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March 7, 2024 49 mins

Jeff and Susie discuss *The Wire* from season 1 with special appearance from Wayne Federman.

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Speaker 1 (00:01):
You can watch the original episode we'll be discussing in
every other episode of HBO's Curby Your Enthusiasm, including the
new and final season, on Max.

Speaker 2 (00:09):
You can also watch the video.

Speaker 1 (00:11):
Version of the history of Curby Your Enthusiasm podcast on
Max and YouTube as well.

Speaker 2 (00:16):
Links available in the episode description.

Speaker 3 (00:26):
Hi everybody, This is Jeff Garland and.

Speaker 2 (00:28):
And I'm Susie Esmin.

Speaker 3 (00:30):
She is Susie Esmund.

Speaker 2 (00:32):
Well, i'll tell you it feels pretty good these days.

Speaker 3 (00:34):
Yeah, you know, young people. I want to be Susie Esmay.
All right, So we are on episode six, the.

Speaker 2 (00:41):
Wire, the Wire.

Speaker 3 (00:43):
Yeah, all right, So here's what I'm gonna say. I
didn't say this last recording. Last episode was when we
first got our footing, Episode five. For what the show
became and what the show is, explain well, last episode.

Speaker 2 (00:58):
The interior Decorator.

Speaker 3 (01:00):
Yeah, the interior decorator. But okay, there was a producer
named Nat Hiken. This is in the fifties.

Speaker 1 (01:05):
Or Hiken created a Sergeant Bilko are you.

Speaker 3 (01:09):
I know we've lost a lot of you at this point.
But the point being is he wrote in a style
where it was like dominoes, you push the dominoes that
go in a million different directions. You don't know how
it's going to end, and things with the dominoes that
twists and turns. There's only one writer who writes that.

Speaker 1 (01:27):
Way, Larry David, who was influenced very much influenced.

Speaker 3 (01:31):
By Nat Hiken. By the way, I'm influenced by Nat Hiking,
but not like Larry that was.

Speaker 1 (01:35):
And then his influence goes way back to seinfeldt Oh
most definitely.

Speaker 3 (01:40):
But what I'm saying is last episode, at least up
until that point, was one of those domino episodes where
it goes all around, you don't know where it's coming back. Now,
this episode, it clicks and it never stops from here
until where we're at the show. Now, this is the
episode that's started what.

Speaker 1 (02:01):
We are, that established what Curve is going to be
and what most people don't know. If you go back
and you look, you go to a museum of Broadcasting
or something like that, and you go look at pilot
episodes of.

Speaker 3 (02:12):
Old Museum of Media or something.

Speaker 1 (02:14):
Maybe whatever, but you look at pilot episodes of old
beloved sitcoms, you should.

Speaker 3 (02:19):
Be the museum of television and.

Speaker 2 (02:20):
It was still the block from where we are.

Speaker 3 (02:22):
Now but they don't. They change the names.

Speaker 1 (02:24):
So and you look at the pilot episodes and it's
so fun. I've done it several times. The pilot episodes
are nothing like what the series ended up being. The
characters are because it takes time to find itself, but it's.

Speaker 3 (02:37):
And which normally shows are not allowed that time. They're
canceled before they do find themselves. I think the most
famous one is actually signed for I wanted to kill
that early on. But that's the thing, like our pilot
of this show of yes, the special pilot and the
episodes to follow, we're all finding our way. And by

the way, if someone says, what about AMCO or whatever
that episode is, yeah, that was actually our third episode.
It got moved.

Speaker 1 (03:07):
Oh oh okay, I didn't know that. All right, Well
we'll get to that.

Speaker 3 (03:10):
I'll discover more about it and maybe answer questions as
to why I.

Speaker 1 (03:13):
Got And this episode, the Wire was the first time
that we have Larry Charles directing. Yes, Larry Charles was
involved in the other episodes because he was an executive
were in the time.

Speaker 2 (03:23):
It was not season two. He came on as it
was two or three.

Speaker 3 (03:27):
But I actually I didn't have to beg Larry, but
it was my idea for sure, saying can we bring
Larrry Charles on? He brings so much to it.

Speaker 1 (03:35):
And Larry Charles came from Seinfeld and Mad About You
and several others.

Speaker 3 (03:40):
He created one of the most one of the greatest
comedies of all time.

Speaker 2 (03:43):
Borat Boratt, Yeah no, but.

Speaker 3 (03:44):
His mind is he's a brilliant dude, and I love
the guy and I wish you worked on the show now,
that would be so much fun.

Speaker 1 (03:51):
I had never met him up until the day that
we we'll get to that sign I'm Mad About You.

Speaker 3 (03:56):
He was a furnisher I'm Mad About You, which I
was on. And also at the end of the episode,
I'm like that episode was really well directed, and I
saw Larry Charles and I smiled, Yeah.

Speaker 1 (04:06):
Well, I remember it was Larry Charles because that was
my first real yeah episode, which we'll get to.

Speaker 3 (04:12):
And by the way, Larry Charles quite often where's pajama bottoms?

Speaker 2 (04:15):
He does wear pajama bottoms quite often, like almost always.

Speaker 3 (04:18):
I know. But nonetheless, he is a groovy dude.

Speaker 1 (04:22):
So we start the episode with you, Jeff on the phone.
You sponsored a fresh Air front kid and he set
fire to the canteen and the cabin at the camp.

Speaker 3 (04:30):
So I think this is the first mistake of the show. Okay,
because I just said how we're moving in a new direction.
The way I talked on the phone to you was
as if I'm talking to a businessman, a client. There
was no emotion.

Speaker 2 (04:44):
By the way. I didn't even think you were talking
to me.

Speaker 3 (04:47):
That's how much it came off.

Speaker 2 (04:48):
Yeah, well you were talking to the camp.

Speaker 3 (04:50):
We hadn't this episode it comes, but we really haven't
established how terrified Larry and I are of you. And
so it's ironic that the episode starts because this episode
is where we find out. But yeah, it was a
terrible choice and it was a terrible choice to put
in the show.

Speaker 2 (05:09):
Are the things we've learned on our way.

Speaker 3 (05:11):
No, that's not talking about shows. So even this show,
there's mistakes. You figure it. But I made the first one.

Speaker 2 (05:16):
And you know, you say something, you try to do
something nice, and Larry says, I got out of business. Hilarious.

Speaker 3 (05:22):
Well, by the way, first off, he sees a woman
about to be hit by a car. He doesn't pull
her out of the way. He just yells out.

Speaker 4 (05:30):
Watch out, and she said, don't don't tell me what
to do.

Speaker 3 (05:34):
I gotta tell you that is just hilarious. That is hilarious.
The fact that he thought of that, He's so fucking funny.

Speaker 1 (05:41):
So then Cheryl and Larry want to bury an unsightly
wire Cheryl Cheryl wants to which you know, was something
that probably happened in real life.

Speaker 2 (05:51):
From his first I would get like something. I don't
blame her. I hate those wires.

Speaker 1 (05:56):
They want to bury a wire in the backyard, but
not all the neighbors were on board with it. They
have to get approval from the neighbors, and if you've
ever had to go through this process, it is a
huge pain in the air, right, So they have to
meet the neighbors who are reluctant, and it is Dean
and phyllis. Dean played by Wayne Fetterman, and phyllis played
by what is her name?

Speaker 3 (06:16):
Ducy Webb?

Speaker 2 (06:17):
Lucy Webb.

Speaker 3 (06:17):
Lucy Webb. I knew from I don't I didn't know
her person before that. She was on a show called
Not Necessarily the News, which I believe was on HBO.
And then Wayne Fetterman.

Speaker 1 (06:28):
I met Wayne Fetterman in nineteen eighty four, at the
comic strip.

Speaker 3 (06:31):
Okay, I met Wayne Fetterman in nineteen eighty two at
the comic strip in Florida, in Florida. And by the way,
he grew up in Like I'm from Chicago, but I
moved to South Florida and I lived in a town
called Plantation. My best friend's older brother was close friends
with Wayne Fetterman. Daddy No No, which is so crazy.

We both grew up in the same town in Florida,
you know. And Wayne.

Speaker 2 (06:56):
Wayne was a stand up comic that we came up with.

Speaker 3 (06:59):
Oh, by the way, everybody loves everybody know, nobody who
doesn't love Wayne Sweetheart. It's very funny. And by the way,
you know who he worked with closely was Gary Shanling.
I didn't know that very close with Gary, yep.

Speaker 2 (07:12):
And did he write for him?

Speaker 3 (07:13):
He wrote a lot for Gary. I don't know how
much stand up wise, but a lot of stuff that
Gary did.

Speaker 1 (07:18):

Speaker 2 (07:18):
He's here.

Speaker 1 (07:19):
He plays Dean Winstock wayde and I were in an
improv group together at the comic strip.

Speaker 2 (07:24):
Did you know that? Yes?

Speaker 3 (07:26):
I did Monday Nights?

Speaker 2 (07:28):
Was it Monday Nights? So tell us how you got
this part on kerb.

Speaker 4 (07:31):
Well it's partly to this guy to the left. I
think he recommended me as my.

Speaker 3 (07:36):
I recommended him, and I got no arm.

Speaker 4 (07:39):
But here's the thing that Jeff forgets. I first auditioned
for the role of the blind guy. I don't know
what episode that's after this, No, it's not. I auditioned.
And again, I can do a lot of things in
show business. Blind I studied with Stella Adler.

Speaker 3 (07:54):
By the way, I know for sure I recommended you
for that. You know, there are certain people that I
would recommend because of how wonderful they are, not knowing
they're exactly right for the role. But maybe I don't know.
And he was.

Speaker 2 (08:10):
Playing the blind guy. I forgot his name, but he
was terrific.

Speaker 3 (08:16):
Yeah, no, he was. He was truly fantastic. Yeah yeah.

Speaker 4 (08:19):
And he had to move the furniture numerous James.

Speaker 2 (08:21):
So that scene with Richard yeah, so.

Speaker 4 (08:23):
And again this is first season, so I had only
seen the show, the one with Judy Tole, the Big
Special and whatever it was.

Speaker 3 (08:30):
So this is what.

Speaker 4 (08:31):
So I go in for the blind guy.

Speaker 3 (08:33):
I don't.

Speaker 4 (08:33):
I do the best I can, but I don't get it.
And to tell the truth, when I didn't get that
I was thinking, is this going to be the Seinfeld situation?
Because I always wanted to be on Sign and you
never were, never were. So then when it was like
two episodes later, they brought me back as a guy
who's in love with Julia Louis Dreyfus.

Speaker 3 (08:51):
By the way, this I know how to do. By
the way, know how to do. You blasted it out
of the Thank you you were so you were And
these things don't happen often, but there are always people
who will cross the line with favors, with you know,
not knowing what favor is, right, Oh my god, And

you nailed that. You nailed that. It was awesome, Thank you,
thank you. So that was it.

Speaker 4 (09:17):
So we went in and you were there that day
you weren't, but I know that episode is famous for
your character.

Speaker 1 (09:23):
Yeah, well that was my first real Susie Green moment
right in that episode.

Speaker 4 (09:27):
That was the fat fuck moment and all of that,
and those like people are like, what that.

Speaker 3 (09:33):
Wasn't that the one with the fresh air fund? Yeah?

Speaker 4 (09:36):
Yeah, it's an exsanely good episode.

Speaker 2 (09:38):
The Wire was the first episode that I took on.

Speaker 3 (09:41):
A really you're not the one with the bracelet.

Speaker 1 (09:44):
Before that, was a great episode, but this was when
you really started to feel this.

Speaker 3 (09:49):
Is boil boy. Yes, you were part of that.

Speaker 2 (09:55):
You know how a show takes a while to gel
and find it.

Speaker 4 (09:58):
They were still shadowing video. If I'm not mistaken, I'm like, oh.

Speaker 3 (10:01):
No, no, this was shot at this point on whatever
the most advanced digital was.

Speaker 4 (10:06):
I don't want to hear something else. I do remember
about that day. I remember the day pretty vivid one.

Speaker 3 (10:11):
Day, all that stuff, because it's a lot.

Speaker 4 (10:14):
Of it was still I think it was. I went
back for the second scene where I come back and Juli.

Speaker 2 (10:18):
Twenty three years ago.

Speaker 4 (10:20):
Yeah, I know, I remember. Tell us what I know.
You've done hundreds of about these episodes. I've done too,
so I remember that vividly.

Speaker 2 (10:27):
Tell us what you remember well.

Speaker 4 (10:28):
I remember the multiple sweaters we tried on because I
had to be wearing a bad sweater was part of
the thing. I also remember talking to a now I'm
blanket on his name, the director, the guy with the
beard episode Whitey was there, and also that the name
Dean Weinstock was named after Lotus Winstock.

Speaker 1 (10:49):
The comedian.

Speaker 4 (10:51):
I never knew you never knew that. No, Okay, breaking
news here on iHeartRadio.

Speaker 2 (10:56):
We'll be right back. Stay tuned. Okay, we're back. Tell
people who Loto Swinestock is.

Speaker 3 (11:10):

Speaker 4 (11:11):
She's famous for being Lenny Bruce's last girlfriend. She's a comedian,
I would say, almost an alt kind of comedian, but.

Speaker 3 (11:18):
Also in her day, very popular.

Speaker 4 (11:21):
Very popular comedian, comedy store act and wore yellow and
that was the thing you like to wear yellow on stage.

Speaker 3 (11:29):
Your nickname was Bananas come over here, Bananas go ahead.

Speaker 4 (11:33):
So she was just, you know, a comedian. In fact,
I think she was working and in fact it's in
my book pre Comedy Store. Obviously she was around the sixties.
Lenny Bruce dies in sixty six, so she was doing
stand up in l She was a pioneer before the
Comedy Store, which.

Speaker 3 (11:49):
Opened in seventies. Where she was playing it.

Speaker 4 (11:52):
Well, yeah, there was a little room in Beverly Hills.
There was a place, there was this something cafe obviously
place out on the Santa Monica Peer and so anyway,
so all of those little leadbetters before it became the
Comedy Store Westwood.

Speaker 3 (12:08):
Room and I want to plug his book.

Speaker 2 (12:10):
Yeah, I was just going to say, what is the
book comedy?

Speaker 3 (12:13):
Tell me the comedy book, and then I can also
mention the other.

Speaker 4 (12:15):
Okay, the book is called The History of Stand Up
from Mark Twain to Dave Chappelle. So we start around
eighteen fifty eight and go right till today and just
tell the history of it, right. And it's not like
an interview book where yeah, you're so perfect to write
a booklet. And it's very short. It's one hundred and
fifty pages.

Speaker 3 (12:33):
Like I really like.

Speaker 1 (12:34):
When you say that, how did you get the history?
You just your memories? You research.

Speaker 4 (12:39):
I teach a class on it at USC Oh I
didn't know that. Yeah, I'm perfect.

Speaker 3 (12:47):
Like is it the history of comedy?

Speaker 4 (12:48):
History stand up? Different than the of course?

Speaker 3 (12:52):
Of course I are talking to young people. I got
their futures, and I'm no Lucian. I encourage Lucien encouraged
only No. But I'm going to single somebody out who
told you you're funny in the front row. Everything you're
saying not funny. I wouldn't do.

Speaker 2 (13:05):
Wait, continue with the book.

Speaker 4 (13:07):
So that's the book. It's very short. The guy from
the New York Times Jason him and lost his mind
about it. The Vulture did a thing. So it's just
a book.

Speaker 3 (13:15):
About that. I don't you love to stand up? I
recommend the book because mostly it includes me.

Speaker 2 (13:21):
Does it include me?

Speaker 3 (13:22):

Speaker 4 (13:22):
Yes, yes, yes, I could not include yes I didn't know. No, no.
But it's mainly about how it evolved from pre vaudeville
to vaudeville to nightclubs to coffee houses, which is where
Carl Wars spelt Porsche spelled Miami Beach Vegas. And then
of course we were part of the comedy club starts
in sixty three with the improv but in seventy two

the comedy Store opens and Catcher out in Star opens.

Speaker 3 (13:48):
Oh wow. The eighties, yeah, yeah.

Speaker 2 (13:53):
And we were all very lucky to be part of
the boom.

Speaker 3 (13:56):
I agree with very lucky.

Speaker 4 (13:59):
Nineties. That was just a timing, right, even though I
have to say, let me ask you this when you
were started, because we all started at the same time, right,
did you feel like there were a lot of people
even then doing comedy and was hard to get in?

Speaker 3 (14:12):
No? No, Well for me, I know this, and you
weren't much older than me when I startled when we met,
which was in eighty four, So for me personally, when
I started, the only other people around my age were
Eddie Murphy and Dana Gould, two or three other people
what's his name, bobcat Golfwaite. Like nowadays, I think there's

at least one thousand people under the age of twenty
five doing stand up, and so whether there's one hundred
or ten thousand comedians, there's still wanting to be about
twenty funny ones. It's an exaggeration, but I agree.

Speaker 1 (14:47):
So back then, I felt like back then that we
were a very small community and that we knew everybody.
You walk into a club, you knew every comic. Wherever
you went with you were a theater.

Speaker 3 (14:57):
Here's how small it was. When people appeared on TV,
comedians in the clubs would gather around the TV and
be happy for him. Nobody was like, oh screw wow.

Speaker 2 (15:07):
Some some were happy.

Speaker 3 (15:10):
Later maybe that was the case, but at the beginning,
I don't remember that. And I remember being in the
comic strip the night that Letterman show first there.

Speaker 4 (15:18):
That's why I'm a night show or the morning show.

Speaker 3 (15:21):
The night show. The morning show was going.

Speaker 1 (15:23):
But that being said, when watch it still was always
difficult to get spots, and getting spots was the most important.

Speaker 4 (15:30):
They want to There was compensation, gold there was just
a lot of you.

Speaker 3 (15:39):
There was just a lot by the way, I have
to now when we hang out next, I have to
have to just keep pulling them out of you.

Speaker 1 (15:47):
And what the audience, our audience needs to understand is
that spots are everything. The only way to be a
good comic is to get a lot of stage time.

Speaker 2 (15:55):
And you you had.

Speaker 1 (15:56):
To compete for those spots. And I remember he was
talking about the commic stript. I remember was it Monday.

Speaker 2 (16:00):
We would call to get the spots for the week.

Speaker 1 (16:02):
And you would be so disheartened if you maybe only
had one spot or no spots, and then I feel
like that's it. My career is over, and it was
all about getting this spot.

Speaker 3 (16:11):
I'm going to guarantee that when people called in there
may have been forty to fifty comics. Now, a dairy
young comedian to get into the comedy store, it is
near impossible, is that true? Yes? And I'm just talking
about the comic store. I'm talking about all clubs because
there's so and road clubs too. There are so many
comedians now that it is hard.

Speaker 1 (16:32):
To get I think the point that Wayne's making is
even though there were less of us, it's still felt
very competitive.

Speaker 3 (16:38):
Extraordinarily competitive, and I felt the competition, but it didn't
mean you were You weren't happy unless somebody was an asshole.
But there weren't a lot of assholes back and there.

Speaker 2 (16:46):
Were so there was quite a few.

Speaker 3 (16:48):
Did you know, quite a few.

Speaker 4 (16:49):
Yeah, I'm not gonna name name.

Speaker 2 (16:52):
Also for mere different.

Speaker 4 (16:54):
Also I'm from Florida, Like I'm a very like, easy
going guy. You've known me a long time.

Speaker 3 (17:00):
You knew that true portable palm tree and you were
Jimmy Buffetshert.

Speaker 4 (17:08):
But you know that was new to me to be
in New York in such an aggressive environment where it was.

Speaker 1 (17:15):
Also for me, it was a little bit different. If
you recall they would only put one woman. They would never.

Speaker 3 (17:22):
That's why you're a pioneer, because they would never.

Speaker 1 (17:26):
There was there was number you know, there was joy
and we were all supportive general.

Speaker 2 (17:33):
All of us.

Speaker 4 (17:33):
Susie Sasma was there, Susie Sorrow Sorrow, I'm talking about Larson.

Speaker 3 (17:40):
Yes, his name Sorrow was in the but.

Speaker 1 (17:45):
There there, but there was, there were, there were There
were enough that it was competitive because they would only
put one woman on a show.

Speaker 2 (17:53):
Abby Stein, Sure.

Speaker 4 (17:55):
But who's the one who did Betty Davis. What was
Nancy Parker? There was a Nancy Redman who did a.

Speaker 3 (18:03):
There was.

Speaker 1 (18:04):
My point was they would they would only put one
of us on the mail mail mail, and they would
only put one woman. They would never put two women
back to back. Ever, where can we find this book?
When there's a line called Amazon, it's on the web, Okay,
it's called Amazon dot com.

Speaker 2 (18:22):
It is called The History of Stand Up Comedy.

Speaker 4 (18:24):
The History stand Up from Mark Twain to Dave Chappelle.

Speaker 1 (18:27):
And by Wayne Fetterman. You are, yeah, of course they have.

Speaker 3 (18:33):
But by the way, also a great book on Pete Marravich.

Speaker 2 (18:36):
And what was the other book you wrote, Pete Marrivin.

Speaker 4 (18:39):
Yeah, that's a basketball player that I wrote around now
you're two thousand, Oh you do.

Speaker 2 (18:42):
Of course, I'm a sports girl.

Speaker 3 (18:45):
Yeah that's okay, Yeah, that helps her.

Speaker 4 (18:47):
I wrote, they co wrote, co wrote the Authorized Biography
of Pete Maravich and it was an insane experience.

Speaker 3 (18:55):

Speaker 4 (18:55):
That was the start of Wayne Fetterman going from I'm
talking about myself. Now, all I wanted to do in
life is stand up and act. When I started when
you met me, and that's all I didn't want to
be on writing staff. They never had a packet anything
like that, any of those things.

Speaker 3 (19:11):
Remember the packets.

Speaker 2 (19:12):
What's the packet?

Speaker 3 (19:13):
The packet is you go, by the way, I delivered
Louis c. K's packet to Conan because we had theer
and I and I used to be roommates with Conan.
So I'm like, oh, Louis K and my managers said,
we in this packet. I'm going to deliver it rat
package package packet and everything's in there.

Speaker 2 (19:33):
Let's go back to Wayne and Fetterment.

Speaker 3 (19:35):
Well, by the way, it's our show with Wayne. It's
not an interview, it's a conversation.

Speaker 2 (19:39):
We'll be right back. Stay tuned. Okay, we're back. Tell
me what you remember about Kerk.

Speaker 4 (19:54):
Besides the sweaters, and then talking to Bob Whitey about
what we're doing, which is and I'll always remember what
he said to me. He goes, it's like we start
with the rock and then we're gonna polish it and
do it numerous times, and then by the end we'll
have what we want.

Speaker 3 (20:12):
And so he's alluding to a diamond, and I would disagree.

Speaker 4 (20:15):
No, he didn't use diamond. I think it was like
a marble or something like that.

Speaker 3 (20:19):
But like it was that exchange is so awesome.

Speaker 4 (20:26):
So but the point was like, don't worry about it.
Obviously everyone knows there's no lines in it. So that's
I can't say this more clearly, is that that's right
up my alley. I don't have to worry about saying
the line correctly. I don't have to worry about the
timing of it. I don't have to worry about their line.
I don't have to react in the moment, which is

something Jeff and I talked about for years with what
great improv is is obviously listening.

Speaker 3 (20:52):
Yeah, I know what I was gonna say to you,
because you were great in those things from the get go.
And there's two questions. I'll start with the second question.
Did Larry break up a lot from what you were doing? Yeah? See,
that's the thing that we try and explain that, considering
he knows Wayne and Wayne's tickling him making him laugh.
I remember him losing it, but yeah, he lost it

when you would say things. Yeah.

Speaker 4 (21:14):
So anyway, because I can play passive aggressive, it's part
of me because I'm not aggressive aggressive. Have you ever
seen you've known me thirty ever get up and someone's nothing.
But I can be passive a little bit, so I
knew that guy right away. It was just like, oh,
this is the worst guy in the world under the
guise of being the nicest guy in the world. Right,
that's the whole thing.

Speaker 3 (21:35):

Speaker 4 (21:36):
I'm helpful, I can do this for you.

Speaker 2 (21:39):
I have information.

Speaker 4 (21:40):
Well, yeah, you know, he was just cracking up, and
he just kept saying, do more of that, do more
do a little.

Speaker 3 (21:47):
By the way, when someone's kicking ass in their role,
he gets so excited. He's so happy because you're what
he wanted. He pictured you doing physician and when it
Matt by the way, a lot of his laughter is
thinking about how absurd what he wrote is and if
that matches the character comes out that he.

Speaker 1 (22:10):
But but but also he wrote it and he's pictured it.
But then somebody like Wayne comes along and brings it
to another level.

Speaker 4 (22:17):
But also I was with also mind my blanket on
her name who played my wife. She's hilarious. Yeah the
hill Web, Yeah, Lily Web. I sorry, Lucy, because I'm
just happy to be working with her. To tell you
the truth very much, And it was just very easy,
and he kept cracking up with you.

Speaker 3 (22:33):
By the way, you gave a ton of opportunities for
Julia Louis Dreyfuss, who is a delightful, wonderful human being,
and you gave her so many soft balls to get
angry at. I remember that. It just was you gave
her just a full color palette. Here, paint your picture.
It was amazing to see.

Speaker 4 (22:54):
Yeah, there is also amazing moment in that where Lucy
invites Larry over for dinner at our house and he
just is so furious at us that he goes, I
can't there's something wrong with my stomach. I don't know
if you remember this moment that actually made me laugh
because it was so the boiling, the boiling underneath and

him trying to be nice because we need the lawyer
to take care of your thing and get the wire.
So it was like, yeah, here's the other thing I
remember in the final scene, I come back and I
found his book.

Speaker 3 (23:27):
I don't know if which By the way, that was
totally Larry and a lot of comedians. I still carry
paper in my Pockecorse with a pen, but that was
his actual book. That wasn't a prop Oh really, Yeah,
by the way, is really surprised.

Speaker 1 (23:41):
I know, I'm I was very surprised that he would
actually give up his book.

Speaker 3 (23:45):
But he does it on his phone now and I
can't believe it really, but he's make up. Yeah, because
I've been with him. You couldn't calm him down when
he lost the book.

Speaker 4 (23:56):
He was so yeah, because he says that's the hardest
part of the his book.

Speaker 2 (24:01):
I'm shocked that he would use this.

Speaker 1 (24:03):
Yeah, so that that we're learning from Wayne Fettermant.

Speaker 4 (24:10):
So it was this original book and this is just
the neurosis of an actor. Okay, just you know, I'm
always trying to police people. So we do that scene,
make out a check, you know, just hey, there was
a reward, you know, I do the whole. It just
says to the el David, I put it two and
two together is a shoe, so you know, all obviously

it's right. A week later, I get a call we
may have to reshoot a curb.

Speaker 3 (24:38):
I was like, oh, I fucked up reaction. I don't know.

Speaker 4 (24:44):
Yeah, I was like, what did I do? I thought
I nailed it. I thought this was okay, and then
later on they were like, now we're going to keep it.
And then I realize why because in one of the shots,
the window shade is closed once and then it's open
because they can't knew anything, And I saw that they
had to edit around it, and I was like.

Speaker 1 (25:05):
Wayne, I just think it's so interesting that you immediately
went to which we all do, I fucked up?

Speaker 3 (25:11):
Well, I was you.

Speaker 1 (25:16):
I would think, you know, if I even here, if
I even here, we have to do another take. I
always think it's because I fucked up, not because there's
a boom shadow, when it's usually because there's a boom shadow,
you know, but.

Speaker 4 (25:27):
We all we were all a boom shadow.

Speaker 2 (25:30):
We're all deeply insecure.

Speaker 3 (25:32):
By the way, I am not insecure with Curb. That's
the only place I'm completely comfortable besides a stand up
any other project. Other people directing, I'm not involved with
the storytelling you're producing, and I'm not one of the cast.

Speaker 4 (25:46):
It's a.

Speaker 3 (25:48):

Speaker 4 (25:49):
Did you started out?

Speaker 3 (25:50):
Can I?

Speaker 1 (25:50):
Well, I was just gonna say, how what was it
like to work with Julia in that scene?

Speaker 4 (25:54):
Well, first of all, we were outside the door, so
she has to come in first. So we're waiting outside
and we're like, you know, kid is seen a little bit,
and then she goes in. Then I knock and come
in later, and she's like, you missed the appointment, And
then I go all lawyerly, Well, this is just a disagreement.
You saw that as a meeting. I saw that as
a horrible moment in my life, all written out of

my brain, all of it, every line. So it's so satisfying,
and you know, it's just cracking. You know, she's to me,
she's Lucille Ball level committing. I know that sounds like it,
but I just feeling she's.

Speaker 2 (26:33):
A terrific communication terrific.

Speaker 4 (26:35):
I mean her worked it on Seinfeld.

Speaker 3 (26:37):
How about her working on Veep?

Speaker 2 (26:38):
When he did the scene with her, it was just
post Seinfeld.

Speaker 4 (26:41):
Right, yeah, And I just thought she was the glue
that held that show together.

Speaker 3 (26:46):
I thought, oh no, no, no, she was the glue
on Seinfeld.

Speaker 4 (26:49):
Nanocally and just I'm a knight.

Speaker 2 (26:54):
You know. So in a way you were emulating your characters.

Speaker 4 (26:58):
I mean, but I don't I don't really have that
with actresses and actors. Yeah then I don't. I don't
go goog But no, maybe for like like doctor J
or something, you.

Speaker 3 (27:10):
Know, in that way that we're working with now and
worked last season Tracy Omen. When I'm doing a scene
with her, I cannot believe I'm there she is, especially
when she's in that character, I can just believe I'm
working with And she's also gifted at that level gifted, but.

Speaker 2 (27:28):
She's she's really fascinating to watch.

Speaker 3 (27:32):
The fascination comes up with stuff where you go, how
did someone think of that? And it's Larry level stuff.

Speaker 4 (27:39):
Yeah, but once they did the show, I don't know
if you know this, when the Emmy nominations went out,
like that show was up for consideration the wire. They
were really pushing. It didn't get nominated. It's fine, doesn't matter,
But I kept getting compliments from people, especially as the
show became this.

Speaker 1 (27:56):
Thing, and which it was not really in the first right,
we didn't know, but it's it was under the rat
I've talked.

Speaker 3 (28:03):
About this before. HBO referred to us as their little
experimentally you're kidding. After the first season, and I've mentioned
this before, we're the longest running show in the history
of HBO, right, right, so that that your little experimental show.

Speaker 1 (28:20):
We were very much under the radar that first few seasons,
two or three, right.

Speaker 3 (28:25):
Until until we followed the Sopranos. Right season there became
ninety minutes of delightfulness experience.

Speaker 4 (28:31):
But this is the honest truth. It's my favorite thing
I've ever done.

Speaker 3 (28:36):
Honest and truth.

Speaker 2 (28:38):
All right, Okay, okay say it again.

Speaker 3 (28:41):
Wait, I apologize.

Speaker 4 (28:42):
This is in my opinion, it's my favorite thing I've
ever done any show business. And you can look at
my my IMDb. I'm almost at one hundred. I'm hummering
around ninety two. I look every day.

Speaker 3 (28:53):
I'm at sixteen. I never looked.

Speaker 2 (28:57):
I look every day.

Speaker 4 (28:58):
So all the things I played Larry Sanders brother, I
have a Stan Sanders. I've been in his stepbrothers. I've
been in a lot of like things.

Speaker 2 (29:06):
And this was your favorite.

Speaker 4 (29:07):
You know, I think he blaced me all the time,
and I always say it. I always think.

Speaker 2 (29:11):
One of the reasons why, and correct me if I'm wrong.
A couple of reasons.

Speaker 1 (29:15):
First of all, you're working with Larry, You're working with
that brain. But also the fact that you get to
have so much creative input by writing your own scenes,
by writing your writing whatever.

Speaker 2 (29:28):
But you're writing it.

Speaker 3 (29:29):
You ding ding ding, It's as if it's written, So.

Speaker 1 (29:32):
You are so a part of the creative process and
the creation of this show in a way that you're
not when you have a script.

Speaker 4 (29:38):
And also I like what I see and a lot
of times I see myself act I'm like, oh, I
can see that.

Speaker 3 (29:42):
They always hate myself. You know that, except for Curb,
I cannot stand away. Do you like I'm in Babylon
right now? Yeah, I've seen it, big movie. Yeah, yeah,
And I get mixed. People love it or hate it
with to me, I know I will hate my performance
and I might hate the movie. And I don't want
to hate the movie because I love the film.

Speaker 4 (30:01):
That I hate my performance. What about you, Sizzy.

Speaker 1 (30:04):
The thing I can't watch is I can't watch one
I myself, Like if I'm on a talk show or something,
or if I'm doing stand up, that I cannot bear.
I love to watch Curb because it's so funny.

Speaker 4 (30:14):
Take Away Curb, I'm saying, when you when I.

Speaker 1 (30:16):
See myself, I can't stand it.

Speaker 3 (30:18):
What do you see?

Speaker 2 (30:19):
What do I just.

Speaker 3 (30:21):
Explain it?

Speaker 2 (30:22):
I can't.

Speaker 1 (30:22):
Well, it never feels it feels false. It feels it
feels it feels false.

Speaker 3 (30:28):
You're critical.

Speaker 1 (30:30):
No, No, it's not about It's.

Speaker 2 (30:33):
Not about that. It's about what you're seeing, you're seeing yourself.

Speaker 1 (30:37):
You're not inhabiting the character in the same way that
you are in Curb and Curb. You know, I put
on those outfits and I become her. I don't even
think about it. I just become her, whereas other things
I see acting, I see.

Speaker 2 (30:52):
You know, and I don't see that in Curb ever.

Speaker 1 (30:57):

Speaker 3 (30:58):
That's why I always say, actually, thrown up. I've had
to leave the theater and go throw up in my performance.
Not making up that.

Speaker 1 (31:06):
Wayne, You're gonna come back and talk about your your
next year season seven.

Speaker 3 (31:11):
I love I love it, Joy.

Speaker 1 (31:14):
And you were amazing as Dean Winstock and you got
every nuance of that character so perfectly, don't you agree, Jeff?

Speaker 4 (31:22):
I mean, just plad that Lotus Winstock is connected to
it in a way as well.

Speaker 3 (31:27):
It makes me very happy. Yeah. I love stuff like that.

Speaker 2 (31:30):
Thank you, You're welcome. We'll be right back. Stay tuned
and we're back. Okay. So Larry Wicks, Yeah that.

Speaker 3 (31:48):
Was a good interruption story. Yeah, I'm really hopeful.

Speaker 1 (31:52):
So it begins between Larry and Susie. Then Larry and
Jeff go to a restaurant. Susie's mad Dean is shrewd.
Jeff wants to fire Dean, LD begs Jeff to keep Dean.

Speaker 2 (32:04):
You're a prick. Why did I write that?

Speaker 3 (32:06):

Speaker 2 (32:06):
Because he says Dean is a prick.

Speaker 1 (32:08):
You're a prick, as though it's a good thing as
a manager.

Speaker 3 (32:11):
You're by the way, here's an unusual point that you're
not bringing up. Larry says, the cutoff time is ten thirty,
and you answer, and Tom, we have kids. That there's kids,
your kids.

Speaker 1 (32:21):
I know I did notice that with an s yeah, kids,
But that everything changed, I know, you know, because Sammy
was a boy.

Speaker 3 (32:28):
Right, Oh yeah, originally Sammy was a boy. That's right, okay.

Speaker 1 (32:32):
And then you know, Larry begs Jeff to keep Dean
because he needs Dean otherwise his marriage is going to
fall apart. And then you tell Larry that the kid
wants to stay with us.

Speaker 3 (32:41):
Which is insane, but believe it is insane.

Speaker 1 (32:44):
Believable character, Yes, yes, because you're just sweet and lovable.
Then next scene, Julia and Larry show up a Dean
in Phyllis's and Phyllis is hysterical crying.

Speaker 2 (32:57):
It's so funny, I.

Speaker 3 (32:58):
Mean, like her mess here is running great. I mean
it was a great makeup job and a great performance.

Speaker 1 (33:04):
And it turns out her cat died, yes, which like
Larry could care fucking lesson about her cat.

Speaker 3 (33:09):
And you know when you lose a cat or a
dog or it's really overwhelmingly sad. It really is. If
whenever I lose Sage, no, it's really gonna kick me in.

Speaker 2 (33:22):
But Larry could care less.

Speaker 3 (33:23):
I mean he was so but Larry is such a
in real life. Larry is a dog person. He is
he loves his dogs.

Speaker 1 (33:28):
But Jane is not there because Deane's with Jeff. And
then a brutal discussion about the cat dying, the details
of you know, I had a neighbor who, every time
she would come to our house would tell us the
history of every dog's death that she ever had, God
and dies. And then she would come over a few
months later and I would hear again the details of

every dog's death that she ever had.

Speaker 2 (33:52):
She relived it every time.

Speaker 3 (33:53):
Well she needed to let it out.

Speaker 1 (33:58):
And then Phyllis brings out the cam quarter and you know,
no good could you know this is going to be
a fucking nightmare the cam quarter and Phyllis tell me
about Jerry Seinfeld. Larry says he's a eunuch. He has
no testical testicles.

Speaker 2 (34:11):
You know.

Speaker 1 (34:12):
Another thing that struck me about this is that in
this episode, in an earlier episode, there was a lot
of Seinfeld mentioning, which kind of went by the wayside
in later seasons.

Speaker 2 (34:23):
It was more present in this season.

Speaker 3 (34:25):
We weren't trying to fill oh, I.

Speaker 1 (34:26):
Know, but it was more present, and I guess it
was just a timing thing because it was right after
and by the way.

Speaker 3 (34:31):
What was also interesting in this episode where something happened
for the very first time because Larry most of the
time is a victim of circumstance and then he makes
it worse. Well, here Julia is doing him a favor
and I'm watching her in the scene and she's Larry.

Speaker 2 (34:47):
Yeah, she's Larry.

Speaker 3 (34:48):
She's being put on upon, just not want to be there.

Speaker 1 (34:53):
So Larry calls Jeff Dean is still there. Julia wants
to buy the bracelet again. So the bracelet comes back
the two episodes, but.

Speaker 3 (35:00):
Only two episodes. We mentioned it last episode before this,
and then it gets to hear and it's a real callback.
Like I don't think we've ever done an individual storyline
that has nothing to do with the season forget two episodes,
three episodes.

Speaker 2 (35:15):
Yeah, I don't think so either, but we'll see.

Speaker 3 (35:17):
There might have been a callback, you know, when I'm
bald that he mentioned something. I'm just trying to think
of the times where I shaved my head was shaved.
I don't know, but this was really unusual to me.

Speaker 2 (35:28):
But again, this is season one, right, it's finding itself.

Speaker 1 (35:32):
Julia wants to buy the bracelet's the same bracelet he
wanted to buy for Cheryl, and you know, Larry realizes
that he's got to figure out how to get this bracelet,
and Julia is going to have to come back over
and Larry doesn't want to impose. But then Larry realizes
he lost his notebook and he calls Julia it's ten
to ten. It's before the cutoff time because now he
realizes Susie says the cutoff time is ten. Well, Julia's

cutoff time is of course nine thirty, right, And then
Larry shows up at Julia in Brad's house and it's
late and he's looking for his notebook and they do
not want him there at all. That's really her husband,
Brad yet Hall, by the.

Speaker 2 (36:10):
Way, they met at.

Speaker 3 (36:10):
Northwestern and then they were in the Practical Theater Company,
which was next to the Second City, same kind of work,
and then she went on initially to Nisonal and he
became a writer. He was on Essenal too. We're still
married and their son played basketball at Northwestern University. These
are fun facts for young adults.

Speaker 1 (36:27):
Okay, go ahead, and Larry goes through Brad's desk. Larry's
being really intrusive and ridiculous, and you can see they're
getting angry or a by the.

Speaker 3 (36:35):
Way, it's at this moment when I'm watching the episode
and watching how Larry handles it and what he goes
through and to asking the kid like the whole thing,
and all I'm thinking is how does Larry David do this?
How does he come up with this? And he's so
fucking brilliant that it just blows my mind. I know,
even the little scenes just are like wow, and it's connected.

And it's the same thing with Nat Hiken, who I mentioned.
It's these dominoes where you go where how that's why
Larry Larry David.

Speaker 2 (37:04):
And then also what a good actor he is.

Speaker 3 (37:06):
No, he's excellent, and he's he's always getting better, which
he He got mad at me once for telling him
that he got like maybe season two. I go, you're
getting so much better. Well, it wasn't good before he was.
I'm not even making it. He was really upset with me.
But the thing about working with Larry David and so
closely is such an honor for me. That's like, you know,

me working with Michael Jordan, except I'm not Scottie Pippen.
I'm Dennis Rodman. I get the rebounds, I pass it off.
Scotty Pippen, Is you Scotty Pippen?

Speaker 2 (37:37):
Is JB I never.

Speaker 3 (37:40):
Yeah, Okay, I just did a whole bulls thing, But
that is really true. I'm working with one of the
greatest of all time, certainly the greatest showrunner of modern times.

Speaker 2 (37:50):
I would agree with that.

Speaker 3 (37:51):
You know, we all comedy. I'm saying we both are.

Speaker 2 (37:53):
I mean, it's it's amazing.

Speaker 3 (37:55):
No, it's amazing, and I'm lucky to work with you.

Speaker 1 (37:58):
And I'm lucky to work with you and Brad and
and Julia kick him out. And then Larry comes to
our house in the middle of my tirade.

Speaker 3 (38:07):
I want to go back again, as I usually do,
because this is big and that I want you to
talk about it, but you and I also thought after
that scene with Brad and Julia and I thought, God,
bless Julia for doing her show the same way that
she did the favor for Larry.

Speaker 2 (38:24):
Larry with the wire.

Speaker 3 (38:27):
It's pretty much a similar thing of Larry going, will
you please come on the show? I wrote this for you,
and he wrote sign for what she's going to say no,
although she loved the you.

Speaker 1 (38:36):
Know, but also I know season one, but it's not
Diane Keaton. It's a different relationship because Larry created an
iconic character for her. Yes, that she did for what
was it nine seasons or whatever, and I'm sure she
was extremely but she did for that before.

Speaker 3 (38:55):
We even had the Seinfeld thing. She was the one
who did the show I think three times before the
Steinfeld episode of the other guest appearances.

Speaker 1 (39:03):
So she's a doll by the way she is, and
extremely talented comedic actress, extremely talented.

Speaker 3 (39:10):
Crazy talent, so actually with deep, actual crossed over and
to brilliant. Yeah, I was in awe of watching her
on that.

Speaker 1 (39:18):
Okay, so now Larry walks in and the fresh air
fun kid that you brought into our house, robs us
blind yep, and I am going crazy on you. And
this is the first time you see the Susie Jeff
Larry relationship and Susie being this is the reason why
he hired me. Was this scene. This was the scene

he had in mind when he hired me. And I
have a question here from Anna, our producer. Where did
the personality of Susie come from? Was it decided on before?
Did it come out when the scene was improvised? I
will tell you the only direction I got from Larry
or Larry Charles, who was directing the episode, was Larry
David said to me, I want you to rip Jeff

a new asshole. That was the only direction he gave
to me. And I thought, well, you know I could
do that. I've been in relationships before, and so that's
the only direction I've ever gotten on this character. I'm
just instinctively, and you understand this. I looked at the
house and the decor and it was all this very
modern and black leather, and if you recall that house,

and I just decided who the character was. I just
decided how she dressed. I decided who she was. I
saw what you were doing, and who would be married
to you? And this character, and that was it. There
was no more thought that went into it. So I'm
screaming at you and yelling at you and cursing and
fuck you and blah blah blah. And then Larry keeps
pulling me over and says, go do it more, do
it more. And I thought I was doing a lot,

and again another take, screaming, yelling, fuck you, fuck you,
and then he pulls me aside and he says, I
want you to make fun of Jeff's fat and I said, la,
I don't want to like to do that. That's not
my style of comedy to make fun of somebody's look
So I hate that and stand up, you know, when
you go to somebody in the audience for what they
look like, it's horrible. So it's not my style. And

some people do do that, you know. And I was
like on him and he was like, just do it,
just do it. He knows you're just acting. I was like,
it's not nice. Jeff's my friend. You aren't even thinking,
you know why, because you were a fat fucking asshole.

Speaker 2 (41:16):
That's what you want.

Speaker 1 (41:17):
So that's the first time I called you a fat
fuck And then it was like the Genie was let out.

Speaker 3 (41:21):
Yes, the genie was let out of the bottle. And
you did it numerous times in that scene, and if
you make times, people ask me how you don't do
it anymore on the show, And people always said, you know,
does it bother you when she calls you a fat fuck?
I go two things. I'm probably thinking about lunch. I'm
probably thinking about a friend cart. Yeah, I'm thinking about

taking a nap. I am definitely not hurt by it
because I know it's pretend. And also I would say
all the time, well, if it bothers me, she'd call
me a fat fuck. All I gotta do is lose weight.

Speaker 1 (41:53):
Well, but also more importantly, the character is calling the
character a fat fuck.

Speaker 2 (41:58):
It's not me, Susie Garland a fat thought.

Speaker 3 (42:02):
And I completely I've never been offended.

Speaker 2 (42:06):
And that was Larry's point.

Speaker 1 (42:07):
Larry's point was he knows it's not you, he knows
it's the character.

Speaker 3 (42:12):
Yeah, And I got to be honest many of those scenes,
I was a fat fuck.

Speaker 1 (42:16):
Well in that season, I was a fuck and I
was fat, so yeah. So that was the first time
and then the character just started to develop in my mind.
It was an instinctive. You know, I hate the word,
but it was an organic thing of how I just
felt like, oh, I know who she is and I
just became her, and especially the way she dressed and

that whole thing, which got more and more as further
seasons went on. But there were so many moments in
that scene that I loved. My grandma's brooch, you know,
your baseball cards and the Mickey Mantle and all of
that stuff was just so much.

Speaker 3 (42:50):
My favorite thing was at the end, you were talking
about your grandma how she got and you use the
word steering steerage.

Speaker 2 (42:57):
She came over and said, Stario.

Speaker 3 (42:58):
So where did she pull steerage?

Speaker 1 (43:00):
She brought it over from Russia from amp she was
in steerage. That was the first time I met Larry Charles,
and I remember Larry Charles overhearing he didn't say this.
I overheard him saying, you know, I was wondering why
they brought this girl in from New York, Like why
they slept this girl in from New York for this part?
He said, But now I get it, And that was
a moment that.

Speaker 3 (43:18):
Was your work before.

Speaker 2 (43:19):
Yeah, exactly. So that was nice.

Speaker 3 (43:21):
When Larry David approached me about you being my wife.
I couldn't. I was like, that's brilliant, let's go please.

Speaker 1 (43:29):
So that was the first establishment, and it got more
the next season, and that was the establishment where you
and Larry are scared of me, horrified.

Speaker 3 (43:39):
And that scene by the way, when you leave the
room and here it is really funny and like please please.
You know, whereas now he wouldn't leave, you would throw
him out corrected, he deals with all your bullshit and
he throws it back at you because you think he's
got a lot of bullshit. You've got a lot of bullshit.

And then and it'll build to where you look to
me for help. I don't give you help, and you
throw Larry out of the house. That's the rhythm of.

Speaker 2 (44:07):
One of my favorite things. Yes, I'm always happy, okay.
And then he goes home and Cheryl found the first
of all.

Speaker 1 (44:13):
Here's what confuses me. The bracelets supposed to be vintage.
There's like a million copies of this fuckingra by.

Speaker 3 (44:19):
The way, he said, forgery or you know something, yeah,
something like that.

Speaker 1 (44:23):
Cheryl found the bracelet and she goes out, She's gonna
go buy the bracelet whatever, and then Julia shows up
and Larry apologizes, and you know he had the pet.
It's nine months of ideas and he tries to explain it,
and Julia can't find her bracelet, which was the same
exact bracelet that she bought from Phyllis that Cheryl wanted
that Richard Lewis already bought for his girlfriend. Whatever, this

bracelet is complicated, and then she sees the bracelet that
Cheryl bought sitting on the table and assumes that Larry
stole her bracelet, which is just like a beautiful classic curb.

Speaker 3 (44:55):
Yeah, the moment that someone sees something, they assume something.
And he goes no, no. When he starts.

Speaker 1 (45:03):
Explaining, to see Julia's face because she sent a terrific
actress and just see her face of disgust. And before
she leaves, Dean shows up, Yes, and Julia has no
fucking time for him.

Speaker 2 (45:14):
She's in a huff.

Speaker 1 (45:15):
You know what, you come on time and she's in
a huff and she berates Dean, and then you know,
Julia leaves in a huff and Larry kicks ten out.

Speaker 2 (45:23):
But before he kicks Dean out, Dean found the.

Speaker 1 (45:26):
Notebook, yes, which is very very important, and there's a
reward in the notebook.

Speaker 2 (45:31):
What does it say in the dollars five hundred dollars.

Speaker 1 (45:34):
Which was based on the truth that Larry really did
write that in his notebook.

Speaker 3 (45:38):
Yes, and then later on you'd have an email. Well
there it was email then. I don't even know if
Larry knew what email was then.

Speaker 2 (45:44):
No, he's very then sure, Yeah, I remember.

Speaker 3 (45:50):
I knew it before then because I was on the
cutting edge.

Speaker 2 (45:53):
I might have had it. I just don't remember.

Speaker 3 (45:54):
No, listen, Susie, I'm on the.

Speaker 2 (45:56):
Cutting cutting mister technology.

Speaker 3 (46:01):
Just ending that way of Larry getting the money and
giving UF. What's unusual, though, is the scene ends on
Wayne Fetterman.

Speaker 1 (46:09):
No, the scene ends. Oh, the scene ends on Wayne
fed The episode does not end on Way. The episode ends.

Speaker 2 (46:17):
Staring at the wire.

Speaker 3 (46:19):
Yeah. By the way, I know, Larry used to have
a hammock that he'd lay in the backyard, and I go,
people think you don't have trouble, so a lot of
anxiety when you lay there. Yeah, yeah, because people think, yoh,
you're that rich or successful, you don't have anxiety. Just
the Shpilkey's just come with being a Jewish comedian. Okay,

but you know, damn well, he's never gonna lay in
the sun in a chair like that. No. If I
asked him now, he would surprise me by saying yes,
but you never know what.

Speaker 2 (46:48):
Larry comes out and know, well heather on the sunscreen.

Speaker 3 (46:51):
Yeah, but that's when we're working and stuff and daily
his body laying out in the sun.

Speaker 2 (46:58):
That's fat.

Speaker 3 (46:59):

Speaker 1 (46:59):
Yeah, he's not an outdoor kind of guy, except playing golf,
which he also hunts. One little note that I noticed
watching the credits, because I like to look at the credits.

Speaker 3 (47:09):
And watch them every time.

Speaker 1 (47:11):
It's a memory of who was And I see that
second camera operator of that episode was Patrick Thelander.

Speaker 3 (47:19):
Patrick Thelander who is now.

Speaker 1 (47:21):
Our cameraman all these years later. I didn't remember him that.

Speaker 3 (47:25):
One season or the first two. I I'll have to
ask him.

Speaker 2 (47:27):
Yeah, we'll see him next time.

Speaker 3 (47:28):
We have Patrick, who I love, who is from Sweden. Sweden.
He is such a wonderful presence on the set.

Speaker 2 (47:35):
Yes, we happen to have a great crew.

Speaker 1 (47:37):
We do, and it's changed over the years, but there
are holdovers and this sum that have you know, in
the new incarnation when we came back after the long hiatus,
most of them no they are no, not the.

Speaker 3 (47:48):
This is our second new incarnation. We had the season
where we came back where some people started and a
lot of people weren't there from the past. Now the
last two or three season since it's been the same steady,
the same.

Speaker 2 (48:02):
Same crew exactly. That's what I'm saying.

Speaker 1 (48:04):
The point I'm trying to make us and this was
the case in the first batch we did up to
season eight, and then we took a six year hiatus
and then we came back for nineteen eleven twelve. But
the point I'm trying to make is that the crew
always wants to come back to KURB. That we have
a lot of repeat and a lot of times they
leave other shows to come back to KURB.

Speaker 3 (48:23):
We've been lucky with that, and we were really lucky
the first seven eight.

Speaker 2 (48:26):
Yes, yes, a lot of continentary because.

Speaker 3 (48:28):
It was really it was you know, they always say
like a family. But by the way, Patrick the Cameron
who we're just talking about. Fun fact which we've used
in the show. What do you think Larry David discusses
with him every day?

Speaker 2 (48:39):

Speaker 3 (48:40):
No, he's from Sweden.

Speaker 1 (48:41):
Hockey, oh hockey, Mark Bergman, the Rangers.

Speaker 3 (48:46):
The Rangers are Larry's great He loves the other team,
and so Patrick, being from Sweden and grew up playing hockey,
Larry always has a million questions for him.

Speaker 2 (48:56):
They discussed some fact and that's the episode. It is.

Speaker 3 (49:00):
So we'll be back soon, very soon, next week. I
don't know when they're running or how we'll figure it out.
I know they'll be available to you.

Speaker 2 (49:11):
And we'll see you next time.

Speaker 3 (49:12):
We will thank you, everybody.

Speaker 1 (49:15):
The history of Curb Your Enthusiasm is a production of
iHeart Radio. For more podcasts from iHeart Radio, visit the
iHeart Radio Apple Podcasts, or wherever you listen

Speaker 2 (49:24):
To your favorite shows.
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