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- so, zach,i think when i interviewed sarah silverman,she mentioned that you guys started together in some way. - mm-hmm.- and... - there was this kind of scenein new york then, and it still prevails, where it was placesto perform that weren't necessarilythe traditional comedy clubs. um, "a," because they werecheaper shows,
and often they were free, so younger peoplewould come and-- you know, there was also showsin laundromats. it wasn't, you know--[laughter] - yes. - a lot of bad,terrible-- - places to work.- yeah, really horrible. - yeah.- i mean, i started in the backof a hamburger restaurant
in times square, so that kind of shows youthe trajectory. - started doing stand-upin the back of a hamburger restaurant? - yeah, dreams do come true. [laughter] um, "mom, guess what." um... - "it's happened!i'm working!"
- yeah.stand-up comedy, i think, is alwaysa desperate art form, because you have to tryto figure out, you know, where to go on.- yes. - you know, you can't just walkinto a club and go, "hey, can i try to go on?" there's always--you know,you have to bring people. i didn't want to bring anyof my friends to a show. i was terrible.
i used to bringhomeless people to shows because you had to bringtwo people, and i would meetthese homeless guys, and i would--if--"would you come-- "i'll pay for your drinks. will you comeand fake laugh?" and, uh, so, yeah. but i remember i did bringa friend of mine, jodie, once. i made that mistake,and i was like,
"jodie, will you just comewatch the show?" he doesn't think i'm funny,so, you know, i don't know whyi invited him, but-- so i said, "just sit thereand, you know, enjoy it." after each joke,he would lau-- he would waittill the laughter died, and he would say,just loud enough, "i don't get it"... [laughter]after each joke.
- what a good friend. - yeah, great friend,good buddy. this first character is calledthe pretentious illiterate. here we go--pretentious illiterate. [snobby voice]uh, i told you, i don't know how to read. [laughter and applause] [normal voice]this next character is called... [cheers and laughter]
the five-year-old who complainsabout having a beard... the five-year-old who complainsabout having a beard. [childish voice]i don't like having a "beawd"! it "huwts"! my "beawd huwts"! [normal voice]you know, the other thing about having people there that you knowin the audience is that, for me, like, i never wantmy parents there
or my friends... - yes.- because even to this day, i still--i do fail onstage. i mean, i just--it happens.- yes. - i can takethe embarrassment, but i don't think they can takethe embarrassment for me. do you--- i understand that. - you understand that, yeah.- i totally understand.
- yeah, i guess comics knowthat, but... - yeah, and it'snot just parents. if there's a big groupof people that you're performingtowards, and then they tell youin the last minute that a celebrityor a certain friend is going to bein the audience, all i would see onstageis that big face of the friend.
i'd rather not knowthat anyone's there. - yeah. do you let peoplecome to your shows? - i try not to.- yeah. - i absolutely--- you have to be nice... - you have to be nice.- and polite about it. - but my preference would be, "don't tell mewho's in the audience, and come back afterwardsif you're there." - that's a good poli--that's a good policy.
- yes, yeah. - well, can you do itwithout come backsta-- 'cause that's the other thing. like, "ugh, now i gotto entertain these people?" - yeah, do--- "whose cousin are you?" - so, jimmy, do you rememberthe first time you made someone laugh? like, what would it-- what did you dothat made someone laugh?
- i remember, like,when i was a kid, i mean, i was like--anytime there was a bit, like, me and my sisterwould dress up in my-- either my mom's dressesor something, and we'd do "king tut"from saturday night live, you know, steve martin. - steve martin's stuff.- we'd do that. or we'd do"wild and crazy guys." and we'd go, "we are two wildand crazy guys!"
and we were little kids. we were, like, probably,you know, six or seven. - wow.- and we would do-- we would have no ideawhat the words meant. we were like, "we have to goto statue of liberty to get birth-control devices." and my grandmother's like,"what are they t-- "they don't know what--what are these kids-- what are you teachingthese kids?"
we're like--we didn't knowwhat that meant. i thought it was, like,a remote control or something. - uh-huh.- but they used to, um-- i remember when i was,you know, a kid, i would just--i had a bunch of comedy records. you know, i just--i loved comedy records. i owned your records.i have, uh-- i would imitaterodney dangerfield. - yeah.- he was my fa--
my parents would pay me, like,50 cents and go, "just do rodneyfor everybody." - do rodney for me. - i'd go--oh, say like--oh, man. i haven't done itsince i was six, but i would probably saysomething like... [imitating dangerfield]"oh, i tell ya, right, "i mean, my wife's cookin'is so bad. i mean, since when does toasthave bones?"
- that's great.that's great. - "she told meto take out the trash. "i said, 'you cooked it.you take it out.' all right? all right." i mean, he was my favorite.he just had-- - that's great.- well, i just-- there's no comedians that kindof exist like that anymore. - no, no.but so, as a kid, you wereinto show business, though.
you were--you--it was more than just-- just seeing someonethat you liked. you were into it.- i loved it. - you'd want to knowthe history of it-- - yeah, i loved knowingthe history. i liked seeingwhere people came from and, you know--like, even like rodney dangerfield'shistory, like, he was jack roy...
- yes.- and not making it. - until he was 40,i think, actually. - and i grew up in a perfecttime, i think, for stand-up, because there wasa big boom in the '80s. - yes.- and everyone had a show, a stand-up show,so there were stand-up comedians on every channel,every night, and it was amazingto watch that. - and did you--did you try it?
did you try stand-up yourself? - i did, i did. i did stand-up in high school. my mom heard about a conteston the radio-- um, uh, impressionists, funniest impressionists.- mm-hmm. - and you had,i think, two minutes to do any impression. who could do the bestimpression?
- mm-hmm.- and i was 17 or 16--i think it was 17. and so my dad drove meto the club. i got up, and i-- 'cause i used to do impressionsin my room. my mom would hear me,you know, and i would do, like--what i had was i had a troll doll,which is, you know, those dollswith the fuzzy hair.
and i would dodifferent celebrities auditioning for a commercialfor the troll doll. so i would do bill cosbyand go, like, [imitating cosby]"well, would you look "at the thing with the troll,with the hair "sticking up, and the liphangs down here, and--" you know, or i'd do seinfeld,go, like... [imitating seinfeld] "huh? huh?what kind of doll is this?
who plays with it?his arms and legs don't move." just yellingwith a high voice. - so perfect.- and so i did that, and so i won the contest. - oh.- and i think it was, uh, $700 or something like that. - yeah, that's a lot.- it was a lot of money... - yeah.- for two minutes. so i go, "if i can make $700in two minutes,
"like, this is my--this is my future. so, like, i got to bea comedian." - "it's a businessi'm interested in." - exactly.so i built my whole, uh, stand-up act around thistwo-minute impressions thing, and then i wonanother contest. when you win the contest,you won a manager. - a real manager? [laughter]- you won a manager.
so i go--i'd never heard of it,so i go, "i don't want a manager."like, what-- what--"can't i win money?"i didn't know. so, anyways, this guywanted to manage me. so i go, "okay,"i go, "well, look, "i don't want to do--i don't want to sign anything with a manager,but--" so he startedbooking me places. so i would do collegesand stuff.
i won him through a contest. - so, you know, i watched between two ferns. - between two ferns, yes.- it's just so-- it's just so funny.it is so funny. do i remind you of yourself,interviewing you and-- [laughs] - uh, no,there's no animosity here. uh... i just--i always find actor--
i don't know. i find hollywood to be so weirdand stupid and-- - [laughs]yes. - you know, people are justentertainers, so i think it's funto be... mean to people, because--especiallyin good fun, you know. that's all it is.it's just good fun. - right.- i'm not that--
i'm not rude like that. my guest this afternoon is... michael c-cera, uh, actor. welcome, michael.- thank you. - have i told youthat i enjoyed the movie superbad? - no.- good. - but it--lot of fun.it's a fun movie to watch. fun movieto go take a friend to.
- what do you thinkabout the inappropriate humor for, let's say, a 12-year-old,somebody your age, uh, that maybe theyaren't ready for that kind of vaj talk? - i think it's, uh,you know, any kind of--for a young person, any kind of-- - [mockingly]"any kind of young person." - for any kind of, uh,
any kindof inappropriate talk... - "any inappropriate talk." - vaginal or otherwise. - "vaginal or otherwise." - it might be, uh--you know, i'll just say it. don't go see it. - [laughing] [normal voice]you're right about that. oh, god.too much fun.
- and then the hangover, of course, was sort of a realcatapult upward. - mm.- would you agree with that? - yeah, i mean, the hangover movie, uh... the movies, the hangover movies, are definitely the reason,i think, that, um, you know, people started to knowwho i was. - right.- but i think the hangover stuff
was so big that itjust kind of was over-- it's--it became overwhelminga little bit, because i was happy,you know, doing the coffee-house scene... - mm-hmm.- and, uh... really never hadany desire to, you know,be in something so big. but, you know,you get lucky, and it's--it's luck.
i mean, there's--there's a thousand guys within--that can do that. you just keep working,and hopefully, maybe, you know, somebody likeswhat you do. but--at that scale,i'd never-- never was a thingin my mind. - did you see a big audienceas a result of that, right after hangover, whenever you wantedto do stand-up?
- i've done stand-upsince then, and in bigger venues,and it's-- you know, people yell stuff outfrom the hangover movie, and, you know,that's why my parents aren't allowedto go to the shows, 'cause they're the onesyelling stuff out. [laughter]- yes, yes. yeah, i actually rememberthe first time-- it was maybe late '70sor something like that--
and i was onstage,and i said something, and someone went, "hey-oh!"from the audience. and then i saidsomething else, and other pe-- and people just startedhollering, like-- - yeah.- but supportive things, but it threw offmy rhythm totally. - yeah, it throws it off, yeah. - and it scared me,very frankly. - mm-hmm.- and when i--
- it's a one-sidedconversation, you know. - yes, i don't--- the audience doesn't need-- - doesn't need to participate,except just laugh. - yeah. yeah.- like-- - it's also--doing stand-upin front of large crowds, i don't have the-- the vocal poweror the energy to do that thingthat people have to do to hold in an audience.- yeah.
- i mean, you really have to bephysical, i find, or you have to bea really good writer. [laughter]- yes. - actually, zach, if you justimprove your material, you could do it. [laughter]jesus christ. we'll be right backwith great excuses. [laughter]um... - but you--but you were--you're off-beat.
it's not easy,because you would play little tinkly thingsthat didn't-- really wasn't--weren't melodious, and you'd sort of museoff of the--doing that. - yeah, i thinkthe juxtaposition of, um, melancholy musicand diarrhea jokes... - is a--i think that's kind of-- it's just kind of--i just figured that out. um, but stand-upfor the big audiences,
going back to that,is--is, um, i don't knowif it's the right-- i don't know if it worksfor a lot of comedy. i think it needs to be, um... - intimate.- intimate, yeah, yeah. - and then you try things...- yeah. - and you're experimentingall the time. you can't experimentin a big audience. - it's hard to, yeah.it's hard to, yeah.
- what would you saywas your first big break? - i started workingthe improv. i would do-- during the week,i worked the improv, and, you know,and i remember if you hada saturday night gig at the improv,it was a big deal... - mm-hmm.- 'cause they pay you, like, a dollar morethan they do during the week,
and you get food. and it was like,"oh, it's great to work the improv,'cause they feed you." you know--- and then the position, where you--when you come out matters. - yeah, oh, completely.what order you are. - what order, yeah.- it was a giant thing. i remember i took a photoof my name on the marquee outside,
and, you know,i told my parents. i couldn't believe it. and so i'm at the improvsaturday night, and who walks inbut jerry seinfeld? - mm-hmm.- and i was like, "oh, my god, jerry seinfeldjust walked in." and there's a big buzzaround the club, and this was, like, at the peakof the show seinfeld, and he decides to do stand-up,jerry seinfeld.
- oh.- walks in, standing ov--they announce him. standing ovation as he walkson the stage. standing ovationas he walks off. all his "a" material.- yeah. - he hits itout of the park, destroys. so the guy goes, "all thecomedians are gonna follow him." i go, "i'm notgonna follow that. later. take care, man."- yeah.
- and then the guy's like,"well, who's jimmy fallon?" i'm like, "that's me."he goes, "you're up next." i was like, "i have to followjerry seinfeld my first night?"- oh, my god. - first saturday nightat the improv. i'm like, "what do i do?oh, my gosh." and i was so nervous,and bud was there watching, and i got up,and i remember i'd do the impression of jerry seinfeldin my act.
so i just opened with that. - wow.- so i opened with doing-- doing jerry seinfeld,going, like, [imitating seinfeld]"look at these dolls. he doesn't have any pants on.what kind of doll is this?" [normal voice]you know, and it worked, and that got me over,and i had a great set. - was jerry still therein the room, do you know? - he didn't, he didn't.- no.
- i asked him about it.he wasn't there, but-- - most comedians go home. they go homeright after their set. - they do their bit,and they split. - yeah, right.- yeah, so i-- i saw him later on--he's been on the show-- and i told him the story,and he goes, [imitating seinfeld]"well, good for you. "good for you.you learned something.
"yeah, you're supposed to followpeople that kill. "that's what you do. "it works.sometimes it doesn't work. people heckle you.it happens." he just starts screamingat me. [normal voice]but he was great. he was, like--he couldn't have been nicer. - let's talkabout the musical parodies. how did that get started?
- at one point, it was-- jay had a 10:00 show, then conan had the tonight show... - yeah.- then i was on. so it's three--three talk-show hosts doing the same monologues,basically. like, by the timei was on tv, like, "we heard it."- yes. - "it's an old joke.
yeah, honey boo boo. yeah, yeah." - i'm over it.- exactly, get over it. it was, like--it was so hardto write bits. - yeah.- so we just started-- we had to get creativeand think of other things that we could dothat the other shows couldn't. - yeah.- so i would-- i would start doing impressionsof neil young... - yes.- you know, or--
- a great impression,one of the best. - thank you.- your impression. - it just so--it just came to us, 'cause we just had to thinkof different bits to do. - yes.- and then, you know, bruce springsteen was coming on,and so i said, "would you like to singa song with me as neil young? i will be neil--neil young from the '70s." - incredible.- "and we'll sing
willow smith's whip my hair." - yeah.- and bruce springsteen goes, [imitating springsteen] "i amnot familiar with that song." [normal voice]and i go, "it's like, 'i whip my hair back and forth, i whip my hairback and forth,'" and i go,"but the neil young version "would be more like... [singing as young]"'i whip my hair
back and forth.'" like a--really, like,a beautiful version of it. and then i went, "and theni want you to be like... [singing as springsteen]'ya gotta whip your hair.'" and he goes--and then--so he goes, [imitating springsteen]"yeah, i love it, i'll do it. that's great.i think it's good." [normal voice] and then, like,a half hour later, we got a phone call--they go,
"bruce springsteenis on the phone." so i'm like, "oh, no, maybe he doesn't wantto do it now." i didn't know,so i'm like, "hello?" and he's like, [imitating springsteen]"i got an idea. if you're doing neilfrom the '70s, i'm gonna do me from the '70s. "so can we get, like,a beard for me?
"and, you know,i'll bring, like, my sunglassesfrom the born to run tour." [normal voice] i go, "and we'llget you, like, a floppy hat. you used to wear--"he goes, "yeah, the floppy hat! get the floppy hat!i got to get the floppy--yeah." he's, like, laughing.i'm like, "okay, all right. see you then, bruce."i'm like, "bruce wants to weara wig and stuff. i don't knowwhat's going on."
so he comes in,bruce springsteen, and he's just a rock star.- yeah. - he's in there.he's got the sunglasses, the beard,and he's got the hat. and i go, "do you want to putthe wig on?" he goes, "nah, i don't wantto wear a wig. i don't want to wear a wig." i go, "okay, no problem,whatever you want, bruce." and so everyone leavesthe room.
it's just me and bruce,and i go, "do you want to just trythe wig? "just put it on.i mean, we--then you-- it'll look like, you know--"and he goes, "all right, put the wig on." so i'm putting a wigon bruce springsteen's head, and he's got a beard, glue,and all this stuff is on, his sungla--and he putson the hat, and bang. it looks like bruce springsteenfrom the '70s.
it is unbelievablehow good he looks. it's exactly--so he walkedover to the greenroom, where his manager,jon landau, was there. he's been his manager forever. and i swear to god,tears welled up in his eyes. - wow.- 'cause he was like, "what--" you know--- he just saw the-- - when did you thinkyou were gonna see your client 30 years younger?
- when you were alltogether, right? - yeah, when you started.- yeah. - oh, god, it was really--it was touching, but i was like, "let's--we got to go do this bit." i mean, i was dressedas neil young. i was like,"all right, guys, come on. "enough of thissentimental moment here. let's get moving." - and then bored to death,
i'm nuts about that show. i'm so sorryit's not around anymore, and that seemed--- did it get canceled? - [laughs]maybe i've got it wrong. but that seemedto suit you too. that is--that seemed to be sort of rightin your sweet spot and the kind of tonethat you tried for. - yeah, you know,
that show wasa really fun show to work on. it was ted danson who--- yes, yes. - i mean, we madeso many old jokes about ted. - and he's the nicest guy. like, he doesn't deserve it... - yes.- at all. but that's what makes itfunny to me, is, like, you goafter the guy
that doesn't deserve it.- yes. - and he would laugh so-- he had the greatestsense of humor. but, yeah, bored to death was, um-- that was a fun showto work on. jonathan ames was the writeron that... - yes.- and the creator and did a really good job. - i like when a showis a different tone
than anythingyou've ever seen before, and that just seemedto have that. - yeah, i think they--i think they tapped into a kind of a film noir, that kind of--- right, yes. - that kind of very specificstamp on a show. - yeah.- and i think some people didn't get that,but to those that did, yeah, it wasa really good show.
- and so who did you seethat you wanted to be like,or at least just said to you that "i want to do this"in some way? did you see a stand-upthat made a difference to you, or did you just see someoneon tv that mattered? - well, i was in a, um... assembly at school, and the guy that whistled
the andy griffith theme song came to-- - [humming theme songto the andy griffith show] - came to whistle... for schoolchildren. and i, at the time,remember thinking, "that's interesting.he's--" "hmm. that i could maybe do." um, and i got kind of turned-- turned into performingafter seeing that.
i got--i got-- i used to performat the talent shows. i would watchshields and yarnell. do you remember?- sure, of course. - they were these mimesand these robot-- - like mad robots.- and my friend jackson dunn and i would kind of copyshields and yarnell and perform itat the talent show every year. and so it kind of startedfrom that innocence thing,
rather than seeingsome comic on television. it was more--for me,it was always about my family and my cousinsthat made me laugh, and i triedto make them laugh. my cousins would makemy aunts and uncles laugh. - mm-hmm.- the older generation. - mm-hmm.- i was more interested in to see what would make the younger peoplebehind the closed doors laugh.
- right.- and i think that's-- those were the influences.- wow. - it's just as simple as that.- yeah. it's interestingthat you mention the whistling in andy griffith, because when i was interviewinglarry david, he said, "i've always wantedto be in entertainment. "so i had to make up somethingto tell the womenthat i was doing."
- hmm.- so i said, "well, what did youtell them?" he said, "well, i told them "that i had whistledthe theme of the andy griffith show." - oh, my god! - i thought,"what a lame thing to choose to tell somebody!" i said, "well, why that?"he said, "well,
"i thought they'd never catch mebecause they're-- no one knowswho whistled the tune." - yeah.- but-- - i did the snapsduring the addams family theme. - let's talkabout this moment. we're now talkingbefore you take over the tonight show and do it here at nbc. - yeah, we're bringing itback to new york. - bringing it back to new york.so was--
that was not a difficultdecision for you, right? you knew that you wanted it. - yeah, well, i mean,i actually called jay leno after the wholejay/conan... - yes.- debacle went down. and i called jay and said,"hey, i just want "to let you know,i'm happy at 12:30. "my wife is here,we're trying to have a kid, "and i live in new york.
no one's bothering meat 12:30." i'm like, "nbc doesn't evenrecognize me at all." - they don't?- oh, they don't care. they don't care if i don't host.- no promotion. - i could come--i don't need guests. i don't need to do anything. i could just sit therefor an hour. no one would complainabout it. so i'm loving my liferight now.
so i go, "i'm not gunningfor your spot. i just wantedto let you know that." and he was like, "that's cool."he's like, "well, you know,i appreciate that." i said, "but if you're--when you're-- "eventually, when you're readyto step down, "or if you wantedto step down, "let's do it the right wayand, you know-- 'cause i respect youand, you know--"
so he said, "all right, cool,"and then we had a great relationship,and then, uh, he called me one dayand said, "i think, uh-- "i think i'm gonna be ready.i think this is my-- this is gonna be my year,i think, my last year." and i go, "okay." and then everyonejust started talking, and then the network talks,and everyone wants to know, "when is he gonnadebut?" and all this stuff,
and i think they thoughtfebruary was a good month 'cause nbc has the olympics. - mm-hmm.- so it's good numbers for me to followthe olympics. of course, steve martinwas like, "february?" - [laughs]- "out of all the months, february is whenyou're launching?" - yeah.- "that's, like, the worst month to launch."- right.
- and it's, like,the 12th choice. like, do you go and lookat a menu and pick the 12th-best thingon the menu? like, "yeah, i'll havethe wilted lettuce, please." - yes.- and so, i mean-- - that's, incidentally, when we're launching,actually, yeah. - oh, great time,i meant to say. great time to launch.oh, yeah.
really great time to launch. everyone's watching tv then,yeah. but, uh, you know,i'm trying to think of what changesthere will be, you know. - mm-hmm.- the biggest change is that we're moving to new york,moving the show back to where it started. - yes, that's a big change. - and it's an hour earlier.
- but do you remember carsonat all? i mean, from-- - that was my guy.- that was your guy. you were still old enoughto be able to appreciate-- - yeah, i was-- i mean, i remembercarson and letterman. i remember, like,trying to, you know-- trying to ask my parentsif i could stay up to watch johnny carson.
you know, and it was,like, great, and i'd watch the monologue and maybe the first guestor something, and then i'd fall asleep,but it was a treat. - yeah.- so the fact that there might be a kidout there somewhere asking their parents,"can i stay up and watch jimmy fallon?"it's like-- - oh, no question,that's gonna happen.
- it means a lot to me.it's an honor. it's a privilege. - well, the tonight show was here, so you're in johnny'sold studio now. - yeah, i mean, well,johnny carson did the tonight show for ten years... - yes.- for the first ten years of his tonight show, it was in studio 6b. it's beautiful.
we're gonna just--it's just-- we're adding maybe 100 seats, but it's gonna basically looklike johnny's... - yeah, great.- tonight show. and i'm just so excitedabout it, and-- - i started with himin the--in the-- when he was in new york. - you did?- yes, yeah. - so you, i mean, so--
- so i was--i was in my 20s and youngand full of myself, but i never expected any-- that a careerwas going to happen. i started with johnny, and eventually, he--like, fast, like, after six appearance--six appearances, he said, "do you wantto host the show, guest-host? "i get a little tired,and maybe monday
you could guest-hostthe show." - how fun is that? - and that was up there. but johnny then wantedto move to l.a., and he was worriedthat he was gonna lose everything that he hadby moving to los angeles. but he--he adjustedto los angeles. but new york was wherehe made his bones, and that's where it matteredthe most to him.
- yeah, and i thinkit just makes sense here, and i just feel like,you know, it's-- i think of, like,the night life and broadway and times square.- yeah. - there's so manygreat comedy clubs over here. - oh, and it's lively,and it-- it--it will be different, not just because of jay-- just because of--it's new york again.
- yeah.- and you're bringing back something that belongs here. - yeah, exactly.it started here and should-- it should be here.- yeah. - i'm excited.i've expanded my monologue. - yes.- i used to do, like, a four-minute monologue, um, and jay said, "you should makeyour monologues bigger.
they should be longer."- yeah. - i go, "how long?"he's like, "i would do, like, eight to ten minutes."i'm like... - [laughing]that's a lot. - "that's doubling my time."i'm like-- my writers are already freaking out, like,"what do you mean? do we have to write doublethe jokes?" and, you know-- - what do you thinkwould be the worst thing
that could happenin this transition? i mean, creatively, like--- well, i mean, i could l--you know, if you-- if history repeats itself, i could end upon, you know, some cable networkin three months, hosting another show. - yeah, yeah. - but, you know,i'll call conan and see
if he's got any advice. - you know, if--if i could invest in you... - yeah?- i would. - really? - yes.- i'm gonna go public! i mean, this is great!really? - it's gonna happen.- i love that. - yeah, yeah.- i--really? - i just want to thank youso much for doing this.
- you're the greatest.- you're so busy, and-- - i love you, and i love this--i love your show, and i love you.i'm a fan of yours, and i-- you've been on my show.thank you for doing that. - oh, it was so much fun for me.- and i-i-- and let's hope i'm still doing the tonight show next time we meet. - that would be great.- if not, i'll see youon my cable network.
- thank you so much, jimmy.thank you. - that was good?- that's great. - all right, fun.that was awesome. - great. i can't tell youhow nice it is for you to be hereand how much i enjoyed talking to you.- oh, thank you. - and i'm just such a fan. - oh, thank you very much.thanks for having me on.
- thanks.- and, um... great place to commit suicide,isn't it? - we hopedyou wouldn't notice. - this is my last interview. oh, now they clap--for a suicide. - thank you so much. - that's encouragementto commit suicide.
