Best job ever. The excitement of starting a whole new show to replace my hero Letterman's, of doing it with one of my best friends hosting it, and working with hilarious young writers, it far outweighed how hard it was and how many people tore into it. Too many memories to list but Louis CK used to throw shit out the 30 Rock window a lot. He would throw money, and attach a note to it - stuff like "You fucking pathetic moron." So we got to watch people scurry to pick up dollar bills and the read the note. Even though they were ant-sized, their body language was enough to have us laughing for hours.
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One of the few times I almost broke character is when Chris Farley got hung up on the Weekend Update letters behind us as he was supposed to be hoisted up on a cable and flown over the audience. Too funny!
My favorite memory of the movie was Chris Farley, because we had him play a guy whose nose was bit off by a Saigon whore. So he did all the scenes with no nose, and he would improvise all his dialogue, he would ask first if it was alright, and I would say "sure," because he was just the funniest guy ever. It was really sad with Chris because he would always say he wanted to be as funny as John Belushi, and I would say that he funnier than John Belushi, but he never knew how funny he was. Sad.
One, the first time I met him he kept saying he was thinking about quitting comedy and playing baseball, and I thought he was joking. I know that doesn't read too funny, but...Now I'm paranoid like, Brody's looking down at me telling boring stories about him and being like "thanks Todd! hundreds and literally hundreds of stories, and THAt's what you choose to share with people. NOT me at my best."
Ben and Tom are having lunch with a drunk Joan Calamezzo who is creepily hitting on Tom and we have this exchange:
Joan: I'm going to go to the bathroom and powder my nose... amongst other things.
Ben: Dude, is she gonna go powder her vagina?
Probably the hardest scene I've ever had to get through without breaking. Adam and I just had to skip doing it for the first few takes. It's on the blooper real I believe. Also, props to Mo Collins, who always brings it as Joan.
Sorry no actual update. I've heard for years there's a movie being developed, but never from anyone actually connected with it. Personally I love the movies, that character, and all the people involved. It's some of the most fun I've had, and most the most widely received movie I've been a part of. Not sure Mike is really looking to make a new one, but I'm sure if he did, everyone would show up for it.
Well, my best memory is having worked with Harold Ramis, who unfortunately passed away earlier this year. He was also in GHOSTBUSTERS, but he directed me in CADDYSHACK and the original VACATION!
And he gave me the character of Clark Griswold.
And loved working with Eric Idle in EUROPEAN VACATION. When I was speaking what i thought was French to the waiter, and he was just making obscene... and working with Imogene Coca was great, because she really tied me into - and I'd worked with Sid Caesar too, but i really grew up on him, so it was terrific. I loved the scene, I think my favorite scene of all of 'em, is the scene between me and Jim Teach who's playing the motorcycle cop who stops my c...
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yes but then we go hard and i'll attempt to take a shit on the desk.
GRANT! U.S. Grant (Hiram Ulysses Grant was his true name). I have been messing with an idea for a screenplay about the man. I quiet, unassuming fellow who was passed over for years by everyone around him (nickname "Useless") but in the end he drove it home and saved our beautiful republic.
Orville Wright, yes. I was reading the David McCullough biography of the Wright brothers while I was writing the pilot, and early on there seemed to be some depiction of Orville as the "beta" brother. Seemed like a good fit for our midlevel craft.
I think he liked it. Steinbrenner was unfamiliar with the show. His grandchildren watched it, and his grandchildren talked him into letting us use his name. The last episode I think of the '96 season, we came up with the idea to actually fly him in and put him on the show because up to that point, we'd only been seeing the back of his head, and I was doing his voice. And then we thought it would be fun if he was - if he actually made a real appearance.
So we called him up, and he said, yeah, he would do it. So we flew out to do it. He did the show. We started editing the show. And as I watched it, I'm going, oh, my god, this is not good. And we thought it's so much better to just see the ba...
Well, I always felt especially bad that Charlie was disappointed by the show because he uprooted from LA and was definitely expected the show to be innovative and groundbreaking. Now, lots of people think it was, and if you check it out, there are plenty of sketches like Grandma the Clown, First Ladies as Dogs, Waiters Who Get Nauseated by Food, The Stupid Pranksters, and, yeah, the first Ace and Gary cartoon, and I'd say those and others were smart and original. We also had a legendary star performer who did amazing impressions and had beloved characters. So writing to the star's strengths, which included writing for his Regis, Perot etc. was always going to be an important ingredient. I ki...
Each season has had its difficulties in producing them - and let me just say that I am really proud of the episodes in the second half of season three. I think they're super funny. There is a story to why I think they're a little inconsistent in production:
For season two, we wrote all 20 episodes before we started shooting, and we shot them all out of sequence. I think the christmas episode with Zach was one of the first ones we shot, and I know the Halloween ep with Pee-wee was in our second week. So we really got to figure out an order after the fact that made sense.
For season three, we had an earlier premiere date, but we started at the same time. So, even though we still wrote everyth...
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Adam is the greatest guy I've ever worked with, kind, honest, never withholding affection or anger in the best way possible. But he's also as funny as anyone I know; he was easily one of the most inventive writers in my time at SNL (see: Herlihy Boy, his early Update appearances, his early Canteen Boys - not the Baldwin one). And yes, being around him is the best because he's not only funny but he makes you feel like you can do anything.
Like working with your grandpa. You have to yell a lot, lot of stories about the good old days, but you love him in the end.
Eric is extremely creative and driven and when he's on camera he wants to make it a moment. He's incredibly prepared and he's a smart dude.
The best part of working with him is that I really don't have to do anything but be myself and react.
Hardwick is amazing. He is down to earth and cool and funny and has well coiffed hair. It's cool there. We sort of hang out and joke around and do makeup and then go on and try and get some laughs. It definitely does not feel like you are on tv. Which I like.
Only worked with him that one day on Chappelle. I really loved Patrice. But he had complicated energy. I sort of diffused on chappelle by whispering to him, "I know you don't listening to people, but..." And he was like, "Nahh...Where'd you hear that?" Meanwhile, he hated listening to people. One things about Patrice: He's the only person in my entire life who ever called me on the phone out of the blue just to tell me he thought I was funny. Another thing: I wanted to act in a pilot I co-wrote and was directing with Dov Davidoff. This is in 2009. I call Patrice. I go, "Dude, I want you to be in this pilot. But are you gonna be a pain in the ass?" He's like, "Neal, how the fuck you gonna cal...
One time Bob despised a sketch of mine so much at a readthru, he told me what was wrong with it for a full ten minutes before concluding, "So I guess I'm saying I hate this sketch and it's trying to kill me," as he dropped it on the ground.
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