first of all you actually you're a really good acoustic player not bad and you can hold a great melody, and then it's so silly and funny, and also watching you enjoy it, not breaking, but just the light in your eyes.

It's so infectious.

It was exciting.

Yeah, yeah, man.

I remember that.

I remember singing that at the table, the turkey song, the Thanksgiving song for like

Smigel and a couple other writers at the table going, you know.

singing it to them and if they laughed, I was like, oh, fuck, okay, they think it's funny something, yeah.

It was a big deal.

If those guys, the great writers on the show, when they would smile at what your idea was, like Jim Downey, if he said something was good, you would just like, even if it didn't get on, you were like, all right, I'm funny now.

Yeah, we had the A-team there.

Smigel, genius, Downey, brilliant.

You know, we had some incredible writers.

I've seen helping us.

When was your first movie?

That was when we did the summer we did Tommy Boy, you did Billy Madison, right?

Yes, yes.

And then

the next summer, Abby Gilmore.

Happy Gilmore.

And then those movies kept kept making it more than the other ones.

They give you another one.

And then it was

The Wedding Singer.

The Wedding Singer.

Yeah.

And then Waterboy.

I think that was where it was the mic drop.

At that point, you were a movie star.

It was too big.

When you do Happy, you did, of course, Billy Madison, but you do Happy Gilmore, The Wedding Singer, and Waterboy.

Yeah.

Within like 24 months or something.

Then Big Daddy.

Then Big Daddy.

Another mega monster.

So you have too many, I can't even see.

You know, when Waterboy came out, I was hosting, and you were there that weekend, and we were going to do a bit in the monologue, and then you had to fly back.

Waterboy was such a fucking, they told us, or they told you how much it made, and everyone was like, what the fuck?

And then

you had to get back, and I changed my monologue, and I just did stand-up.

I wasn't doing stand-up in the monologue.

You're kidding me.

I was supposed to go out with you.

Well, we were going to do audience member, you know, when you go.

Yes, can I do it?

And you're going to ruin my monologue with questions.

And then they go, Lauren goes, well,

you said you had to go.

And I go, all right, well, what do I do?

And he goes, stand up.

Oh, really?

Aren't you a stand-up?

I go, well, I fucking never do it anymore.

I go, tonight?

So he goes, just throw some things together.

I go, so you can't go practice or run to catch rising star.

So I put some together, but it's so fucking terrifying to do a monologue anyway.

And then on cordless posting.

And everyone's like.

That is the worst when you're doing stand-up and you're about to go out and you look for the mic and then the guy makes the decision for you.

Like, Joe, don't use a hand mic, use this.

And then you go, and you don't have a fucking mic in your hand.

You're like, holy shit, what do I do with both my hands?

I go like this, hey, we

don't know.

I know, we're not used to it.

Yeah.

Or a mic stand.

I lean on a mic stand sometimes.

It's not there.

Yeah.

Yeah, yeah, looking for a mic stand to lean on.

It's just like drowning.

Yeah.

Yeah.

When you first start in stand-up, you just hold the mic like this.

Oh, God, you're choking out.

Did you go with Billy?

Like, we,

I'm sorry.

I remember remember shooting Billy

Madison, and you guys are shooting Tommy Boy and hanging out with Hammond

up in Toronto.

Yeah, we were in the same place because we came over there, and that was the night when you, remember when you did that thing called, there was like a crime scene joke with everybody where they go in a room and you go walk in, and it's a crime scene.

Yeah, yeah, yeah, yeah, yeah.

Anyway, so, but, but, oh, yeah, but Adam's movie was called Billy Madison.

Our movie was called Billy the Third.

Yeah, it was Billy the Third.

And so we changed it, and we just didn't have an, we know what to call it.

Of all things, we both have the same lead as the same name.

So we eventually changed ours because the name of the movie was Billy the Third.

But fucking hanging out in Toronto with you and Farley there.

Oh, that was great.

We had a couple weeks together.

On nice, I hate it.

And then,

oh, yeah, so then you do all those movies that seemed to work out.

You did some movies.

By the way, my wife and I watched

Hustle last night.

What'd you say?

Hustle.

You loved it.

Yeah.

I think it's a great movie.

Hustle is a movie he's got coming out.

I got a new movie, yes.

It's on Netflix, and it's about, it's kind of like Hoosers meets Rocky, meets Moneyball.

Yes, yes.

And you're great in it.

Thank you.

I mean, really great.

Thank you, thank you.

It's just a,

it's just a really, you know, where it really works is a movie.

I can't.

And I got, I got teary eyed.

Yeah.

You got me.

That's so great, Dana.

Do you feel like, because, you know, you had Uncut Gems.

That was pretty good, right?

Yes.

Thank thank you, Dana.

So then I, then I saw that, and then I see this one.

It seems like you're either you're, I don't know, you're, and

the murder mystery movie, I mean, you're on a roll.

I mean, are you feeling like you're more comfortable

now?

Are you changing up stuff?

Because you seem to be at this other level, or is it just from doing it so much?

I think I'm getting older, more opportunities, guys like the Safdie brothers.

Yes.

The Safdie Brothers, who your brother,

he kind of worked with them as

they were great friends with Andy, and I met them, God, 12 years ago.

They were talking about Uncut James then.

Yeah, yeah, yeah.

I was sort of the muse

for Justin.

Because I met him 12 years ago.

Uncut Jumps.

Yeah.

Yeah, but those guys are super cool.

Very good.

Yeah, they did.

I think they did a Kate Spade commercial that Andy.

Is that how you guys met?

Yeah, and I think Andy wrote an idea and they did it.

And then it somehow went to the Cannes Film Festival.

And then they did a movie called I think Daddy Longlegs after that.

Yeah, incredible.

And then they just kept getting, they were just better and better and better.

And

did yours.

And, you know, maybe one day you'll do another one with them.

Fucking great.

They're writing another one right now.

But I lucked out.

I'm getting to do all this great stuff.

Noah Bomback,

PTA, they all hooked me up.

They all wrote great stuff.

They asked me to be in it.

Jim Brooks, all talking about it.

God damn.

I loved him.

Is it ever scary?

Because these guys do great movies or great TV show.

And PTA, obviously, one of the

best ever.

But you know PTA a little bit, but if you get lucky enough, you know, you're paired up with some great director.

And usually on sets, like grown-ups, those kind of movies, you have more of a say.

But you have to kind of keep quiet somewhat, not totally, but and trust them and you ever get a feeling where you're like I don't even know if this guy knows what the fuck's going on I mean that must be scary these guys because they're so good but you go it's gonna work it's they know what they're doing that must be hard you just go you just give yourself to them because you know they're great and uh and you read the script and you you just don't want to let them down and you jump in uh their world and it is neat it's neat not not I always feel more comfortable doing comedy.

I'm always

more at ease going, all right, we're going to go make a movie and have a great time and try to come up with the best jokes and make everybody laugh.

Love that.

I'll love that the rest of my life, just like you guys,

we're addicted to that.

But the other stuff I'm getting to do,

it's awesome.

I know you both would crush at that also.

It's just, it's just, it's,

it's just different.

It's fun.

It's a different day in the trailer.

You don't go, what the fuck?

You know, let me come up with a joke.

You're kind of sitting there going, oh, I got to get in this mood right right now.

Well, the jokes are kind of crutchy because you know how to do it.

And you know, if you have a scene that's not working, you go, I think we can figure a way out of this if we think of a joke or way out, which is what you do a lot on comedy.

But in these,

you're like, this is just connecting.

It's part of connecting the dots of the bigger picture.

So not a lot has to happen right here.

And it's hard to trust that.

That's true.

Just do what it is.

They'll figure.

I mean, sometimes they add music or something and you go, oh, I see what they did.

It's perfect.

Yeah, that's true.

You don't know when you're doing it.

And then when you're doing it and it's not right, those guys tell you, whoa, whoa, whoa, whoa, whoa, and you go, oh,

and you feel stupid for a second.

You go, oh, I was giving you a little extra.

And they were like,

calm down,

juice it up a bit there.

You're making it real good for the people.

And they go, no, no, no.

Believe me, they want to see.

Those are the brothers, right?

The 50 brothers, their brothers, and

Ronnie.

Dana, what else do you have for Adam?

We got to take a few questions.

I don't know.

I do think it's kind of cool that you did, there's so many movies, obviously.

We talked to Drew Barrimore about 51st.

That was really sweet.

Drew was great.

Drew gave you answers that were incredible every time.

Doesn't Drew automatically take even a half a question and she fucking goes.

And she's poetically does a seven-minute answer.

It's unbelievable.

Beginning, middle, and end of every single one.

She goes, I'm going to guess your next three questions, and here's the answers.

When I went to SNL, we were like, okay, made it easy.

Just funny.

That was amazing.

I've seen her talking about being a little kid on SNL.

Oh, I know.

Yeah.

At age seven.

By the way, I've listened to, I think, every episode of your show.

You have?

I fucking love this show.

It's the best.

Yeah.

Jesus.

I'm so happy for both of you.

It's the greatest.

Well, it's fun to do because, you know, like, we don't get to hang out with our friends that much.

So this is our chance to,

you know.

The other one I wanted to ask you, did Anger Manage, so you got to work with Jack Nicholson.

Yes.

Unreal.

And really got to know him.

And you told a funny story about peanut butter just hanging out at his house.

Oh, yeah, yeah, yeah, yeah, yeah, yeah.

That's right, man.

My first day over,

Nicholson's,

I got there, and we're in, and he keeps the house dim.

And so I'm sitting in this chair, and Jack's sitting in this chair.

We're facing each other, about five feet away from each other, and we're talking and shit.

And

I'm going, it's dark enough that I'm going in my head.

I don't think this is Jack Nicholson.

I think like they brought out a fake one to talk to me and see if I'm okay to talk to the real one.

So I'm just going like this.

And he's like talking quietly.

And it doesn't sound like the impression everybody does, you know,

or whatever.

Hey, man, let me tell you something.

It's not like that.

It's kind of like, yeah, man.

It's kind of quiet and cool.

And Hosann, man, let me, I don't know.

He just has a cooler voice, but I was not really believing it was was him.

And then I do like an hour of that.

And then

at the end of it, he goes, you're hungry or something like that.

I said, yeah, yeah, I could eat.

He goes, you want a sandwich?

And I said, I said, yeah, that sounds great, man.

And he's like,

PB and J.

And I go, that's fucking great.

And then he gets up and walks away.

And then he turns around, he looks at me, and he goes, Skippy or Jiff?

That sounds like.

like i thought also that you went outside for a minute oh yeah and you were outside he came out and he held up the jars

said skippy or jiff

that's right such a funny image

so i remember your story

man i ran in him with lauren of course with lauren and uh and uh we had dinner and and he goes and he's comes there's an empty seat you know is this stupid no no no okay so

lauren Lauren goes, we're going to have some spaghetti.

And

I was with Rosie.

She's over there.

I was over here.

Tori.

There's an empty seat.

And Lauren sits here.

So there's an empty seat.

And Jack sits next to Rosie.

And he starts talking.

And then he goes, one time I went to the MTV ward or something or something is, I ran out and it was so dark I got in the wrong limo.

And I sat down.

And everyone just stared at me and it was Nirvana.

And he goes,

and he goes, we're just, and we're in the wrong limo.

I go, uh-oh.

And then she goes, did they know who you?

Did they not know who you were?

And he goes, well, that's never happened.

Someone didn't know who he was.

Could I tell you?

Quentin Nicholson won.

Yeah.

Related to SNL.

So Phil Hartman and John Lovitz and I are playing the par three in Studio City.

So Witsit.

Yeah, Witsit.

So we're on the green.

We wave the guy on and he shoots it out of bounds and he walks over.

We realize it's Nicholson.

So he walks up, and Phil Hartman had dubbed his voice in the movie The Border because they couldn't get a hold of Nicholson.

Phil's very respectful.

He goes, Mr.

Nicholson, I dubbed your voice in the movie The Border.

One beat, and he goes, No wonder it was my only stinker.

That's a good one, yeah.

As a joke.

All right, let's take some questions real quick.

We'll get Adam out of here.

By the way, just so you know, before Nicholson did anger anger management,

he called Lauren to see if it was, he had Lauren read the script.

Oh, really?

He goes, I've just got to make sure.

See if it was funny or something.

Yeah, he goes, I did.

It makes me laugh.

And let me just

say, and he goes, he is the man.

I skimmed it.

He went through it and gave it the blessing.

So I owned Lauren for that, too.

We owe Lauren a lot.

Yes.

And Lauren,

you appreciate Lauren more and more every year you're away from the show.

What he has to deal with, the egos, the politics, keeping the sensibility in a certain frequency.

Because if you left, it could turn into hee-haw in a second.

Oh, man.

He likes smart.

He likes big laughs.

So there's a lot of respect for Lauren, my friend.

Very true.

All right, how are we going to do a Q ⁇ A?

How do we do it?

Oh, they line up over there?

Okay, line up with him.

If anybody has a question, we'll do a couple.

And then we'll get to

Greg Holtzman.

We'll get you guys to the other three

shows tonight.

All right, Dana, you know, I'm always dragging around and uh i always got a five-hour energy on me

i know that

yeah they're either in my sock in the car they're somewhere you keep them everywhere i give them a little slurp i don't really shoot the whole thing like some people do on an empty stomach i think i eat a little bit a couple sips just like coffee just keep just keep something going everybody chug it

I don't.

I'm actually,

I don't want that much energy at once.

It's five hours, so I kind of, you know, that's what most people do, but I sip it overall.

There's a lot of different flavors.

Yeah, there's one called Confetti Craze that tastes like a good birthday cake, which they're all pretty good, but this tastes strong.

It's a big and buttery flavor here to let you be unapologetically extra and unstoppably energized, actually.

Big birthday energy, wherever you go.

The shots are reasonable.

You don't have to chug a full bottle or anything.

You just run around with that big birthday energy.

Yeah.

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So

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All right, here we go.

Hi there.

Oh, we're starting.

Yeah.

Okay, go ahead, young man.

Today, thank you.

So I was wondering, you were talking about like childhood things that you remember.

What was the first extravagant purchase you made when you sort of made it big?

That's a good question.

That's a good one.

I got my leather jacket.

You remember?

The black one.

I got to a Police Academy movie and I bought a $400 leather jacket that was too heavy, but I couldn't give it up.

It was like a motorcycle one.

And it hurt my neck, but I wanted to wear it.

And then I think I wore the improv when I first was around Adam.

The first thing you ever said to me was, can you unzipper me?

Can you help me get it off and I have to lay down now?

That was it.

Mine was leather jacket.

Dana, what do you got?

What'd you get?

With my own money that I bought.

I think I went out.

My father had a

green, dark green and light green 78 Cadillac Fleetwood or some shit.

when I was in high school and my first big move, I went out to an old Cadillac place.

They didn't have that color, but I got that same caddy and had them paint it that color.

That was like my big first move.

That's cool.

Big rich boy.

Can I change mine?

You must have got more than a leather jacket based on your home sales recently.

Sorry.

He did well.

David invested well.

Yes.

What was your...

What did you get?

My wife and I did a silly thing.

We walked in in Cino, we walked into a Mercedes dealership and we bought mercedes cars like 100 000 cars i bought a convertible coupe and i drove it for like a week and it had a plastic windshield like what the fuck

so i got i put took it back and got a sedan that was just during my german phase you know i i had a movie i have a volvo now it's very non-sexy what a loser go ahead next one

Yeah, I was going to ask you about the origins of your trademark, you know, Adam Sandler voice, but you kind of already answered that.

Yeah.

But so my next question is: Do your daughters do like an Adam Sandler impression?

Like, they do ever go like they're all a lot funny or whatever.

They don't do that, they don't know that album yet, but

they do both do the

every time I'm trying to be funny and it

doesn't work.

That's funny, yes.

Thank you.

Thanks, man.

Sorry, I'm shorter.

Hi.

Hi, guys.

Big fan.

My name is Shalise.

I'm from Houston.

Nice to see you, buddy.

So my question is, what out of all the films you guys have, if you guys can go back and do a sequel to any of y'all's previous films, what would it be?

Ah, shit.

Wayne's World 3.

Wayne's Guards.

Wayne's World 3.

Guards at 60.

Wayne.

I gotta get some Flow Max.

Flow Max.

I don't know if it would work.

Go ahead, Adam.

We've done so many movies.

What would be the sequel?

What would you, what was the, I can't think of the name right now, you did with Cage and Lovett's.

Oh, Trapped in Paradise.

That'd be fun to just work with us Cage.

That was a tough shoot.

We fell down in the snow, and yeah, we just.

You were doing Brad Gray in that, right?

I was doing Brad Gray and Mickey Roar.

I don't know what you're doing, but I wouldn't do it.

That's what I was doing.

I was doing Mickey Roar.

The studio flew in in from LA.

We were in the middle of the woods in Canada and said, you gotta stop doing random movie.

But Nicholas Cage said, I would do it anyway.

He was a great character.

I guess that's it, right?

What would you do a sequel to?

You have so many movies.

No idea.

Too many.

I like them all.

I like doing grown-ups with Davey because we all hung out.

We had a time on that.

So grown-ups could work.

You have three.

Well,

whatever it is, I like to do it.

It's always great when you're with your friends.

Grown-ups, we literally got to do this every day.

Sit in chairs, hang out, try to be funny, and

cut around it.

Yeah, that thing's been keeping the lights on at TBS for the last seven years.

It's on heavy rotation.

But I love it.

I love grown-ups.

That was

great memories.

Thank you for that question.

Thank you.

Cheers.

You guys are wonderful.

This is amazing.

Thank you.

Hey, man.

My question, I suppose you guys have written for so many different wonderful projects in both film and TV and of course on Saturday Night Live.

And my question was,

do you think that to properly

master that sort of craft, do you think it's

writing as much as you can, like, every day is really the proper way to get to a point where you feel comfortable with your writing?

Or do you think also, I suppose, do you think it's also helpful to like try and collaborate with other people that you know you'd work well with?

Sounds a little like John Mulaney.

This guy.

I would say

if I would take that, my first answer would be if it's stand-up, just get as much stage time

as you can.

And if it's writing, I think it just more is better.

Collaborating or writing by yourself, just anything you can do until something sticks, I would say.

Writing.

Writing, right?

I remember I lived with Apatow when I was young,

great writer.

And Apatow, he was the first one of us that would write.

Yeah, he was smart.

He used to sit in his room and write skits all the time for Saturday.

He wasn't on Saturday Night Light, but he would write kind of skits.

And he would collaborate with people and he was smart.

He made himself like a producer because that was a valuable thing to help someone do what they're doing, Jim Carrey or you?

Right, right.

Well, I would say, what is your name?

My name is Ambrose.

Okay.

All right, Ambrose.

That's all right.

It's a cool thing.

That's a great Chardonnay.

Oh, anyway.

Ambrose.

I would just say, initially, that seems like too much pressure to me to try to go in a room and stuff.

If you're a comedy writer, just write everything down.

That's what George Carlin said.

So if you're out with your friends, a lot of times just taking a walk or going to a movie, someone will say something.

Make sure you either record it or write it down.

And just do it spontaneously all the time.

And your headset gets into that.

Yeah, it's hard to just sit and write and be funny.

It happens all day.

And if you just write it when it happens, it don't say you'll remember it later because you won't.

So just write it, write it, write it.

And then you collect it and go, Is there anything here?

Is anything here?

That stuff's very valuable.

You basically only need to write five good jokes your whole life, and then, like David, you use that the rest of your life in different

ways.

Yeah.

It's a spade roast.

It's all right.

Thank you guys so much.

Good luck.

All right.

What do we got?

I'm Bros.

I'm Bros.

Hi.

I have a favor to ask you guys.

It's my nephew's 15th birthday.

It was my nephew's 15th birthday today, and I was wondering if I could make a video of you guys saying happy birthday to him.

Imagine if we said no one meant it.

You know when to ask.

No,

it's me.

What's his name?

What's his name?

Nicholas.

Nicholas.

And we're going to say.

Or do you want us to film it and then send it to you?

And the whole theater sings happy birthday to Nicholas.

Happy birthday to

you.

Happy birthday to

you.

Happy birthday to Nicholas.

Dear Nicholas.

Happy birthday

to

you.

Nickel Josh.

Thank you.

Trying to harmonize this old day.

And it's my niece.

Al.

Sorry.

Hey there, guys.

My niece.

Hey, hello!

It's Tostostarone, man.

My name is Al, and I want to say that it's my grandma's dying, and it's her birthday day.

And if we could sing happy birthday to her, that would be a great all day.

what has changed what's her name

no but for real uh this is such a fucking treat

this is such a fucking treat for all of us because you guys are all just such pillars of comedy yeah

you too david

here's my real question so

you know as when you're watching you guys we pretend we're you we see ourselves in you and shit like that so when you did mixed Nuts with Steve Martin,

and then when you did that scene with Philip Seymour Hoffman,

being you in those moments is like fucking incredible.

So, how was it being you in those moments?

Two as some

co-stars, yeah.

Two, you're funny as shit, by the way.

Good job,

my name's Al Monero, Monero.

He's powerful in the Netflix festival,

God.

You're so psyched you followed Ambrose, too.

Like, he's going to take it down.

Ambrose is looking for pen and paper.

David, did you tune out?

David tuned out.

So,

Steve Martin, of course, all our heroes.

Yeah.

We were one of them.

All time.

First time Hall of Famer, Steve Martin.

Yeah, yeah, yeah.

Probably the number one ballad for us, right?

Say it again?

He was probably the number one guy.

Memorized his albums on the ball.

His albums, Wild and Crazy Guy,

all the shit Steve Martin did.

So, of course, being in a movie with him was just staring at him and waiting for like quiet moments to run over and say something.

And if hopefully he'd respond.

And

so I love that.

And he was very nice to me.

And then

Philip Seymour Hoffman.

Fucking great guy.

Great tour de force, that guy.

He was just a very good,

funny man.

Took it serious.

Went hardcore hardcore and when we worked together by the way Philip Seymour Hoffman I don't know if you guys know this so we're doing Billy Madison

I think

we wrote

oh no the happy Gilmore no maybe Billy Madison we wrote for Bob Odenkirk wrote that for Bob Odenkirk the bad guy in the movie

And the fucking studio wouldn't allow it.

They're like, you can't just have your friends.

And we were like, no, he's fucking great.

And they said, no.

It's Bob Odeker.

He was a writer.

So I think that's how it went.

I think it's

okay.

So we wanted Bob.

They said no.

They put out,

you got to audition, you know, audition people.

Philip Seymour Hoffman auditioned.

And I was in Toronto getting ready to make the movie and it still wasn't cast yet.

I saw Philip Seymour Hoffman.

I was laughing my ass off.

I'm going, who the fuck is this guy?

He's hilarious.

So I tell the people, I show Universal, can we have this guy?

Are you good with him?

I mean, you fucking said no to Odenkirk.

Are we okay with this guy?

And they were like, and it took some talking into, and then they said yes.

Then we offered it to him.

And we get this call back like, yeah, he's not, he doesn't want to do it.

And we were like, he doesn't want to do it.

You mean he audition?

And so I go, let me fucking talk to him, this guy, and tell him how great he is.

And I called him up and I said, hey, it's Adam.

And he's like, oh, hey, Adam, blah, blah, blah.

And I said, Hey, man, I saw your tape.

You're so great, buddy.

And they said, You don't want to do it.

And he goes, Oh, thanks, man.

I go, Do you

want to do it?

And he goes, Oh, I can't.

I go, Oh, why not?

He goes,

I just don't want to.

And I go, Okay,

you sure we're going to have a bad one.

That's a great answer.

Isn't that great answer?

I go, I really love you.

And he goes, I know you do.

I swear to God, I go out and met confidence.

Yeah, yeah.

I'd like to have a job.

Thank you guys.

Hey, when you get bored and you want to go to YouTube, go to CryptoJunkies Easy.

I'll make you rich.

I just want to hang on to that Cardano.

Does Cole

Solana.

It's going to be moved.

He's fine.

He's a master.

Hi, guys.

My name is Denny.

Just want to thank you guys.

You guys are my comedy heroes.

Moved out to LA for my pursuit of Bestin L as my dream.

So I've been looking looking up to you guys my whole life.

Oh, that's sweet.

Welcome to the business.

Are you doing stand-up and stuff like that?

All over, all over.

North Hollywood, I produce a show.

Really?

What's your name?

Denny Glasser.

Denny Glasser.

That's a great name.

I'm going to pass on.

Thank you.

Dr.

Denny would be a good moniker.

Dr.

Denny's in the house.

I'm just saying.

Thank you.

My only question I wanted to ask is what was the first impression or character that you guys did that you knew you could do this for a career?

Oh, I could do Michael J.

Fox real good.

That was David.

That was David.

Always yours.

My first impression.

You didn't have too many impressions, did you?

I did.

No, I used to do them around the house.

I did the basic, I used to do Rich Little stuff, you know.

Yeah, yeah, me too.

John Wayne, and uh, John Wayne, yeah.

Well, yeah, I used to wear a cowboy hat around the house.

Oh, really?

Well, I'll say

or do that like

for my parents.

Oh, watch bacon and eggs.

Oh, gross.

I know, I know.

Oh, my God.

Yeah, yeah.

How about you?

Who was your first?

Casey Kasim?

You guys do.

Checking in at number five, the boss.

Bruce Springsteen, a man and his guitar.

A man who likes to call his guitar his own.

I was nine years old.

The Beatles came on at Sullivan.

The next day, I walked up to my mom and I said, Hey, do you think I could get me some pancakes?

She screamed.

She didn't know what I was doing, but that was my first time I knew I could alter my voice as doing a liver putting accent.

All right, well, good luck to you, buddy.

Thank you for that.

Good luck.

We gotta go.

We gotta go.

Thank you.

Thanks, Adam Sound.

Thank you.

Look at us.

Six later questions.

Thank you guys.

You guys were awesome, man.

Thank you so much for coming out to the Wilton at Santa Carol.

Hi folks, thanks Dana.

Really enjoyed it.

How are you doing?

That was fun.

Thank you so much.

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Fly on the Wall is presented by Odyssey and the executive produced by Danny Carvey and David Spade, Heather Heather Santoro and Greg Holtzman, Maddie Sprung-Kaiser, and Leah Reese-Dennis of Odyssey.

Our senior producer is Greg Holtzman, and the show is produced and edited by Phil Sweet Tech.

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Special thanks to Patrick Fogarty, Evan Cox, Maura Curran, Melissa Wester, Hilary Schuff, Eric Donnelly, Colin Gaynor, Sean Cherry, Kurt Courtney, and Lauren Vieira.

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