Tim Meadows RETURNS: Sandler Text Chains & Farley Memories

After I read the script, I thought this guy is either going to be his last year working as a principal or he's going to commit suicide. Hey guys, I'm doing my book and I need somebody to, I need you guys to, if you'd be willing to write a blurb for my book. And then Sandler goes, yeah, I'll do it. And then he goes, thanks, I don't need anybody else's. My next thing I want to be on the show, like Wings, remember that show? Yeah. Yeah. It was on NBC, it was on for like maybe seven, eight years. Nobody ever watched it. Guess what, David? Tim Meadows came in for a second helping of the magic of flying the wafs. Double dipping? A return guess. Back by popular demand. I love Tim Meadows. I'll just say. Yeah. You know, we don't have that many people return, which we need more because we've got video now and we have some things we forgot to ask these people and go over. But we talked a lot. We had a lot of laughs with Tim. What a good dude. He's actually doing a half hour single camera show, which he's incredible in. I watched an episode DMV about a department of motor vehicles. It's on CBS and Paramount Plus. So we just want to make sure you're aware of that with our friend Tim Meadows. And by the way, during this particular episode, we had a little technical issue. So we stripped from one thing called StreamYard. I know for your nerds, take notes. We go to Zoom so it might not be quite as crisp, but we'll still both look incredible and our hair will look great. Don't adjust your cameras at home. It's doing fine. But yeah, Tim, here he is. Great guy. A lot of laughs from the old school. Yeah, we were laughing. Tim Meadows. Did the show start without me? Yeah. Yeah, we were killing it. You're doing great. Oh, thanks. You're killing it, man. Oh, I'm wearing this. Oh, what are you doing? Hiding your hair? You hate your haircut? Well, I was a little, I just not used to it right now. So I'm just going with the hat. Are you all right with that? That's fine with me. We can all do hats if you want. Now, Timmy, in full disclosure, I brought a hat to wear and then I thought, it's isn't that bad. I'm going to just rough it. No, you look good. But thank you, buddy. Let's all do hats. No, I'm scared. Let's see what you got. You got a cool one loaded. Oh, yeah, he knew. No, my hair is all fucked up, man. I have been combed or cut my hair in about, I don't know, maybe a month or four weeks or something like that. Okay. Have you been out of that room with me in the last month? Timmy, do you ever wear your heads up, man? Do you ever do a movie? And they go, we can figure out that gray. We can figure that out. And you go, what does that mean? They go, we can take care of it. And you go, what are we taking care of? You go, no, it's just, do you want it? They've said that to me. Yeah. Have you ever bought cookie? I kind of saw it in pepper. Yeah, you know, it looks, it looks cool. It looks cool. You're doing whatever you're doing. Yeah, it's where it's always worked for Timmy in a jealous, quiet rage as I speak. Well, thank you, David. I do remember when they used to ask me to put gray in my hair. Oh, I like that better. Yeah, now they asked me to take it out. Can you just shave that out? Timmy, I've told this before, but I'm going to tell you that I read a movie about a married guy and his wife and they said it's pretty funny. And then anyway, all these high jinks, but she's got a crazy father-in-law and I read it and I read the whole thing. I go, it's pretty funny. It's not that funny, but part, but who would be the father-in-law? They go, you. I go, oh, wait, I'm not the kid getting married. They're like, that guy's like 35. Wait a second. I swear to God. I go, wait, am I reading these movies about these guys? So horrifying. I go, I'll read it again. I didn't pay attention. I'll read it again. I don't know if you've seen Landman, but Sam Elias on that show. And I read for that part, but Sam got it. That's where I'm at. That's how old you are. Yeah. He's exactly 100, I think. Well, first of all, I can't believe that you had to read for a show. Yeah, Danny. He's doing a lot of cold reads. I don't know. I mean, I missed out. I didn't do bench warmers. I didn't do void bench warmers. I read for your part in Mean Girls. I read for the principal. Oh, I'm glad you didn't get it. His arm wasn't broken though. But that, yeah, that movie saved my career. I was worried for a little bit till Mean Girls. Goddamn, Mean Girls has a spin-off. Oh, from Ladies Man to, you went into No Man's Land and then you had them. Yes. I went from Ladies Man, which was like number four to box office. Nobody was happy with that. And I did a Richard show, which was on NBC and got cancelled after eight episodes. And then after that, I was on a fucking life raft in Atlantic Ocean. I'm on life raft. Well, the thing is, if you're in a shitty show or a shitty movie, all of a sudden they think that you produced it, wrote it, directed it. He did the score. You get a little stink on you. I've done it. I got out of Lost and Found Jail. That took four years of being on Just Shoot Me to get another swing. I was in movie jail for a while. You didn't have to, when they told you about Just Shoot Me, was that the easiest pitch for you to say yes to? It was like a model magazine. No, it was leaving SNL and you would get probably one shot at maybe doing the Jeff Richards show. He was on SNL or the David Spade show. And they said, you could do that or you could do join an ensemble that was already picked up. And I said, oh, I'd rather go be the fifth wheel on a show that might work. And it still wasn't guaranteed, but it just wound up being better. Yeah. It's so fun watching it because I see it now occasionally and I'll sit and watch the whole episode because I worked with George also on the Goldbergs. All right. It was so cool. I mean, this is weird. I mean, watching it now because he was like my age, I think. Playing like this super old guy. Yeah. Yeah. Yeah. You know, George Seagal. Life is kind of fast, isn't it? That's so true because Wendy Alec, who we all have across Sean, and she's so smart and funny on Just Shoot Me. And I always thought she was about 40 and I think she was 55 on the show. I was like, wow. I don't even know anyone 55. And I was like, she's so together and so great looking. And I've seen her recently. She's exactly the same. She's just sharp, fast, funny. That's someone you hire and you get 100% of what you want. Yeah. It's always fun. I don't know. I've been in the position now where I work with people, including both of you, but when you work with somebody that really impresses you and you just go like, holy cow, that person is amazing. I did this show during the 50th anniversary, actually, on Broadway. And in this show was Lin-Manuel Miranda and David Cross and I forgot the other woman's name. I'll look it up. But they were great. And it was just like watching those guys do the play show every night was just like, oh my god, these are real Broadway actors. I got to really try to like... Oh, you were in it with them and you had, you get to see every night the process, every night how they nail it and you go, holy... Yes, exactly. And I hadn't done something like that since Second City. But we wrote that stuff. But this was like, we were doing... I'm trying to find the play bill from it. Now I'm just looking at my room. I usually have my Broadway stuff right in front of me. You know, behind you looks like Lauren's office with the lineup for the show. The show is five hours long. We're going to present 6,000 sketches. It's all a matter of numbers. That's already a tactic. I don't think I've seen many plays to me, but I think Chris Rock was saying that he goes, it's hard. I go, could you picture... So you memorized the whole script? I don't know because I don't do that on sitcoms and stuff. Even movies, it's a scene a day and even that's hard for me. And so you memorize all the things. But you get it down by blocking and by running it and then it just starts coming to you. And he goes, some nights, then it just gets boring. Yeah. Yeah. You got to keep it alive. And that's where I'm doing stand-up, whatever. You learn how... You figure, oh, this has got to be fresh. I got to make this scene. It's just happening and we're all in this moment right now. But yeah, just being around so long now, I really do... And I love watching other people work now. Like before, I used to be more competitive of like, I want to be as good as that person or I want to like hold my share of the thing or the... But now when I approach it, when I'm working with people, I just like, I really enjoy watching other actors now, which is kind of weird because I know there's been a change. It's some growing up. Yeah, for sure. I would... You should be jealous and fucking angry. Like, why is that fucker so good? Well, we came out of a tough situation where everyone around us was good at SNL. We got fucking Dane over there and we got... Yeah, exactly. Mike and Chris and everybody. And so you're there, Conan's funny and he's a writer. And when you turn Odin Kirk as a writer and he's funnier than me, I'm like, God damn. And Lauren's kind of funny when he talks. He doesn't talk much when he does. You go, he's fun. So then you get out and you get places where you go, oh, I'm suddenly realizing both someone's good or someone is bringing nothing. Yeah, yeah. Yeah, I've seen people like Cole Reads where they go, you're like, oh man, because you can tell it a table read even though it's just kind of thrown together. You can spot some game. Yeah. But yeah, it is weird, super weird to see somebody that you, you know, thought was good, but actually they have to work at it. They have their own method. Yeah. They get good by the time you shoot. Yeah. Yes. Yeah. That's respectable. You're on, uh, is DMV, which is your show on CBS, is DMV, that's shot. It's not a sitcom. It's a multi-cam. It is a sitcom. What are you talking about? Is it a sitcom? No, it's a single cam. Single cam sitcom. Single cam sitcom. I'm from the old school. Of what? Four cams. And where was this school? Well, CBS Radford, which has gone bankrupt, Tim, what's happening? CBS Radford Dane is where we shot Just Shooters. And did you know that, Tim? Tim is frozen. Maybe we're frozen. Tim's choking as well. Oh, a great story like Monsters, Inc. stays with you forever. And Disney Plus is where you'll find your next great story from the return of the award-winning hit series, Rivals. Welcome to the naughtiest show on television to the unmissable crime drama, High Potential. Gotta dead body, gotta go. A lifetime of great stories awaits. This spring on Disney Plus, 18 Plus, subscription required. T's and C's apply. Hi, everybody. I'm Maury Povich. On my podcast on par with Maury Povich, I'm going to sit down with the icons, the stars, and the faces at the very center of today's big cultural moments. With everyone from comedians Josh Johnson, Dan Soder, Leigh Ann Morgan, to newsmakers Don Lemon, Joy Reid, Aaron Parness, and so many more. So join me for new episodes every week because nothing is off limits. Great conversations. They're always on par. Follow and listen to On Par with Maury Povich wherever you get your podcasts. Hey, everyone. It's Stavros Halakis, and I'm here to tell you about my podcast, Stavi's World. Each week, we're joined by great guests like Josh Safty, Eric Andre, Caleb Herron, and more. It's sort of an interview show, but really, we're just messing around, making each other laugh and hopefully making you laugh while you're washing the dishes or grocery shopping or on a long drive. Plus, I take listener calls where we have honest conversations about dating life and everything in between. Imagine if your therapist was a vulgar degenerate whose office was in a Greek diner. No scripts, no polish, and absolutely no holding back. Listen to Stavi's World wherever you get your podcasts. Where were we, Tim? Where were we? Should we talk about DMV and then we can go back to reminiscing? Oh, that's what I was asking you. DMV is your show. Yes. You were saying it's a sitcom, but it's single camera, which is confusing to me because I haven't done one. Oh. It's like a film kind of. Yeah, it's shot like a movie though, right? A little, yeah. It's shot like a movie, and I feel like I'm talking about grandma right now. Yeah, this is how it works, grandma. So what happens? He's never heard of single camera. Yes. And then we shoot it to your house. In the airwaves? And when you watch it and something seems kind of different, you find yourself laughing. Right. You know, David? But no, it is. It's a single camera. Right. Tell us about it. Well, we shoot it. We shoot it in Montreal. It's about these people that work at the DMV and it's created by Dana Klein and it's based on like a short story about some employees who are super unhappy working at the DMV. That could be every employee. I've had horrible times at the DMV. I think it's a great idea for a show. No, it is. It's like, I had to go to DMV recently too and like, because I had to renew my license and do my plates because I had a new car. But people in the DMV watched the show and they knew she was swimming one woman goes, we're not that bad, are we? And I was like, no, we're just exaggerating it to make fun of it. For the comedic effect. Yeah, we make you all look horrible just for our own enjoyment. It's so true though. What is your character in it? My character is his name is Greg and he's a very unhappy former teacher who works at the DMV and is just he's a driving instructor. And this is another role where I'm the oldest guy on the show. Oh, really? Yeah. And so like, there's old jokes, they make jokes about me being dead and sleeping at work. And yeah, it's and I'm just like, wait, I do yoga every day. I'm very healthy. I feel like yeah, younger than I look. I think I don't know. You look pretty young. Yeah, you look good. I think you look young. If you if you don't want to go snowy on the chin, then you know, I'm cardin you. If you're going to go snow downtown, yeah, I can't help you there, bro. You can help them. I think scruff that's white. So what's snowy downtown me? Well, I don't know about that part. That was not intended for this podcast. Yeah, that was a little confusing. Yeah, I don't know that got a little. I'm still sawing pepper everywhere basically. So okay, ads everywhere. Welcome to TMI, the show that tells you things you kind of don't want to know. How much salt and how much pepper will be right back? My fucking salt is taken over the pepper. That's the problem. It's a fucking coup. Also, DMV is really two three letters. Everyone knows. That's good for a show like immediately. I know what it is. Immediately. I know it's kind of a funny area because there should have been a show at this point about it because everyone talks about it and everyone complains about it. And so you're all set up. Yeah. And it is also based in North Hollywood. So that's our that's our, you know, like our grounds and stuff, you know, yeah, not where you work from. If they're treating you like the senior citizen and stuff, I mean, are they are they allowing Tim Meadows to fully inform what you're doing on the show? Like, hey, guys, maybe I should say this or I'm going to do this. And like, you can't question who's Tim Meadows. He knew Chris Farley. Shut up. Well, actually, it's a combination. Yeah. They've, I mean, it's also a job. I have to say they've been very, they listen to what I think about the, you know, the writing and my character stuff. I know. And it's not always the case. Yeah. Exactly. It's not. And I go into jobs sort of knowing that, like, oh, I'm not, they know, they just want me to learn my lines and do the, you know, for sure. Not because it's you, just because in general, if people at home don't know, it's kind of you're hired and you're hired hand. And then if by chance they let you add labor, say, let's do another one and, you know, do whatever you want. That's a gift. So they don't have to do that. Yeah. And whenever you tell me do whatever you want, I do that take just in gibberish. I just, I just do it exactly the same. And they go, Oh, that was fun. Okay. Do you feel, do you have a brand in a way, Tim? I mean, do you feel that, oh, let's get Tim Meadows for this, you know, either playing off kilter characters or a little bit angry or just sort of asymmetrical like the peacemaker with blind blindness, which has a cult following that character. It doesn't. It's kind of blew up. Yeah. Yeah. But yeah, I mean, I kind of feel like it sort of goes back and forth between like people casting me like James Gunn casted me because he said he couldn't find the actor to do that part. And then he said, like, he wanted me, but he didn't know if he could get me or whatever. But and that character was like, is written like it's a, it's an unlikable guy that they wanted a likable actor to play, you know. And so I've had that before where it's like, this is unlikable, but we think you can do it. Like I played a, I played a cannibal, child killing cannibal on Brooklyn Nine-Nine. What's unlikable about that? Yeah, go ahead. It's so horrible, profession. But they, you know, Sam Berg, when they called me to do that, he was like, yeah, we need somebody that's really likable. And we just thought like, you know, you're, everybody likes you. And so it'll be a really, you know, people won't hate the character, you know, they'll give you a gimme on that. Give you a mulligan on the cannibalizing children. He's fun at parties. That's a rule you only want to do once though. Yeah, yeah, yeah, for sure. Then you get typecast. That's funny because you know, the sitcom, like I think you called a sitcom, but going back to grandma here, I would, I was thinking about doing a sitcom or thinking about ideas for them. And I think God, are they doing regular four camera? Have you even heard of that? Is are they not doing those? Have you not heard that? I haven't done one of those, I swear, in probably 15 years. Jesus. Okay, we'll say five. I'm gonna say 20 years, David. That's how long it's been. Okay, we'll say three years. Okay. So, uh, no, but I haven't like everyone I've done this. And I think even when I, I've done, like I did the Bill Ingvar show, which was TBS and we did that for like two or three years. And that was done in front of a live audience. I personally don't like doing, I hate those shows. You know, not the live audience is hard. Yes. Where you work all week learning the show and then you do it for the audience on Friday or whatever. And I just found it never felt satisfying, like comedically or creatively, I don't know. Well, the problem is some of the youth prisoners in the audience, if they don't, that are busting, if they don't laugh, they change the whole script for them. And you're like, this, we all like this all week. Let's, let's play for the people at home. That, that is a hard part. Now you get a hot crowd, it's fun, it's something different. It's, it's exciting. I think how I met your mother was a hybrid. So, they'd have a crowd on a few days and then they'd shoot single camera on a few days. So, I guess sitcom really means situation comedy. So your DMV can be that because that's what that is. But I think it's just probably all single camera. Can I make an observation about, I think that you're able to, like in a real situation, your plan, you can play deadpan, you can say the crazy shit and you don't push it at all. And I think that people see you and they're already kind of laughing, even if it's sort of serious. Yeah, they know something funny will come out. You never signal I'm being funny now. It's very, very cool. Well, thank you, Dana. It's one of your skillsets. Well, Mean Girls is kind of like that. You're just trying to keep the piece or something. It's just funny, the situation to get overwhelmed and shit. Yeah. Well, that, Mean Girls, that's like one of the first times I went into an acting role thinking like, you know, so, okay, I'm going to think about this character and I'm going to like, and I just thought that after I read the script, I thought this guy is either going, this is going to be his last year working as a principal, or he's going to commit suicide. And so that's what I played like the whole time. I was like, this guy hates being here. But Tina's character was sort of like his bright light because he was in love with her, but he didn't know how to say it or whatever. Yeah. But yeah, that character was like Tina. Another hilarious one to be in there with. So there was a Mean Girls sequel and then a musical and then a coloring book. Monetization. Shit. Oh, by the way, I get nothing from the coloring book, by the way. Heather was just saying that the, when you were on the not grownups tour, whatever it was called that, that tour Sandler's tour, where we were on the text chain. Because she's on it too. And she's like, remember Tim, couldn't get off the text chain. I thought that was funny. It would be two in the morning and I'd be like, we're going for steaks. Like waking up with, what is this? You guys being like, you know, the phone's ringing. It's like, yeah, we're Boise and Tim's trying to sleep. And it's like, who wants scallop potatoes? Everyone put in your order. It's like, ding, ding, ding. Yeah. Yeah. Yeah. And he's like, how the fuck do I get off this text? They were like, is this Tim? And I took myself off and somebody put me back on. Yeah, yeah, yeah. It's so funny. There's 20 people on it and you're like, it's all day. It's going off. Like, where's my bags? It's just insanity. And then, and if you, you can know, because Dana, we jump on for a few days and jump off and you're realizing, I don't know how to get off this thing and it's just blowing my battery up. And also, it's also very funny too. And you sort of don't, I sort of don't want it to end, even though, you know, everybody's infected their lives. We had another good one going after Sandler's thing in DC. Oh, yeah, yeah, yeah. The Mark Twain. Mark Twain Awards. And that one had like Stiller and Conan on it. Oh, yeah. And that was really fun too. And then at a certain point, it was like, okay, we got to all move on with our lives or whatever. Dude, every time Swartzen put something on, I've hit a thumbs down immediately. It's so fucking humiliating. I'm looking for a ha ha's on that thing. Yeah. Same. I'm thirsty, man. I want some fucking. Is this the thing you guys ever done that you do ha ha no matter what the person is saying, even if it's serious information, just keep going ha ha ha. I mean, what is the shtick of group texting? Things that, because it is kind of, becomes a little competitive, doesn't it? In a weird way. It's horrible. And then you're like exhausted from trying to keep up. I mean, yeah, it gets mean too. But it does, it gets mean. But like in a good, good hearted way, like things you wouldn't say to somebody's face, you sort of put it in the text. It's funny. Yeah. And I'm so Sandler, Sandler just insults everybody's, which is funny. That's his thing. Yeah. Sometimes they'll say tough crowd for you guys. No, if Dana, if mine sit there and gets stale, I pop a ha ha on it. And then no one really knows where it came from. They're like, oh, I guess that was funny. And then I'm like, that was me. I'm trying to get it going. You press send and then you see someone doing your idea better than you just wrote, you know. Oh yeah. You're like, oh shit. And you can't take it back. And then you're sitting out there like, I don't know. It's very stressful. That's the, that's your next show, text change after DMV seven year run, tomatoes in text change. It could be called group chat or text chain. And it's like a horror movie. But remember you had COVID and they called it frovid. You called it frovid because you were had an aphoron. You sent a picture of an aphoron. I got frovid. My hair got so long. It's been ridiculous. I remember Norm God rest his soul on that text chain one time he goes, Hey guys, I'm doing my book and I need somebody to I need you guys to if you'd be willing to write a blurb for my book. And then Sandler goes, Yeah, I'll do it. And then he goes, Thanks, I don't need anybody else's. Out of 20 people. Yeah, he just wanted Adam. Yeah, that's hysterical. I got Adam. That's good. Hey, I'm good. That's all right. That's all right. I like by the way, in, in to change gears when he does the Farley song, he says last time he saw him was it Timmy met his wedding is already says wedding party. Yeah, is that the last time you saw Chris to know the last time I saw him, I think was when he hosted. Oh, you were there. I was there. Yeah, but I kind of felt like I saw him again in Chicago. Because hosting was toward the end. Very close. Yeah, yeah, it was very close. But yeah, I think that was the last time I started the song. But I know we talked after that, though, for sure. We had like a deep one. You know, I was almost going to go off that hosting, but I thought it was getting to the point where it was sort of spinning out a bit. And I think you probably knew when you were there, like, Oh, did you even talk to him a lot? It's just like, he got it got on his own worlds, sort of. Yeah, yeah. I mean, you know, you could, when he was out there, there was just that look in his eyes. And there was just his wildness to him. Kind of like, yeah. And also kind of like asking you to forgive him too. At the same time, you know, he wanted your pity, but he also knew, because he knew, you know, I will, he just knew I was mad at him that week and I was not, I wasn't happy with him. And then we just try to have fun on the show, you know, because he does what he would like to do, which is try to make you laugh on camera. Sure. So we ended up having fun, but it wasn't, you know, it wasn't the kind of fun that like, it wasn't the last thing because it was just in hindsight, really sad. It was worrying. Yes. So I saw when I would see old sketches from that one, like he's on a worst idea ever, put him on a spin cycle or something. Yeah. Yeah. It was a mad foley, I think. Oh, yeah. Try to yell those lines while he's trying to just so too much energy, too much. Yeah, it was crazy. And there was another scene that we did. And it was like, almost like the big baby businessman, but he was a big, he was a big baby. He was like, you know, him, but he was in diaper and whatever. And it was like a, you know, like a mori povick show or whatever. And I was the doctor who would, who was describing his problems and stuff. And so he was all over me on that sketch and just like, you know, like, you know, pushing me and stuff. Especially on air, I'm sure he's trying to like cover your mouth, not let you talk. Not let you do your lines. Yeah. Yeah. Yeah. That was the fun part. But when I saw him, you could just see because you know him so well, like you see in one second when he comes out, you're like, Oh, no, oh, no. Like, and what's he going to do? And the problem is everyone else hypes it up. Like if you're not, if it to the casual person that hangs out, like even when he was in rehab, like if we're walking down Columbus and you walk by an outdoor place, like, Hey guys, come have a drink with us. And he's like, All right. And he climbs over the fence. I like, no, no, no. Because even if he's in rehab, they want to be the ones to drink with them. Yeah. I remember at being at dinner and I think it was the weekend, I got married. It was me and samler like it, the steakhouse and with Farley and they kept sending drinks over and at one point we told the waiter, don't bring any more alcohol if somebody orders a drink for them, just bring a ginger ale or Coke or something and just lightly tap it with some alcohol and give it to them or just give it to us, you know, but they but the waiter goes, I can't people keep making me bring it, you know. And so that was the problem. Like, but the thing is that people didn't have to deal with them. You know what I mean? Yeah, you didn't have to you didn't have to be with him when he was wasted. After that, we had Adam. Yeah. Yes. Trying to get him to like calm down or to not get him to his apartment. Yes. Yeah. Yeah. But yeah, it was a hard part and just yeah. During that point, it was almost like, I don't know what to do. You know, I threatened to like not be friends and lose my communication with them. But that didn't you know, yeah, that's the part people don't understand when they think, Oh, would you guys argue at times? I'm like, well, if you don't know the real situation, you don't know the levels of it goes in so many waves of like, you care about someone so much that you you do fight because you run out of weapons to say, will you lose me? Will you help if you know that we're going to be gone? You know, but nothing really works. Yeah. Yeah. And so you see him on the show. You go, Oh, my God, I see it. I see it. Yeah. But no, I do I miss him. You know, of course, you know, you know what it is. I was in Chicago and doing a gig two weeks ago and my hotel was right across that Hancock and I was like, I was like, Oh my God, is that where it is right there? Because I don't go to Chicago that much. You guys are all from there. But I was like, Oh, it's such a weird vibe to just see it. And I walked by and I'm like, Ah, what's called the Hancock building? Hancock building. Yeah. Anyway, anyway, we keep going. But I mean, on a positive note, it's like I was talking to someone the other day about just, you know, where is the next Chris Farley and the alchemy of Chris Farley, as you know, the likability, all of it, you know, the physicality and everything, just boy, really hard. And I think we interviewed someone who's going to try to play Chris Farley in a movie or is there a Chris Farley? Oh, Paul Hauser. Yeah. And that's a that's a tall order for anybody because he's kind of, I mean, we have data now, it's been a while. And he's, he wasn't in the next one. At this point, never seen a force like that. And you see that the one, I mean, the Foley guy, I mean, it's just, it's a tornado. I don't even know what it is. It's so, well, it's so fantastic. What he's doing. Well, we did, we did met Foley at second city. Mm hmm. Far, when Farley left to go to SNL, we still had the sketch in our running order and like other actors, Farley tried to do it and could not do it. They could not do it. And I saw, you know, there's a guy named Mitch Ross and Ian Gomez was this other actor who's pretty well. But Ian tried everything. He came in as like a guy in a fucking bow tie in a suit. And he did a I wrote a speech and it's called Go For It. And he tried to do Farley and it nobody could do that character. And we just took it out of the show, even though it killed every night when Farley was doing it. Yeah. Yeah, it was hard. You wonder like, that's the part that's the funniest. I mean, I'm in one of those sketches or I'm in a couple. I'm just watching him like the audience. So there's not much going on. And then you set up something. Is that Bill Shakespeare? I can't see too good. If he just kept pulling up his pants and adjusting them, just that's enough. Yes. I mean, he gets down like he's a lineman or something doing a Super Bowl. And there's so many moves, subtle moves within his broadness. There's a lot of little tricky things. But I like when Phil Hartman kept getting written different ways to bring them out. And he's very casual. We hired a motivational speaker. He's down in the basement eating coffee beans for the last 40 minutes. You had to explain some reason why he shot out of a fucking cannon. I'm just hearing Phil's voice right now because Phil was also so great at playing the regular straight guy with a little bit of satire. I was telling Odin Kirk not too long ago that I had seen that sketch. We did it in SNL, I mean, the second city for a year. Saw it on in, you know, on Saturday Live. And the thing that I always I made me laugh, but I always missed where the speech was entitled, go for it. And that just made me laugh. And he actually had a speech and it was had a title. Go for it. That told me, I was like, I seen it for years that it just hit me one day that that was how funny that was, you know, could other comedians have done the Dan, you know, Van down by the river, but not trying to do him. Like if Love It's Did It, you will end up in a van down by the river. I guess it's just there all for us to do met foliage. You know, your work with Molly on DMV, she was on SNL, right? Yes, she was on SNL. Because she's good. I mean, Lauren, I remember said she gives me waves of colors of Chris when she's out there, which is a fucking high, high, high compliment, obviously. So it must be good to have her on the show. It is. And I have to say that I definitely get that what Lauren is saying, definitely. And she does the thing I love about Molly. And I don't mean to say is that they really approach the lines differently every time we do a take. Yeah, they never do the same thing. And I've told Molly to like, don't let anybody tell you, don't let anybody clamp you down. Like always do the crazy ideas that you have because she's so different from everybody that I just I want to see I want to I'm a fan, you know, I'm a fan. Makes it fun to watch and you have to have something that's fun to watch because everyone can read the lines, but you're like, they don't even know until they see it. So if you throw in a take on the last one and you do something interesting, the smart people go, let's put that and we need something to hook people in like, we want to watch Molly and go, oh, I know something different will be happening here. Or, you know, that's what it slowly takes, you know, the enemy of comedy sometimes is being stale. And that's why we all tried to like hold something for the air show. And when you're doing a take and a show like that, and you're going to do something new, then you are discovering it in real time. And there's a magic to that. Yes, glad that she's getting to do that. They are getting to do that. Yes. I feel like you asked me like my thing, what I do. And I think that's part of what I do is like, when I get a job and they say, you know, I save my improv and my ideas for when they're like comfortable with what we already got. Yeah. And then I'll do things. But I don't, like I used to ask, but I don't ask anymore. I just do it now. Like, you know, I just go forget it because either they're going to take it or they're not going to take it. And I not just to my own horn, but I know I'm good. And I'm also a writer. So I know, I kind of know what I'm doing. I would say so. And people at home don't know that people at home that when you you're always the other pressure to be an actor is they're always in a hurry. So they're always trying to make the day. So it's not really like a playground. We're like, we can be here all day doing whatever you want, unless it's some big budget. But most things you do, especially like on TV or like one, two, three takes, move it on. And it's hard to say, can we do one more? And everyone's like, what's like, we got to go, we got the lighting. And you go just real quick. So it's easier to not do it. Yes. And so you try to get it in. And then you get and just go, I got to get something in here that's somewhat different or memorable, because repetition kills us comedians. Like same thing verbatim over and over, you just start going, yeah, because you do like you lose the spontaneity and it's easier like we're doing stand up or whatever, because it's your ideas and your words and stuff. You know, but like when it's somebody else's, and you got to try to make it spontaneous, like, you know, 10 times in a row. And you don't have a lot of faith in it. Anyways, you know, it can be a little bit difficult. You know what I'm saying? I mean, I think stand up really teaches rhythm and the musicality of things. And sometimes you'll get something from a writer and it's a pretty good joke. But in your head, you're going, oh, there's just two extra words here. Or that little, right, you kind of intuitive from so much stand up and getting the immediate laugh. You're like, Oh, what we need to do is just cut that, you know, yeah, it's hard to have to do it and try to save theirs without correcting. I'm just trying to explain like, I'm telling you, this should be tighter just by even this extra, we don't need this extra sentence. They're like, No, no, we'll just do it that. And I'm like, I'm scared it'll be in there. I look stupid. Because yeah, it's hard. We are the ones, the bullets will be coming at you. You know, we're the front line, the writers can either be celebrating or got looking down like I never liked it. I fed him that bullshit. I always add the word is what did they call it chaffa or something? Yeah, chaffa. Yeah. Yeah. It's just like, no, this is just chaffa. This is meandering meaningless words that you put in here because you need to get five pages in the scene. Yeah. This will be the first thing cut. Yes. In editing. It'll be like, we don't we don't need that. Some editor will be smart and go, get forward forward, don't need that, don't need that. That's a sentence we need. That's what we need. Get down to the bare bones. But you're right. It's sometimes it's just filler like the word of the day, at least I've heard it a lot recently is slop. It's made it it's made a comeback. How was the show slop? You know, so many shows that are just slop. But you know, Timmy, I was doing my stand up the other night. Sorry, Dana. And no, no, like, like what Dana is saying is I was trying new stuff. And as I'm saying it, I'm like, I don't need that part. This is too wordy. It's just I get to it and I go, some of that's funny idea. It's too long. And then I we type it out and then I circle it and go, I don't need this whole set. Okay, I just need this part. And then you can see it. So so many times of doing that helps because then you get on a set. But it's other people's words and they're precious with it, obviously. Right. Delicate to say, Hey, some of this is kind of dog shit, chuff a slop. Chuff a slop. We got a new phrase. Chuff a slop from the Bisco. Yeah, on the next podcast. I think Carson's only advice for stand ups was get to the joke. Yeah, what do you say? Get to the joke because he tend to fall in love with stuff like that. I feel like we should do a little bit of promotion on your show, basically, because that's probably why you're here. Yes. It's on CBS. It's your you're on right now. What night what time? It's Mondays, eight o'clock. I think they moved us to they should have had 838 o'clock. We had a they recently gave us a whole evening where they played DMV for like two hours or something. But it's CBS. It's I think we're taking a break and they were coming back after the Olympics is over. How many episodes have you done so far? We did we did 20. We shot 20. And how many have been released? Yeah, that's in modern times. CBS is probably the best spot to be. Yeah, I'm pretty like all those shows just do well. They feel like they know what they're doing. Yeah, I always I always say I want to be on a ship. My next thing I want to be on a show like Wings. Remember that show? Yeah. Yeah. It was an NBC. It was on for like maybe seven, eight years. Nobody ever watched it. It's one of those you go, What was that about again? I think it was all from the fucking local airport. And yeah, but it's like I want it was all for seven years. I have an anniversary episode this year. You know, it's what? But no, those guys, they all have had great careers. If you look back, that show had a great cast. But I'm just like, I want one of those where pressure the network loves you. Put you on that autopilot. Yeah. Yeah, it's great to be on a show that's a hit enough that you know, okay, season threes, we're going with all the episodes are stacked. We have our so for this one, the idea is you're going to get to 22 and then or stop at 20, air them all after the Super Bowl and it'll go all the way to May. Okay. Yeah. And then we will hopefully get picked up for another season. And yeah. Well, but yeah, it's been busy. I don't know. I'm sad that you're always busy since SNL to me. You've always you've got your a lot of shows you've been on a lot of movies. You don't want to grab an amount. No wonder this is why how many things you've been on. Stress. Yeah, I don't know. I was just gonna say, I just have a thing about not working. I don't know about you, but you have to certain point, I just go, Okay, I got to I should be doing something because I'm just yeah, of course, I like being creative and also stand up. You should tout your stand up right now. I mean, you have a website, you know, that people can go and look at all the dates you're doing stuff like this. Yes. Tim Meadows comedy tour. There's dates online and on Instagram and stuff. Great. And yeah, I'm going to do some shows with Colin actually in Chicago. Colin Quinn. Oh, good. Colin Quinn. DQ. Great. Oh, yeah. Colin Quinn, one of the most looked up to comics so fun. Fun to hang out with too. Yeah, he's great. Yeah. And try and try and do stuff too. So he's going to make him watch my show. He'll help. He's good at that. Yeah. Well, thanks, Tim. It's nice to see you guys. I love you guys. Hey, guys, if you're loving this podcast, which you are, be sure to click follow on your favorite podcast app. Give us review five star rating, and maybe you can share an episode that you've loved with a friend. If you're watching this episode on YouTube, please subscribe. We're on video now. Fly on the Wall is presented by Odyssey and executive produced by Danny Carvey and David Spade, Heather Santoro and Greg Holtzman, Mattie Sprung Kaiser and Leah Reese Dennis of Odyssey. Our senior producer is Greg Holtzman, and the show is produced and edited by Phil Sweetek, booking by Cultivated Entertainment. Special thanks to Patrick Fogarty, Evan Cox, Mora Curran, Melissa Wester, Hillary Shuff, Eric Donnelly, Colin Gaynor, Sean Cherry, Kurt Courtney and Lauren Vieira. Reach out with us. Any questions to be asked and answered on the show? We can email us at flyonthewall at Odyssey.com. That's a u d a c y .com.