May 10, 2021 • 32 mins
On this episode of The Colin Cowherd Podcast, Colin opens by discussing the avalanching doping scandal involving legendary horse trainer Bob Baffert's dirty derby winner, and how his reaction is similar to other famous cheaters (1:00).
He's joined by the host of Jimmy Kimmel Live! , Jimmy Kimmel, who opens up about growing up with Cousin Sal (3:00), why comedians are underrated actors (6:00), why Jerry Seinfeld is like Steph Curry (7:00), which comedian's live performance blew him away (8:00), when he knows an interview is going sideways (12:00), what advice about hosting Don Rickles gave him (13:00), why he's more of a broadcaster than a comedian (16:00), why it's important to have a diverse team of comedy writers (18:00), when he discovered his on-air voice (22:00), why he hired Bill Simmons to write for his show (25:00), and how he avoids leaning on certain writers too often (28:00).
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
The volume. The Colin Cowherd Podcast brought to you by
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Duel More Ways to win. Hi, everybody, Welcome to the
(00:30):
Monday Morning Podcast. Jimmy Kimmel in a couple of minutes,
fired up for this. I've known Jimmy for a long
time now. I don't normally talk horse racing except when
there's a scandal making front page news. So this morning
I'm talking horse racing. Bob Baffert banned from Churchill Downs.
If you don't know Bob Baffert, he's the silver haired
trainer you see a horse races who's somehow more well
(00:52):
groomed than the horses themselves. His horse, Kentucky Derby winner
Madinah Spirit, tested positive for a stair roid, which is
used to treat inflammation. Now. Bafford says he was shocked
by the result, even though he had recently been suspended
by the Arkansas Racing Commission after two of his horses
tested You guessed it positive. It seems like if there's
(01:15):
anything Bob Baffert should be testing positive for its amnesia.
Now I'm not going to point fingers here, but there
have been only two horses to win the Triple Crown
in the last forty three years, American Pharaoh and Justify.
What do you know? Both trained by Bob Baffort. There
also was never a trainer who won seven Kentucky Derby's
until Bob Baffert did it last week, shocking coincidence. I
(01:39):
don't like to single out people. I'm well aware that
Baffert's not the only trainer spiking the horse feed. Trainers
have been known to give horses all sorts of weird
shit chemicals that fatten pigs, Viagra, cobra venom. I mean,
if you're giving a horse cobra venom, actually that's kind
of cool. I'd like to try that anyway. And as
(02:00):
Bob Baffert says, he's being singled out, no, he singled
himself out, just like Lance Armstrong, the Houston Astros, the
steroid era sluggers, and a whole lot of Olympians. All
of these suspected and non suspected cheaters brought the attention
on themselves, and they all have one thing in common.
Their biggest accomplishment in their sport maybe that they chipped
(02:23):
away at its integrity. Actually it's bigger than that. When
we can't trust what we see, it undermines everything around us.
We become jaded and distrustful. And when that happens, it
allows people to take advantage of that mistrust. They start
acting like everyone and everything is corrupt. They make you
think everyone and everything's a con The media can't be trusted.
(02:46):
The election was stolen. That photograph of me doing drugs
with a porn star was photoshopped. My phone was hacked.
It's all a conspiracy. We're at the point right now
where people's trust in their leaders, their government, and the
media seems to be at all time lows. And there's
a reason they've earned it, all right. He's been doing
(03:11):
late night television for a long time. He actually started
in sports radio. Funny guy. We've had a lot of
connections through the years, run into each other. We also
know a lot of the same people. Let's bring on
Jimmy Kimmel. Let's just start with this. So, okay, cousin
sal So he's now he's now a very respected, noteworthy
(03:32):
gaming voice. When you guys were like, fourteen, Did you
ever think he's going to matter in the gaming industry
in America? We didn't even know there was a gaming
industry in America. But I will tell you this about
cousin sal He was selling parlay cards when he was
in like junior high school. He was really his gambling career.
Started flipping baseball cards. Most kids will flip baseball cards,
(03:55):
and it's like, yeah, all right, yeah. He would not
stop flipping baseball cards. You remember that flipping baseball cards?
Would you do? Yeah? But no, I'm from rural America.
Who would I flip them too? Like you guys, did
you grow up in the city. We grew up a
salsand Long Island. I moved out to Las Vegas from
Brooklyn when I was nine years old. I would spend
(04:15):
the summers with Salary. He'd come spend the summers with me.
We'd play stratamatic baseball. You know. He was just always
really interested in numbers. He would like when he come
to visit us, he'd make a list of every item
in his luggage and have to check off each item.
In fact, they lost his luggage and the people at
the airline said, is there anything in your bag that
(04:37):
might be unusual, that might be something that it would
stand out. And he said, yes, here's the whole list
of every single thing in my he's just got. Yeah,
it's like OCD turned into gambling. Well he's very bright, guys.
I mean I always have this kind of thing. I
think comedians are all bright. I mean, an actor has
(04:59):
a good looking parents and the cheekbones lineup. But a comedian,
you write your shit, you get one chance to perform it,
you are judged harshly live. And I've always felt like
comedies don't get like. I remember watching what was it
called Forty year Old Virgin, and I remember telling a
friend that was as good a movie and as hard
(05:22):
a movie to pull off as I'd ever seen. First
of all, a lot of comedies got they They are
great for eight minutes and they've got a close, but
they can never the arcs don't work. And I said,
that's the only comedy I've ever seen. The last twenty
minutes is better than the first twenty, and the first
twenty were great. I think Steve Carrell is a prime example.
I look at him, I think, shit, Jimmy, he may
(05:43):
be as talented as anybody in Hollywood, Oh, no question
about it. It's I mean, it's funny that more emphasis
put on the dramatic actors when let's see some of
them try to be funny, whereas you can see Steve
correll Is and he's done it. You know, is a
is a real actor. I mean he's yeah, yeah, and
comedy as far as comedians go, Now, I make no mistake,
(06:05):
there are some dumb ones, but there aren't many. There
are some, though, but it's pretty rare. You do have
to have something going on. And even some of the
guys that seem like they're dumb, most of those guys
are among the smarter types. Well, it's funny, like when
I listen to Seinfeld, whose backstories interesting. I look at
(06:28):
him and Jay Leno as joke constructors. It's almost mechanical,
it's not ironic. They both love cars. They are great
constructors of jokes. And then there's other comedians. Richard prior
to me, was just so damn naturally funny, right right,
Like how Tracy Morgan is not paying careful attention to
(06:49):
the detail in his joke, but he's always very funny. Well,
I think Seinfeld, though, to say he's to pigeonhole him
like that isn't I actually had Sinefeld on the show
and I'd been watching a basketball game and I said,
you know, he reminds me of Steph Curry the way
because he does all the basics so spectacularly well, and
(07:11):
he's just like loose and he plays when he does
stand up with a flow or this material is all prepared.
It is not off the cuff, there's nothing rough about it,
and yet it doesn't feel like it's script it doesn't.
It just feels it just flows. And that's the That's
one of the things, especially with your radio show. You
know that when there's a flow, that's when I went well.
(07:33):
When it's starting and stopping, it's like, you know, he
didn't have chemistry or somebody didn't do a good job.
When you where were the first time, Jimmy, you were
at the club, and either before or after or perhaps
just watching, you were like, oh wow, that's like a craftsman,
Like that's brilliant um at a comedy club. I used
to come to LA when I was growing up a
(07:55):
living in Vegas. I would come to LA and I
go to the improv and I'd see all these comics
that I knew from Letterman, and some of these guys
never really became household names, but to me they were
really big stars. I remember seeing David Tell once up
in San Francisco and really being really laughing so hard
(08:18):
that I was almost incapacitated. It was just like, like,
this guy is just every bit of him is funny.
His material is funny, his voices, everything about him is funny,
and just he just destroyed that night. And that one
is someone that stands out. Somebody I knew once was
at the comedy store with Jim Carrey, and I think
(08:41):
he had to follow him. Jim was really young, and
he's like, how do you follow? Like plastic man? How
do you follow? Like Jim? Stuff was so raw and new,
like it was weird. It was I don't even know.
I remember when I was in Vegas, they had a
comedy store at the Dudes at the Dudes, right, and
there was a guy named fitted Henderson. Oh yeah, sure, yeah, yeah.
(09:02):
It was the first time I saw an impersonator, you know,
like rich little I'm a small town kid that I
saw Finnis and I was like Jesus. And then there
was a guy that passed away. That was at the Mirage.
Danny Gans Danny Ganz yeah, oh, Kenny Ganz yeah. And
Roy Firestone also, who did a lot of that stuff,
mostly musical imitations. Jim was imitating characters he'd created, you know,
(09:29):
like Fireman. Jim was like almost like an outlier, like
I always thought, you know, when you list great stand
up comedians, there's a lot of them priors always up there.
Lenny Bruce, I've seen some tapes of Carrie and I'm like,
good God, it's a he's in just a different category.
He can't even call him a stand up comedian. He's like, uh,
(09:51):
you know, it's like he's like, you know, every once
in a while, you they are these keyboard players, and
some of them are great, and you know you're like, oh,
this guy, he's great, and I'm really enjoying this music.
I'm really connecting with it. And then there are keyboard
players who are like there for a keyboard player, like
they're just beyond it's almost you can't even relax and
(10:11):
listen to them because it's so dazzling and it's so musical.
And he had Jim Carrey, Robin Williams. These guys are
it's I mean, they are I don't even know if
you can call him stand up comedians. They're just like
they're more like musicians, just jamming or something. Yeah, it's
like Russell Westbrook. Somebody said the other day, he's just
(10:33):
a spectacle. I don't know what to do. He's a
guard that can't shoot, and he'll be a first Spellot
Hall of Famer. He's a spectacle you can't iverson. To
a large degree. You had to build a team kind
of around him. He didn't fit into stuff, and in
the end you were just like he confused Jordan. Jordan's
struggled to guard him any I don't know if he
was a winning basketball player, But you're like Robin Williams
(10:55):
is like that. It would probably hard to be on
the set with Robin, to share the stage with Robin,
like he's he was so gifted, you had to kind
of move out of the way and let it happen. Maybe. Yeah,
it's like being on stage with Prince like you're not
going to step into the spotlight and take a solo.
You know. You it's interesting because your background is sports
in comedy and you sometimes you interview people in Hollywood
(11:19):
and when I watch you, or I watch other late
night hosts when I when i'm bringing people, I'll bring
a comedian, I'll bring David Spade on, or if you
were available, I'll bring funny guys on. Fire Bill Burr
I bring on a few times a year if he's
got something he wants to promote. But I basically do
sports guys, authors and an occasional comedian. And when I
bring comedians on, like yourself, I like talking comedy, but
(11:40):
I don't try to make him funny. I'm not funny,
so I just kind of like we just talk. Sometimes
you have to interview Hollywood people. You're forced to watch
a show you wouldn't necessarily love. I've had one awkward
interview in my career Jim Harbaugh. It was awful. It
was oh god, it was awful. He seems like such
a charming man. I'm shocked by that. That's really surprising
(12:01):
to me. A boy, I would think he would really shine.
But have you ever been on the set and thought, oh, good, hell,
this is I'm not sure where this is going. Ever been?
It happens every week, but it's hard right A lot
these are actors and you may not deeply care about
(12:22):
like do you have to fake it? Yeah, Well, I'm
always interested in everyone. And it's a funny thing because
I talk to the audience during the commercial breaks back
when we used to have audiences in our building, and
I love talking to them, and I am genuinely curious.
And I don't think you can do this job without
I mean, I think you are genuinely curious, and we're
(12:43):
seeing that right now. You can't do this job without that.
So it is up to me to find something interesting
to talk to that person about when they're not interested
in necessarily answering questions. And the worst is when they
start mentioning people that no one in the audience know
by their first name, or you know, somebody who's some
(13:03):
kind of like like a d that is known in
Hollywood and not known anywhere else, and you're just like, hey,
come on, now, we're trying to communicate with the viewers
at home. We were, you know, let's not exclude them
by mentioning people that nobody knows and talking about things
that nobody understands. Let's try to let's try to remember
(13:24):
that they're here. We're not just having a conversation at dinner.
You know, you talk to the audience during the break Jimmy,
I don't think everybody does that. I love it. It's
my favorite part of the show. I'm not sure really
because I've never really I mean, I've been on Colbert
Show and I don't even I don't think I was
even paying attention to whether he spoke to the audience.
(13:46):
I used to talk to the audience before the show
for a long time and Don Rickles was on my
show one night. It was the first time he was
on and I was out there talking to the audience.
I'd basically warmed them up myself, and afterwards, he's like,
let me give you some advice. He said, uh, don't
the first time they see you speak should be when
the cameras are rolling on TV. And I was like, Oh,
(14:08):
that's that's interesting. Maybe I'll give that a try. And
he was totally right. It's basic show business. The first
time they see you, know, when you talked to them,
they then they're pretending when you walk out and they clap,
you know, because it's the second seeing you. So it's
the reason why I don't talk to the guests on
the show before the show, because I don't want to
(14:31):
have a fake. I don't want to start the interview
on a fake note by going, hey, how you doing?
Like I already know how they're doing. I just saw
them twenty five minutes ago, so I this first time
I will see them is when they walk out on
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ways to win. I didn't think Leno. I thought Leno
(15:41):
was always, and I don't mean to make anybody uncomfortable,
kind of a clunky interviewer. He was a comedian. That
was not his natural thing. You've been on radio shows,
morning shows. Your chemistry's excellent, You've been in banter with
multiple people, You've interviewed people. Your sports back background, actually
I think is an asset. You're not just a comedian.
You've been on the Man Show morning radio in La.
(16:05):
If you ever thought to yourself, you're like I think
of you Jimmy as a broadcaster, I don't think. I
mean that is what I am. And and in fairness
to Jay Leno, if I were to decide to do
stand up I would be terrible at it. You know,
it would take me a long time to get good
at it. But that's what I you know, I started
on the radio, and I never intended to be a
(16:27):
stand up comic, and I never imagined I would be
the host of a talk show. I was just always
the character, kind of the side guy. And Kevin and
Bean a morning show on k Rock here in La
I worked there. I did sports for five years, and
I was a character. I had like a thick New
York accent. I exaggerated, and it never occurred to me
that I'd be doing anything like this. And if you
(16:49):
watch those early shows, you can see that I was
absolutely terrible at it. No no, no, no, watch. I
watched PTI early huh with Tony. Tony was orange back there.
He didn't get the makeup initially, and Mike and they
say their show was terrible. No, it wasn't terrible because
(17:09):
they were both interesting people. Your show wasn't terrible. It
wasn't as refined. You were like a great You were
like a really talented chef. You just didn't have the
fua graw. It wasn't It was a little runny. It
wasn't quite right. But the meet balls were raw in
the middle, and I was throwing them at people, throwing
them at their heads. When when you go, when you
(17:31):
guys are searching for because I do about two hours
prep every morning just to kind of get the show
ramped up. I want to take the audience somewhere when
you're sitting kind of in the room, are there certain
isn't a servant guy better for you? Do you look
for writers that fill in blanks for you, that are
like what works with you? Yes? I love one of
(17:55):
the things that I read about thirty forty pages of
material every morning, and the writers the right stuff, and
then I whittle it down and I make it into
a monologue. I'll actually type it out, you know, and
make it into a monologue. But what I love is,
and I mostly get this from female writers, is when
I find out about something I didn't know anything about,
(18:18):
Like my wife is a writer on the show, and
I learned that she and then it turns out many
other women will buy an outfit and then wear it
and if they get no comments on it, positive return it,
which is completely bonkers to me. It's something that I
(18:39):
never would have known in my life. I just can't
even imagine doing something like that. I think it might
be illegal. And I find out about these things from
different you know now, from younger people, you know, you
learn about I always like seeing what's going on with
this online dating. I'm always curious as to just how
(18:59):
it works. How do you know how you say goodbye
to somebody? How do you know what these dates are? Like?
I love learning the stuff, so we do try to
have a variety of voices when it comes to gender, age,
and race. So that's important to me too because the
audience is mixed, so I don't want everything and everything
does come from my point of view obviously, but sometimes
(19:21):
I'll go, did you know that? You know some women
do this? You know that's the way I look at it.
You know, Jimmy, when you got into this thing, You're
in a network now and also a big platform for
you as YouTube. I'm on cable. We don't have these
cable police hovering over our content every day, so it's
(19:44):
very easy. I come in, I do prep, do the
show off at noon, play tennis. It's an easy life.
You have corporate heads, the FCC is. I mean, I
just think your preparation is probably much more intense than
the guy at home thinks. They think. Jimmy comes in.
They got right as it's a couple of quick jokes.
(20:07):
The process for you can it be daunting because to
take the funny out of the funny. There's no tennis
for me, that's for sure. There's no time for me
to do anything. I'm obsessed with the show. I just
think that I know that you have to keep feeding
this monster, and you can never come up with enough.
(20:29):
You know, you do a show every day, and it's
going to be as good as you make it. Of course,
some of it is just left to chance, but it's
going to be as good as you make it, especially
when it comes to the monologue. So I really don't
stop working on it. Ever. I'm always thinking about it,
always working on it. Even when I'm watching I'm watching
a game or watching a TV show or something. I'm
(20:49):
thinking like, oh, I'm sure you do this, And I
know you'd say you go play tennis or whatever, but
I know that it's much more than that, because there's
no way you could do it this well if you
weren't thinking about any of this stuff. You come in
with observations and things you want to talk about, and
it's just the muscle that you always have to exercise.
Most people can just relax and watch TV. And when
(21:10):
you do this like we do, you can't do you
unless you want to be bad at it. But you
can't do that, Jimmy. You know what I do. I
prepare for an hour and a half show and I
do like I found it early in my career that
I was a little paralyzed on notes. So I created
an hour and a half and then I want to
force myself to fill in some of the canvas, and
(21:32):
I find that nervous energy makes me funnier. Do you
go in with it? So I kind of feel like, Okay,
I got twelve minutes to fill here, I got to
figure it out, and I think I tend to be
a little funnier. I'm when I'm desperate. Or do you
do you ever go into a segment and think, you know,
I've watched some old doc Severance and Johnny Carson bits
the Thanksgiving one's legendary, and I think, shit, was that
(21:55):
all scripted? Or was there just something to nervous energy there?
Do you ever have moments where you think, God, the show,
it's not great, and in fact it forces you, the
anxiety forces you into a great show. A couple of
things do in the guest segments, primarily because the monologue
is it's written. You know, the monologue is written, and
(22:17):
there are moments of where I'll chat with Guillermo or
if I need to stretch a little bit because time
is important, but the monologue is mostly predetermined. But in
the guest segments, what I try to do is go
in with a plan. These are some things we can
talk about, And the best case scenario for me is
if we don't talk about any of those things, I
(22:38):
know I have them to fall back on, but I
want it to be natural and I want it to flow,
and most of the time it does. And that's the
difference between me the first five years of the show
and now. Like the first five years of the show,
there were definitely some home run moments, some Grand Slam moments,
maybe even, but there were also a lot of pop
(23:01):
flies and there, and so the show is more consistent
now and I know what to do. And also just
like there's a respect level. And I'm sure you've felt
this from the athletes et cetera that you interview. Is like,
when they know who you are, they care more. They
answer your questions in maybe a more honest or thoughtful way.
(23:21):
Whereas I had times on my show where I was
interviewing a guest and the guest wasn't even listening to
me and had turned around to talk to the other
guests sitting on the couch, and where I felt like like, oh,
this is what it's like at parties where I can't
get anywhere even listen to me. When did you find
your voice? Though, like your comedic tone, it wasn't your
(23:43):
first day on the air. There was there a zen
moment for you, and you thought driving home, thinking, you
know what, man, this is what I am and I'm
proud of it and I'm good at it. It was
just very gradual. Really it wasn't. And it's always changing.
And you know, when I started, it was all I mean,
I throw bombs, you know. I did The Man Show,
and I did, you know, as a sports guy, and
(24:04):
you know I said crazy stuff a lot of times,
and I was looking for an explosion, you know, because
I wasn't the main guy. When you are the main guy,
you can't really do that, you know, if I'm sure,
I'm dating myself too much. But like if Jim Ignatowski
was the star of Taxi, it wouldn't necessarily have been
a popular show. Maybe I can come up with a
(24:26):
more current reference. No I can't, But you know what
I'm saying. It's like you have to when you play
the role of the main guy, you have to be
a little bit more even keeled. We both know Bill Simmons, well,
you know I'm better than I do. He used to
write for your show. He said he left it on
his terms, be honest. It was one of those listen,
we're gonna fire. You want to say that, so you
(24:47):
know what, I'll tell you what really happened. It was
an interesting situation because Bill was I read his writing
and I was a fan of his and I read
him for probably a year, never discussed it with anyone,
and then I sent him an email because he wrote
about me and it was very complimentary, and I was like,
oh wow, he wrote about me. And I sent him
(25:07):
an email and said, hey, I've been reading your stuff
for over a year and I think you're really funny.
And we exchange emails, and then, I don't know, maybe
a year and a half later, I got the show,
and I really felt like Bill's approach to sports writing
was what I wanted to do on my show, you know,
whether you know. It's kind of a pop culture mix
(25:30):
of news and sports and all the things that I
was interested in, and so I hired him. I actually
flew him and his wife out and I picked him
up at the airport in my old crappy jeep wagon
ear and they were impressed. By my me pretending to
be down to earth in my wagon ear. And so
(25:51):
they made a good impression on them and hired Bill. Now,
Bill hadn't been making much money in Boston, and then
he comes out to work for me at ABC and
he's made a pretty good living. But ESPN, now he's
working part time for them, starts to say, hey, we
want more of you. And I got in a situation
where I was almost in a bidding war against ESPN.
(26:14):
I mean, Bill didn't play it like that. Finally they
got to the point ESPN where they were like, they
made it a dumb decision for Bill not to leave,
but they basically bought him, bought him from me. You know,
they paid him so much money that he couldn't stay.
How do you ensure your writers are happy? Awards mean
(26:34):
a lot to them, not saying they don't for Jimmy Kimmel,
but you are luxuriously paid and you are the face
of the franchise. How do you make sure writers feel appreciated?
I think it's really simple, as if something is funny,
acknowledging that they did is funny and believing I could
do a much better job of that. But because this
(26:56):
is a like a shark. It's always moving forward. But
they know when I like, you know, I get it.
You know, if they get a big laugh, that's really
your reward as a writer, besides getting paid, but just
getting a big laugh is a great reward. Okay, naive question,
really dorky, Only a couple more left. I always thought
if I did this show, I wouldn't want to show
(27:18):
a preference, so I would want all the jokes to
be sent to me anonymously. So because because if I
thought somebody was funny, I would start leaning into him, thinking, well,
Bob or Jane gives me the best jokes. How do
you not like start going to somebody over and over again?
Because you go out one night and Jane has two
jokes and they both kill. The next day, you're gonna think,
(27:39):
I'm gonna listen to Jane Jane jokes kill She's got
you know, well, my daughter's name is Jane, and you're right,
the Jane jokes do kill. She drew a picture of
her brother's penis yesterday. That is going, yeah, it is
going to be cherished for many, many generations of Kimmel's.
But I actually goes the other way. I sometimes feel
like if somebody isn't getting jokes on, I'll look at
(28:02):
their jokes a little bit harder than I would somebody
who's getting a lot of jokes on. And you know,
you can sometimes breeze by stuff that's good and miss it.
So I think that I go the other way. I
also have developed this weird I could tell you with
probably eighty five percent accuracy, which of my writers wrote
(28:24):
which joke because I know their styles. It's almost like
handwriting to me. Now. I know the subjects. I know
they're like kind of go to keywords. I know they're
areas of interest, and I really could tell you with
stunning accuracy who wrote what. You're one of the good
guys in the business. It's funny. I'm a sports guy
(28:46):
who wanted to be Johnny Carson, but knew I wasn't
funny enough. You are a funny guy. Let me guess
you looked at Bob Costas, but you knew you couldn't
do baseball good enough. How did it work for you?
Who were your influences? Um? I loved Bob Costas when
I was a cash Costas. I did an hour with
him a week two weeks ago. It was as much fun.
(29:08):
I love Bob. I had dinner with Al Michaels and
Bob Costas one night and it was just the best.
I mean, they were They have just stories and stories
and stories, and I love baseball and I love here
and that stuff. Bob. Also, I remember when I really
became enamored with Bob Costas was when he was on
(29:30):
Letterman doing play by play for the elevator races they had,
and I was like, that guy's funny. And the other
guy was Vince McMahon. So Bob was on one end
and Vince McMahon was on the other end, and Letterman
relentlessly goofed on Vince, and Bob was just so straight
and he didn't he didn't try to get the laughs.
They just came to him because he got it. He
(29:50):
knew what his role was there. And I think his interviews,
I think he's one of the best. When he did
that show on NBC, he's one of the best. The
the extent of his knowledge is dazzling to me. Yeah,
he did an interview with UM it was like a
four partner with Don Rickles. I've told Bob this, it's
the best thing he's ever done. I don't care about
the Olympics. I don't care about baseball. I don't care
(30:12):
about the NBA finals. I've told him Richard Lewis is
hard to interview. He is, you know, it's funny. He
mentioned Richard Lewis. I remember Richard Lewis being so hilariously
angry because they had to scrap an episode he did
with Bob because Bob was laughing too much. And he
came out and Lewis came on the next interview and said,
(30:34):
so I was simply too funny as a comedian. That
is a nightmare. I mean, really like, that is a nightmare.
I just did like something with this website and I
was goofing on the guy while he was trying to
read the intro and it was funny, and they and
they're like, okay, let's try that again. I'm like, oh,
I thought this was were supposed to be having fun
(30:54):
I hate when producers are because start, you know, they're
supposed to produce, not the opposite. I hate when they
get in the way of what's funny just because it's clunky.
It could still be funny if it's clunky. Did you
see when Norm McDonald had David Spade in his show,
and Spade crushed for twelve minutes and he goes, we
(31:14):
haven't been taping this, and of course they had. Spade.
Spade was apoplectic. He just, what's the point. I can't
duplicate it. Hey, listen, you're one of the You're one
of the all time great guys. Same with you, Colin.
I listened to you, and I think you are great.
And congratulations on your new thing, and I hope it
goes fantastically well. Good luck to you and your fan buddy,
(31:38):
you too. Take care, all right. I hope you enjoyed
thirty minutes of Jimmy Kimmel. I did. Funny guy, good dude.
All right, we have a big, big week coming up.
Dabbo Sweeney is stopping by NFL is releasing its schedule
on Wednesday. A couple of surprise guests. Follow us at
(32:00):
The Volume Sports on Twitter and Instagram, Rate review and subscribe.
Have a great Monday. The Volume
The volume. The Colin Cowherd Podcast brought to you by
Fan Duel. It's never been easier to play fantasy on
Fan Duel. Will the love basketball, golf, soccer or any
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Duel More Ways to win. Hi, everybody, Welcome to the
(00:30):
Monday Morning Podcast. Jimmy Kimmel in a couple of minutes,
fired up for this. I've known Jimmy for a long
time now. I don't normally talk horse racing except when
there's a scandal making front page news. So this morning
I'm talking horse racing. Bob Baffert banned from Churchill Downs.
If you don't know Bob Baffert, he's the silver haired
trainer you see a horse races who's somehow more well
(00:52):
groomed than the horses themselves. His horse, Kentucky Derby winner
Madinah Spirit, tested positive for a stair roid, which is
used to treat inflammation. Now. Bafford says he was shocked
by the result, even though he had recently been suspended
by the Arkansas Racing Commission after two of his horses
tested You guessed it positive. It seems like if there's
(01:15):
anything Bob Baffert should be testing positive for its amnesia.
Now I'm not going to point fingers here, but there
have been only two horses to win the Triple Crown
in the last forty three years, American Pharaoh and Justify.
What do you know? Both trained by Bob Baffort. There
also was never a trainer who won seven Kentucky Derby's
until Bob Baffert did it last week, shocking coincidence. I
(01:39):
don't like to single out people. I'm well aware that
Baffert's not the only trainer spiking the horse feed. Trainers
have been known to give horses all sorts of weird
shit chemicals that fatten pigs, Viagra, cobra venom. I mean,
if you're giving a horse cobra venom, actually that's kind
of cool. I'd like to try that anyway. And as
(02:00):
Bob Baffert says, he's being singled out, no, he singled
himself out, just like Lance Armstrong, the Houston Astros, the
steroid era sluggers, and a whole lot of Olympians. All
of these suspected and non suspected cheaters brought the attention
on themselves, and they all have one thing in common.
Their biggest accomplishment in their sport maybe that they chipped
(02:23):
away at its integrity. Actually it's bigger than that. When
we can't trust what we see, it undermines everything around us.
We become jaded and distrustful. And when that happens, it
allows people to take advantage of that mistrust. They start
acting like everyone and everything is corrupt. They make you
think everyone and everything's a con The media can't be trusted.
(02:46):
The election was stolen. That photograph of me doing drugs
with a porn star was photoshopped. My phone was hacked.
It's all a conspiracy. We're at the point right now
where people's trust in their leaders, their government, and the
media seems to be at all time lows. And there's
a reason they've earned it, all right. He's been doing
(03:11):
late night television for a long time. He actually started
in sports radio. Funny guy. We've had a lot of
connections through the years, run into each other. We also
know a lot of the same people. Let's bring on
Jimmy Kimmel. Let's just start with this. So, okay, cousin
sal So he's now he's now a very respected, noteworthy
(03:32):
gaming voice. When you guys were like, fourteen, Did you
ever think he's going to matter in the gaming industry
in America? We didn't even know there was a gaming
industry in America. But I will tell you this about
cousin sal He was selling parlay cards when he was
in like junior high school. He was really his gambling career.
Started flipping baseball cards. Most kids will flip baseball cards,
(03:55):
and it's like, yeah, all right, yeah. He would not
stop flipping baseball cards. You remember that flipping baseball cards?
Would you do? Yeah? But no, I'm from rural America.
Who would I flip them too? Like you guys, did
you grow up in the city. We grew up a
salsand Long Island. I moved out to Las Vegas from
Brooklyn when I was nine years old. I would spend
(04:15):
the summers with Salary. He'd come spend the summers with me.
We'd play stratamatic baseball. You know. He was just always
really interested in numbers. He would like when he come
to visit us, he'd make a list of every item
in his luggage and have to check off each item.
In fact, they lost his luggage and the people at
the airline said, is there anything in your bag that
(04:37):
might be unusual, that might be something that it would
stand out. And he said, yes, here's the whole list
of every single thing in my he's just got. Yeah,
it's like OCD turned into gambling. Well he's very bright, guys.
I mean I always have this kind of thing. I
think comedians are all bright. I mean, an actor has
(04:59):
a good looking parents and the cheekbones lineup. But a comedian,
you write your shit, you get one chance to perform it,
you are judged harshly live. And I've always felt like
comedies don't get like. I remember watching what was it
called Forty year Old Virgin, and I remember telling a
friend that was as good a movie and as hard
(05:22):
a movie to pull off as I'd ever seen. First
of all, a lot of comedies got they They are
great for eight minutes and they've got a close, but
they can never the arcs don't work. And I said,
that's the only comedy I've ever seen. The last twenty
minutes is better than the first twenty, and the first
twenty were great. I think Steve Carrell is a prime example.
I look at him, I think, shit, Jimmy, he may
(05:43):
be as talented as anybody in Hollywood, Oh, no question
about it. It's I mean, it's funny that more emphasis
put on the dramatic actors when let's see some of
them try to be funny, whereas you can see Steve
correll Is and he's done it. You know, is a
is a real actor. I mean he's yeah, yeah, and
comedy as far as comedians go, Now, I make no mistake,
(06:05):
there are some dumb ones, but there aren't many. There
are some, though, but it's pretty rare. You do have
to have something going on. And even some of the
guys that seem like they're dumb, most of those guys
are among the smarter types. Well, it's funny, like when
I listen to Seinfeld, whose backstories interesting. I look at
(06:28):
him and Jay Leno as joke constructors. It's almost mechanical,
it's not ironic. They both love cars. They are great
constructors of jokes. And then there's other comedians. Richard prior
to me, was just so damn naturally funny, right right,
Like how Tracy Morgan is not paying careful attention to
(06:49):
the detail in his joke, but he's always very funny. Well,
I think Seinfeld, though, to say he's to pigeonhole him
like that isn't I actually had Sinefeld on the show
and I'd been watching a basketball game and I said,
you know, he reminds me of Steph Curry the way
because he does all the basics so spectacularly well, and
(07:11):
he's just like loose and he plays when he does
stand up with a flow or this material is all prepared.
It is not off the cuff, there's nothing rough about it,
and yet it doesn't feel like it's script it doesn't.
It just feels it just flows. And that's the That's
one of the things, especially with your radio show. You
know that when there's a flow, that's when I went well.
(07:33):
When it's starting and stopping, it's like, you know, he
didn't have chemistry or somebody didn't do a good job.
When you where were the first time, Jimmy, you were
at the club, and either before or after or perhaps
just watching, you were like, oh wow, that's like a craftsman,
Like that's brilliant um at a comedy club. I used
to come to LA when I was growing up a
(07:55):
living in Vegas. I would come to LA and I
go to the improv and I'd see all these comics
that I knew from Letterman, and some of these guys
never really became household names, but to me they were
really big stars. I remember seeing David Tell once up
in San Francisco and really being really laughing so hard
(08:18):
that I was almost incapacitated. It was just like, like,
this guy is just every bit of him is funny.
His material is funny, his voices, everything about him is funny,
and just he just destroyed that night. And that one
is someone that stands out. Somebody I knew once was
at the comedy store with Jim Carrey, and I think
(08:41):
he had to follow him. Jim was really young, and
he's like, how do you follow? Like plastic man? How
do you follow? Like Jim? Stuff was so raw and new,
like it was weird. It was I don't even know.
I remember when I was in Vegas, they had a
comedy store at the Dudes at the Dudes, right, and
there was a guy named fitted Henderson. Oh yeah, sure, yeah, yeah.
(09:02):
It was the first time I saw an impersonator, you know,
like rich little I'm a small town kid that I
saw Finnis and I was like Jesus. And then there
was a guy that passed away. That was at the Mirage.
Danny Gans Danny Ganz yeah, oh, Kenny Ganz yeah. And
Roy Firestone also, who did a lot of that stuff,
mostly musical imitations. Jim was imitating characters he'd created, you know,
(09:29):
like Fireman. Jim was like almost like an outlier, like
I always thought, you know, when you list great stand
up comedians, there's a lot of them priors always up there.
Lenny Bruce, I've seen some tapes of Carrie and I'm like,
good God, it's a he's in just a different category.
He can't even call him a stand up comedian. He's like, uh,
(09:51):
you know, it's like he's like, you know, every once
in a while, you they are these keyboard players, and
some of them are great, and you know you're like, oh,
this guy, he's great, and I'm really enjoying this music.
I'm really connecting with it. And then there are keyboard
players who are like there for a keyboard player, like
they're just beyond it's almost you can't even relax and
(10:11):
listen to them because it's so dazzling and it's so musical.
And he had Jim Carrey, Robin Williams. These guys are
it's I mean, they are I don't even know if
you can call him stand up comedians. They're just like
they're more like musicians, just jamming or something. Yeah, it's
like Russell Westbrook. Somebody said the other day, he's just
(10:33):
a spectacle. I don't know what to do. He's a
guard that can't shoot, and he'll be a first Spellot
Hall of Famer. He's a spectacle you can't iverson. To
a large degree. You had to build a team kind
of around him. He didn't fit into stuff, and in
the end you were just like he confused Jordan. Jordan's
struggled to guard him any I don't know if he
was a winning basketball player, But you're like Robin Williams
(10:55):
is like that. It would probably hard to be on
the set with Robin, to share the stage with Robin,
like he's he was so gifted, you had to kind
of move out of the way and let it happen. Maybe. Yeah,
it's like being on stage with Prince like you're not
going to step into the spotlight and take a solo.
You know. You it's interesting because your background is sports
in comedy and you sometimes you interview people in Hollywood
(11:19):
and when I watch you, or I watch other late
night hosts when I when i'm bringing people, I'll bring
a comedian, I'll bring David Spade on, or if you
were available, I'll bring funny guys on. Fire Bill Burr
I bring on a few times a year if he's
got something he wants to promote. But I basically do
sports guys, authors and an occasional comedian. And when I
bring comedians on, like yourself, I like talking comedy, but
(11:40):
I don't try to make him funny. I'm not funny,
so I just kind of like we just talk. Sometimes
you have to interview Hollywood people. You're forced to watch
a show you wouldn't necessarily love. I've had one awkward
interview in my career Jim Harbaugh. It was awful. It
was oh god, it was awful. He seems like such
a charming man. I'm shocked by that. That's really surprising
(12:01):
to me. A boy, I would think he would really shine.
But have you ever been on the set and thought, oh, good, hell,
this is I'm not sure where this is going. Ever been?
It happens every week, but it's hard right A lot
these are actors and you may not deeply care about
(12:22):
like do you have to fake it? Yeah, Well, I'm
always interested in everyone. And it's a funny thing because
I talk to the audience during the commercial breaks back
when we used to have audiences in our building, and
I love talking to them, and I am genuinely curious.
And I don't think you can do this job without
I mean, I think you are genuinely curious, and we're
(12:43):
seeing that right now. You can't do this job without that.
So it is up to me to find something interesting
to talk to that person about when they're not interested
in necessarily answering questions. And the worst is when they
start mentioning people that no one in the audience know
by their first name, or you know, somebody who's some
(13:03):
kind of like like a d that is known in
Hollywood and not known anywhere else, and you're just like, hey,
come on, now, we're trying to communicate with the viewers
at home. We were, you know, let's not exclude them
by mentioning people that nobody knows and talking about things
that nobody understands. Let's try to let's try to remember
(13:24):
that they're here. We're not just having a conversation at dinner.
You know, you talk to the audience during the break Jimmy,
I don't think everybody does that. I love it. It's
my favorite part of the show. I'm not sure really
because I've never really I mean, I've been on Colbert
Show and I don't even I don't think I was
even paying attention to whether he spoke to the audience.
(13:46):
I used to talk to the audience before the show
for a long time and Don Rickles was on my
show one night. It was the first time he was
on and I was out there talking to the audience.
I'd basically warmed them up myself, and afterwards, he's like,
let me give you some advice. He said, uh, don't
the first time they see you speak should be when
the cameras are rolling on TV. And I was like, Oh,
(14:08):
that's that's interesting. Maybe I'll give that a try. And
he was totally right. It's basic show business. The first
time they see you, know, when you talked to them,
they then they're pretending when you walk out and they clap,
you know, because it's the second seeing you. So it's
the reason why I don't talk to the guests on
the show before the show, because I don't want to
(14:31):
have a fake. I don't want to start the interview
on a fake note by going, hey, how you doing?
Like I already know how they're doing. I just saw
them twenty five minutes ago, so I this first time
I will see them is when they walk out on
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ways to win. I didn't think Leno. I thought Leno
(15:41):
was always, and I don't mean to make anybody uncomfortable,
kind of a clunky interviewer. He was a comedian. That
was not his natural thing. You've been on radio shows,
morning shows. Your chemistry's excellent, You've been in banter with
multiple people, You've interviewed people. Your sports back background, actually
I think is an asset. You're not just a comedian.
You've been on the Man Show morning radio in La.
(16:05):
If you ever thought to yourself, you're like I think
of you Jimmy as a broadcaster, I don't think. I
mean that is what I am. And and in fairness
to Jay Leno, if I were to decide to do
stand up I would be terrible at it. You know,
it would take me a long time to get good
at it. But that's what I you know, I started
on the radio, and I never intended to be a
(16:27):
stand up comic, and I never imagined I would be
the host of a talk show. I was just always
the character, kind of the side guy. And Kevin and
Bean a morning show on k Rock here in La
I worked there. I did sports for five years, and
I was a character. I had like a thick New
York accent. I exaggerated, and it never occurred to me
that I'd be doing anything like this. And if you
(16:49):
watch those early shows, you can see that I was
absolutely terrible at it. No no, no, no, watch. I
watched PTI early huh with Tony. Tony was orange back there.
He didn't get the makeup initially, and Mike and they
say their show was terrible. No, it wasn't terrible because
(17:09):
they were both interesting people. Your show wasn't terrible. It
wasn't as refined. You were like a great You were
like a really talented chef. You just didn't have the
fua graw. It wasn't It was a little runny. It
wasn't quite right. But the meet balls were raw in
the middle, and I was throwing them at people, throwing
them at their heads. When when you go, when you
(17:31):
guys are searching for because I do about two hours
prep every morning just to kind of get the show
ramped up. I want to take the audience somewhere when
you're sitting kind of in the room, are there certain
isn't a servant guy better for you? Do you look
for writers that fill in blanks for you, that are
like what works with you? Yes? I love one of
(17:55):
the things that I read about thirty forty pages of
material every morning, and the writers the right stuff, and
then I whittle it down and I make it into
a monologue. I'll actually type it out, you know, and
make it into a monologue. But what I love is,
and I mostly get this from female writers, is when
I find out about something I didn't know anything about,
(18:18):
Like my wife is a writer on the show, and
I learned that she and then it turns out many
other women will buy an outfit and then wear it
and if they get no comments on it, positive return it,
which is completely bonkers to me. It's something that I
(18:39):
never would have known in my life. I just can't
even imagine doing something like that. I think it might
be illegal. And I find out about these things from
different you know now, from younger people, you know, you
learn about I always like seeing what's going on with
this online dating. I'm always curious as to just how
(18:59):
it works. How do you know how you say goodbye
to somebody? How do you know what these dates are? Like?
I love learning the stuff, so we do try to
have a variety of voices when it comes to gender, age,
and race. So that's important to me too because the
audience is mixed, so I don't want everything and everything
does come from my point of view obviously, but sometimes
(19:21):
I'll go, did you know that? You know some women
do this? You know that's the way I look at it.
You know, Jimmy, when you got into this thing, You're
in a network now and also a big platform for
you as YouTube. I'm on cable. We don't have these
cable police hovering over our content every day, so it's
(19:44):
very easy. I come in, I do prep, do the
show off at noon, play tennis. It's an easy life.
You have corporate heads, the FCC is. I mean, I
just think your preparation is probably much more intense than
the guy at home thinks. They think. Jimmy comes in.
They got right as it's a couple of quick jokes.
(20:07):
The process for you can it be daunting because to
take the funny out of the funny. There's no tennis
for me, that's for sure. There's no time for me
to do anything. I'm obsessed with the show. I just
think that I know that you have to keep feeding
this monster, and you can never come up with enough.
(20:29):
You know, you do a show every day, and it's
going to be as good as you make it. Of course,
some of it is just left to chance, but it's
going to be as good as you make it, especially
when it comes to the monologue. So I really don't
stop working on it. Ever. I'm always thinking about it,
always working on it. Even when I'm watching I'm watching
a game or watching a TV show or something. I'm
(20:49):
thinking like, oh, I'm sure you do this, And I
know you'd say you go play tennis or whatever, but
I know that it's much more than that, because there's
no way you could do it this well if you
weren't thinking about any of this stuff. You come in
with observations and things you want to talk about, and
it's just the muscle that you always have to exercise.
Most people can just relax and watch TV. And when
(21:10):
you do this like we do, you can't do you
unless you want to be bad at it. But you
can't do that, Jimmy. You know what I do. I
prepare for an hour and a half show and I
do like I found it early in my career that
I was a little paralyzed on notes. So I created
an hour and a half and then I want to
force myself to fill in some of the canvas, and
(21:32):
I find that nervous energy makes me funnier. Do you
go in with it? So I kind of feel like, Okay,
I got twelve minutes to fill here, I got to
figure it out, and I think I tend to be
a little funnier. I'm when I'm desperate. Or do you
do you ever go into a segment and think, you know,
I've watched some old doc Severance and Johnny Carson bits
the Thanksgiving one's legendary, and I think, shit, was that
(21:55):
all scripted? Or was there just something to nervous energy there?
Do you ever have moments where you think, God, the show,
it's not great, and in fact it forces you, the
anxiety forces you into a great show. A couple of
things do in the guest segments, primarily because the monologue
is it's written. You know, the monologue is written, and
(22:17):
there are moments of where I'll chat with Guillermo or
if I need to stretch a little bit because time
is important, but the monologue is mostly predetermined. But in
the guest segments, what I try to do is go
in with a plan. These are some things we can
talk about, And the best case scenario for me is
if we don't talk about any of those things, I
(22:38):
know I have them to fall back on, but I
want it to be natural and I want it to flow,
and most of the time it does. And that's the
difference between me the first five years of the show
and now. Like the first five years of the show,
there were definitely some home run moments, some Grand Slam moments,
maybe even, but there were also a lot of pop
(23:01):
flies and there, and so the show is more consistent
now and I know what to do. And also just
like there's a respect level. And I'm sure you've felt
this from the athletes et cetera that you interview. Is like,
when they know who you are, they care more. They
answer your questions in maybe a more honest or thoughtful way.
(23:21):
Whereas I had times on my show where I was
interviewing a guest and the guest wasn't even listening to
me and had turned around to talk to the other
guests sitting on the couch, and where I felt like like, oh,
this is what it's like at parties where I can't
get anywhere even listen to me. When did you find
your voice? Though, like your comedic tone, it wasn't your
(23:43):
first day on the air. There was there a zen
moment for you, and you thought driving home, thinking, you
know what, man, this is what I am and I'm
proud of it and I'm good at it. It was
just very gradual. Really it wasn't. And it's always changing.
And you know, when I started, it was all I mean,
I throw bombs, you know. I did The Man Show,
and I did, you know, as a sports guy, and
(24:04):
you know I said crazy stuff a lot of times,
and I was looking for an explosion, you know, because
I wasn't the main guy. When you are the main guy,
you can't really do that, you know, if I'm sure,
I'm dating myself too much. But like if Jim Ignatowski
was the star of Taxi, it wouldn't necessarily have been
a popular show. Maybe I can come up with a
(24:26):
more current reference. No I can't, But you know what
I'm saying. It's like you have to when you play
the role of the main guy, you have to be
a little bit more even keeled. We both know Bill Simmons, well,
you know I'm better than I do. He used to
write for your show. He said he left it on
his terms, be honest. It was one of those listen,
we're gonna fire. You want to say that, so you
(24:47):
know what, I'll tell you what really happened. It was
an interesting situation because Bill was I read his writing
and I was a fan of his and I read
him for probably a year, never discussed it with anyone,
and then I sent him an email because he wrote
about me and it was very complimentary, and I was like,
oh wow, he wrote about me. And I sent him
(25:07):
an email and said, hey, I've been reading your stuff
for over a year and I think you're really funny.
And we exchange emails, and then, I don't know, maybe
a year and a half later, I got the show,
and I really felt like Bill's approach to sports writing
was what I wanted to do on my show, you know,
whether you know. It's kind of a pop culture mix
(25:30):
of news and sports and all the things that I
was interested in, and so I hired him. I actually
flew him and his wife out and I picked him
up at the airport in my old crappy jeep wagon
ear and they were impressed. By my me pretending to
be down to earth in my wagon ear. And so
(25:51):
they made a good impression on them and hired Bill. Now,
Bill hadn't been making much money in Boston, and then
he comes out to work for me at ABC and
he's made a pretty good living. But ESPN, now he's
working part time for them, starts to say, hey, we
want more of you. And I got in a situation
where I was almost in a bidding war against ESPN.
(26:14):
I mean, Bill didn't play it like that. Finally they
got to the point ESPN where they were like, they
made it a dumb decision for Bill not to leave,
but they basically bought him, bought him from me. You know,
they paid him so much money that he couldn't stay.
How do you ensure your writers are happy? Awards mean
(26:34):
a lot to them, not saying they don't for Jimmy Kimmel,
but you are luxuriously paid and you are the face
of the franchise. How do you make sure writers feel appreciated?
I think it's really simple, as if something is funny,
acknowledging that they did is funny and believing I could
do a much better job of that. But because this
(26:56):
is a like a shark. It's always moving forward. But
they know when I like, you know, I get it.
You know, if they get a big laugh, that's really
your reward as a writer, besides getting paid, but just
getting a big laugh is a great reward. Okay, naive question,
really dorky, Only a couple more left. I always thought
if I did this show, I wouldn't want to show
(27:18):
a preference, so I would want all the jokes to
be sent to me anonymously. So because because if I
thought somebody was funny, I would start leaning into him, thinking, well,
Bob or Jane gives me the best jokes. How do
you not like start going to somebody over and over again?
Because you go out one night and Jane has two
jokes and they both kill. The next day, you're gonna think,
(27:39):
I'm gonna listen to Jane Jane jokes kill She's got
you know, well, my daughter's name is Jane, and you're right,
the Jane jokes do kill. She drew a picture of
her brother's penis yesterday. That is going, yeah, it is
going to be cherished for many, many generations of Kimmel's.
But I actually goes the other way. I sometimes feel
like if somebody isn't getting jokes on, I'll look at
(28:02):
their jokes a little bit harder than I would somebody
who's getting a lot of jokes on. And you know,
you can sometimes breeze by stuff that's good and miss it.
So I think that I go the other way. I
also have developed this weird I could tell you with
probably eighty five percent accuracy, which of my writers wrote
(28:24):
which joke because I know their styles. It's almost like
handwriting to me. Now. I know the subjects. I know
they're like kind of go to keywords. I know they're
areas of interest, and I really could tell you with
stunning accuracy who wrote what. You're one of the good
guys in the business. It's funny. I'm a sports guy
(28:46):
who wanted to be Johnny Carson, but knew I wasn't
funny enough. You are a funny guy. Let me guess
you looked at Bob Costas, but you knew you couldn't
do baseball good enough. How did it work for you?
Who were your influences? Um? I loved Bob Costas when
I was a cash Costas. I did an hour with
him a week two weeks ago. It was as much fun.
(29:08):
I love Bob. I had dinner with Al Michaels and
Bob Costas one night and it was just the best.
I mean, they were They have just stories and stories
and stories, and I love baseball and I love here
and that stuff. Bob. Also, I remember when I really
became enamored with Bob Costas was when he was on
(29:30):
Letterman doing play by play for the elevator races they had,
and I was like, that guy's funny. And the other
guy was Vince McMahon. So Bob was on one end
and Vince McMahon was on the other end, and Letterman
relentlessly goofed on Vince, and Bob was just so straight
and he didn't he didn't try to get the laughs.
They just came to him because he got it. He
(29:50):
knew what his role was there. And I think his interviews,
I think he's one of the best. When he did
that show on NBC, he's one of the best. The
the extent of his knowledge is dazzling to me. Yeah,
he did an interview with UM it was like a
four partner with Don Rickles. I've told Bob this, it's
the best thing he's ever done. I don't care about
the Olympics. I don't care about baseball. I don't care
(30:12):
about the NBA finals. I've told him Richard Lewis is
hard to interview. He is, you know, it's funny. He
mentioned Richard Lewis. I remember Richard Lewis being so hilariously
angry because they had to scrap an episode he did
with Bob because Bob was laughing too much. And he
came out and Lewis came on the next interview and said,
(30:34):
so I was simply too funny as a comedian. That
is a nightmare. I mean, really like, that is a nightmare.
I just did like something with this website and I
was goofing on the guy while he was trying to
read the intro and it was funny, and they and
they're like, okay, let's try that again. I'm like, oh,
I thought this was were supposed to be having fun
(30:54):
I hate when producers are because start, you know, they're
supposed to produce, not the opposite. I hate when they
get in the way of what's funny just because it's clunky.
It could still be funny if it's clunky. Did you
see when Norm McDonald had David Spade in his show,
and Spade crushed for twelve minutes and he goes, we
(31:14):
haven't been taping this, and of course they had. Spade.
Spade was apoplectic. He just, what's the point. I can't
duplicate it. Hey, listen, you're one of the You're one
of the all time great guys. Same with you, Colin.
I listened to you, and I think you are great.
And congratulations on your new thing, and I hope it
goes fantastically well. Good luck to you and your fan buddy,
(31:38):
you too. Take care, all right. I hope you enjoyed
thirty minutes of Jimmy Kimmel. I did. Funny guy, good dude.
All right, we have a big, big week coming up.
Dabbo Sweeney is stopping by NFL is releasing its schedule
on Wednesday. A couple of surprise guests. Follow us at
(32:00):
The Volume Sports on Twitter and Instagram, Rate review and subscribe.
Have a great Monday. The Volume
Host
Colin Cowherd
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