Transcript of Fred Armisen

Hello everyone. Welcome to another episode of Good Hang. So excited that my old friend, my dear friend Fred Armisen is joining me today. And it's always the best to talk to Fred. And we are gonna talk about so much stuff. We're gonna talk about SNL, of course. We're gonna talk about how we don't like taking physical risks. We're gonna talk about our different conflict styles, and we're gonna talk about Wednesday, the big hit show on Netflix that he is a part of. We're gonna discuss the past, the present, the future. But we have a great guest joining us to discuss Fred and how wonderful Fred is. A person who is here to talk well behind his back and give me a question to ask Fred. That person is Carrie Brownstein. She is the star of Portlandia, Sleater-Kinney. She's an actor, director, a writer, and just all-around cool, awesome person. Carrie! Thank you for joining us.

Hi!

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Nice to see you.

How are you? I'm great. It's so good to see you. Look at how nice your background is.

Well, I could say the same for yours.

We're talking to Fred today. And we can talk about Fred forever, but I just wanna talk about you for a second. I was a fan of yours long before I met you. And I just remember saying to Fred like, wait a minute, wait, wait, wait, wait, Carrie from Sleater-Kinney? Like, wait, that Carrie? Like, I can remember this feeling of, oh my God, I might get a chance to meet you. But meeting you was so important to me because I thought you were so cool. I loved you. I loved your band. I loved your music. And then to find out that you are so deeply funny, talented, prolific, interesting. Um, yeah, I mean, I don't have a question here. I just want to say, remember that?

Yes, I— well, I mean, yeah, uh, you're right, that wasn't a question. But I will— my retort will be that I felt the same. I, I mean, I was such a big fan of yours, and I think Fred did— there were a lot of people I met through Fred, obviously, like so many people from SNL that I already admired.

You and Fred are such partners in so many different— how do you define your relationship? How do you describe your relationship with each other?

Now, I was thinking about this because it's not romantic. We've never had that kind of relationship. But there is something that is deeply loving in a slightly romantic way. And I mean that because it's kind of heightened in the way that romance is heightened. And so it is just a seamless, like, kind of loving, like, heart-to-heart, platonic, you know, friendship, but it feels like family.

How did you two meet?

We differ on this slightly. The one that we definitely agree on where we hung out was he was on SNL at this point. Slater-Kinney were playing at Irving Plaza in New York, so we weren't able to go to see SNL. He invited me and the rest of my band to the show, but because— we have this conflict. He said, okay, we'll just come to the after party. And it was 2003. It was Jennifer Garner and Beck were the, you know, host and musical guest. And we went to this after party and Fred came up in the way that he's always magnanimous and friendly. And he was wearing a little button with my face on it. And, um, which is, you know, from someone else that might be weird. You know, you're like, hi, nice to meet you. Oh, there I am on your shirt. But with Fred, it's just he wears both his heart and his fandom on his sleeve.

Totally.

You know, kind of literally and figuratively. I think that's why he— people just want to be around him because he's just not cynical in that way. So anyway, we hung out that night and then started to just talk about collaborating. I assumed he'd want to do music, and instead he had all these little comedic shorts he wanted to start making with me, which was very surprising and surreal, but just completely based on our friendship. It was very organic. It wasn't like, let's pitch this or— Let's try to do something, you know, bigger than it is. It's like, let's just hang out and make little videos. And we did that for years before Portlandia.

Yeah. And with Portlandia, did you guys go in and pitch Lauren at Broadway Video?

Well, we did. Eventually we did. I think it was Fred's manager, who then became mine, Tim Sarkis, who said, hey, you guys are really developing this chemistry. There's a whole sensibility here in this series of videos that you've done. And then you kind of have to pitch to Lorne if you're on SNL. And Fred thought, "There's no way. You know, Lorne's just going to look at this and say, like, 'Okay, good luck. Thank you. No.'" And instead, Lorne and Andrew Singer of Broadway Video said, "Yeah, we'd love to be part of this." We got really lucky. And Fred was still on SNL for, like, the first 4 seasons of the show. So we made a pilot super quickly, and we basically said to IFC, like, "You either pick this up now or we just don't do it because he's got to get back to SNL." SNL in September.

Both you and Fred were musicians and performers. You're a writer, you're a director, you're an actor. You're also, you know, you go back on tour. Like, this idea that you have to be the one thing felt like Fred was the embodiment of that at SNL. Like, he showed up at the show, and I wanna talk to him about it, but, you know, his— he was interviewing bands as a character. That's how he made up, he made his own show basically playing like a very kind of rude German interviewer who didn't understand, you know, social protocol. And he would let, and he would interview musicians. And, but he also was in the Blue Man Group before he was in SNL. Like he has, yeah, there's like kind of like nothing he doesn't wanna try. And by being around him, you feel really comfortable trying things too.

For sure. He is almost like the Swiss Army knife in this way where you know what the sort of familiar elements are of a Swiss Army knife, but he uses them in ways that surprise you. And I just, I can't believe all that he's capable of. I still, I'll be watching something and I'm like, there's Fred. When did he do this? Like, he's just, he's everywhere and he can do so many things. Like when he goes on a show and just decides to do an accent from every 50 states, then you're like, oh, I didn't— Like, he surprises me all the time.

You're right. And I kind of want to talk to him about that too, because why I think that bit is genius— I mean, I really do think Fred is a genius, a comedic genius. But why that bit is especially genius speaks, I think, to the bigger way that Fred participates in his work, is he's just making a choice. Like, whether or not it's the best choice or the most— Like, he's just deciding that that's how people talk from that state. And the comfort that you get knowing that Fred has made a choice is what is fun funny. And it's the same way with any impression that he does or any comedic choice that he makes. He's just in the moment deciding, "I'm gonna do it like this." And it's very relaxing.

KRISTIN: Relaxing. And there's just this kindness and generosity, I think, because he can be— His taste is actually kind of esoteric, but he makes the audience feel like they don't need to know that stuff. You know, there's something alienating about it. So when he makes a decision, a choice, as you're saying, to like, Pick an accent for Alabama. It doesn't matter. People just think like, "Oh, that's something. I trust this because you're just making me feel okay to believe it." You know, he's just— And Fred just really, he believes in it. He believes in comedy. He believes in connecting with people. That's very comforting.

Yes. He has a specific taste, but he's not a snob.

He's not a snob. And he doesn't— He really is averse to that.

And he's one of the few people in my life that he can do an impression of me to me and it doesn't hurt my feelings. Yes, for sure. A lot of impressions are like the things that you don't wanna hear people doing, that you want to be done behind your back in the hopes that, but Fred can do impressions of people to them and they feel seen, but it's just as fascinating. Like he can do that.

Fred's impression of me, He tells me he can't do my voice, but so what he does is he walks. And I didn't realize until Fred did an impression of me that I'm a trudger. I trudge. It's a weird— but it was inoffensive. And there's also something very loving about it. Like, you're like, "Yeah, you notice something about me that someone else doesn't." What's his impression of you?

His impression of me is like asking kind of the leading question. Is it kind of like a suspicious— suspicious question. It's like a little— but it, I, it delights me. Like, when he does it, I just feel so like, hee hee, that's me! Like, you got it, or whatever.

Yeah, because what he's pointing out is just that you're curious and you're in— you're— is he's pointing out intelligence. Like, that's very flattering. You're like, yeah, I guess I am smart and ask really good questions. Thank you for noticing.

Okay, so I asked my, um, my first guest to give me— give a question for my second guest, and I was wondering, you probably know so much about about Fred. What do you think would be a question maybe he'd want to answer, you'd want to know, or that people listening might want to know?

We touched on this, you know, with just the, like, the music stuff. So I guess my question is, um, I would want him to describe the way that one of his musical heroes' humor, sensibility, playfulness informed his own comedy. That is something I'm actually curious about.

Such a good question.

I just can't wait to hear your talk with Fred. So I just want to—

Carrie, you're the best. Thank you so much for doing this. I really want us to deep dive soon together. I cannot wait for those live shows. I definitely wanna go. That sounds so fun. And I just love spending time with you. Thank you so much for this time.

Thank you, Amy. Take care. Good to see you.

You too. Bye, Carrie.

Woo-hoo-hoo!

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Woo-hoo-hoo!

Oh my God. Oh my God, you guys. Fred and I—

Oh my God.

We got our khaki on.

That is really funny.

I kind of— well, I'm dressing today like one of my favorite characters of yours, Nicholas Fain.

Oh. But I think we're all starting to dress like that.

We are. I feel like men and women are all dressing the same. And we're all dressing the same way.

Yeah. I forgot what store I went to, but there was sort of a department store where all the guys' clothes were stuff that, like, all the colors I would like.

Yeah.

So it's very— it felt very like—

And I like to dress pretty masc in general. Like, I feel safe when I'm kind of buttoned up and kind of like— So— Fred Armisen is here and we're— we both have similar colors on today.

Yeah. Amy, I can't even begin. I mean, thank you so much for this. I love this. I'm going to call it a show. Yeah, I love it. And I can't believe it's happening. I also— I mean, you know this, everyone. I like— we could talk forever.

I know. I don't even know what we're going to talk about.

Yeah, it's—

but I know I was just like, I have notes and we were going over and I was like, I feel like we could, we could talk about— we could talk about talking on podcasts for, for an hour and a half.

We could like the tone because people's tones do change a little bit.

Fred, you are— You're probably talked about more than almost anybody on this podcast. I don't know if you've heard how well you've been spoken of here.

It's really— And it makes me very happy. It's flattering. It's the nicest thing. It's all people who I love and respect. And it's the best.

And you were on the first Zoom that Dratchy couldn't get her headphones on. You were nice enough to do that. Thank you one of a million times. You have come through and helped me out and not ever been like, "What is this?" No, but that's easy because everything you're working on, it just seems like, "Oh, of course, that's gonna be great." But not everybody is like that. I mean, I wanna talk about it today, but I feel like I learn a lot from the way you approach saying yes to things. And when you're actually there, you're actually there. You're actually a present person, which is pretty hard to be.

Uh, thank you. But it's for stuff that I want to do. So that's what— that's like most of the, you know, the battle of being there.

But I don't even know how to start this conversation because I love it so much. I'm so excited. But okay, I feel like you are a comedic genius. And of all the funny people, of which we know the funniest people, everybody loves you the most and says you're the funniest. And Martin Short told a really sweet anecdote on this where you made him laugh in the moment where you told him that you tricked him into thinking that he said Tony McCartney instead of Paul McCartney when he introduced Paul McCartney at the SNL 50th. I guess, what is it like to make your heroes laugh?

Well, first of all, thank you for those really kind words.

Well, we need you to live up to it.

Yeah, wait. Oh, wait till you see what I do on this. I memorized all these bits to do. Uh, um, it is like— it's gonna sound like— it is a mutual thing.

Yeah.

Like, it's a very— like, I don't— when I'm around Martin Short, I'm not like, "Hey, I'm gonna—" It's just like, it really does feel like, "He's so funny. Let's just goof around." It really does feel that way. Yeah. And with the Tony McCartney thing, I thought— For sure, I thought he knew just by me talking about it that I was joking.

But did he actually get fooled for a second? He got fooled. Yeah.

'Cause I guess it was a very heightened moment. It's like the end. That was after goodnights of the 50th. And so, it might have just been a moment where he thought it really happened.

But that's the thing I love about working with you and knowing you is there's like an impish, playful side to you. That never feels mean but feels very fun. Like, I feel like if shit went down, I want to turn to you for it because I feel like if someone's yelling or if someone's like, if something uncomfortable is happening, it's fun to turn to you. And when something— if something great is happening, it's fun to turn to you.

Yeah, likewise. But I, but I feel like I lean on you though, because you have a gage of like this is what's really happening. There is one thing you told me when I was thinking of leaving SNL. I think I'd already decided that I was leaving SNL. And you said— I didn't even ask you, but you were like, don't worry, Lauren always stays in your life. That's what I mean. It's a bigger— it's like a— it's a map. It's like a little further away. And you just know, like, the thing to say.

How many years were you on SNL?

11. Oh, wow. Yeah. And I remember right at the end, I was just sort of like, you know, trying to decide and you had already left. So, yeah, I looked to you as like, what is this?

I was just— I mean, there's so many things to talk about. One thing I learned today is, is this true or is the internet wrong, that your full name is Faridun?

Faridun. Faridun. Yeah, that's my given name.

Faridun. Yeah, Faridun. And it is your Father's name. Yep. And it is an Iranian name. Yep. But he is German. Yes. And Korean. Yes. Why does he have an Iranian name?

Because his mom in Germany was dating a Persian man at the time when she got pregnant, not by him.

So she gave her child her boyfriend's name.

Yeah, he— or he chimed in on what his name should be. They were There were Persian workers in Germany. Wow. At the time. And, you know, even though it wasn't his baby. Yeah. She was like, what should I call this kid? And he was like, he came up with that name.

You have German descent, Korean descent. Venezuelan. Your mom is from Venezuela. Like, and you have an Iranian name even though you don't have any Persian. Like, that is, that's you in a nutshell. That's crazy.

Friend.

I know. And so Then you were just called Fred from when you were a little kid?

Yeah. And my dad was as well. When I say it was crazy, I'm not talking about myself like I'm like amazed, like, yeah, it's crazy. I mean more that learning the history of what I thought Germany was like, that there were immigrants there and foreign workers, you know, that things are just more complex than I ever learned originally, or that there was racism against Koreans in Japan. Right. I had no idea.

And much like Andy Samberg, who was on here talking about how he did his roots, when you did your roots, you found out that you always thought that your dad was Japanese and you found out that his relatives were Japanese. Yeah. You found out they were Korean.

Yeah, it was. I was in this room for 4 hours, you know, as they're opening these books. And it really feels at first it is disbelief, like, this cannot be true. Have you done it?

No, because I'm Irish, white, it's not gonna go well. I mean, there's no way.

But you'll be surprised. You'll be surprised. And that's like, that's also very German. Yes, I will be surprised.

And I mean, they just, it's never gonna go back to something good. What if you're full-blooded Canadian? And people would be, I'd be like, no way, my relatives were from Canada? Like, but when you were growing up, you have German and Korean dad, what you thought was Japanese, but Korean. You have Venezuelan mom. How did you identify, culturally, Venezuelan.

Venezuelan. Because my dad's from East Germany, which means that it was communist Germany at the time. So we had no relatives around us. Right. And with Venezuela, the relatives are over all the time. We would go traveling there. So it was a distant relationship with Germany.

And you could speak— you were like, could speak Spanish from when you were young? Like you just learned— your mom speaks Spanish in the home?

Yeah. That was a lucky thing. Yeah. Because at the time, I didn't appreciate it. Of course.

I was like, why do we have to, what is this?

Yeah. And then now it's just like, it's so good.

And also like, you know, a lot of like first, you know, first generation like didn't always speak their, they wanted to speak English in the home to try to, but your mom spoke both. She did. Yeah.

And she kept it going. Yeah. Thankfully. And I still write to her. Like if there are things that I'm like, what is the Spanish word for this? It's great. She's helped me a lot. A lot of SNL stuff, a lot of cold opens and stuff.

One of the nice things about working at SNL is, like, you just meet people's parents because over the years, like, they come to the show. Like, you're just like, you see—

Like, when you were talking about the name Poehler, I pictured your dad, and he's always like, he's got like a smirk.

Oh my God, my dad, my parents are such fans of Fred Armisen. Well, I'm a fan of theirs, and we, we always had our relatives there and like We were always hosting family and it was like you would go to sit at the table and your mom, who I have such warm feelings for when I think about, is you guys look a lot alike. Yeah. Like really, she kind of, you kind of have her face. Yeah. But you, so, okay. So Freddie, little Freddie growing up in Long Island a little bit and then Brazil a little bit. Right. For a couple years. Couple years in Brazil. Yeah. How old when you went to Brazil? I was—

that was like first, second, second and third grade.

Okay. So do you remember what it was like? Oh, yeah. Arriving in Brazil? What was it like?

I just wanted to be home. I was homesick. Yeah. So now I can color the story with like, oh, it was so exotic and there were drums everywhere. But at the time, I just wanted to like— I just wanted to be with my friends.

Yeah. Back in Long Island. It's so true, though. You're right. Like, we look back at stuff and we're like, it was such an amazing experience. And like when When I would travel, I'd be like, this food is weird.

I hate this place. The word hate got used so much. I hate it. I hate it. I must have said that most of the time.

I hate it here. Were you sad when you had to move back? Or were you like, had you gotten used to it?

I had gotten used to it, but I don't know if I was sad. I think I was okay moving back. You were ready to go back.

Yeah. So then you go back to Long Island. Then you think about going to college for visual arts.

Yeah, that took a while. That was more like— went back to, uh, um, Long Island, went to high school there. Yeah. And then I really had it in my head that I wanted to be in a band. So the common way to go is to go to art school. So then why is it—

why is it a common way to get in a band is to go to art school? You just want to be around artists and just like—

yeah, like all my favorites, that was Talking Heads, The Beatles, were all like art school. I don't know what it is like, but I'm glad I did it. I mean, did you—

did you think you were going to be like— was it like a medium that you were into working with? Like, did you— were you painting or— You know what? Photography?

It was— it was— I went for film. Yeah. And to be honest, people say, to be honest, so much. I hate that I just said that.

Oh my God. Everything I say on this podcast, I hate.

To be honest, I don't think I was really drawn to it because I went to school with, like, filmmakers. Yeah. And they would talk about it so much and I'd be like, why are we actually talking about this? They would talk about editing and I'm like, we're supposed to get good grades, but we're not supposed to like talk all day about this stuff. And that's the difference in, in like a passion for doing something. I thought it was like, no, we're just going to art school to be in art school.

And that's so true. That's such a good distinction. Yeah. As you realize you don't have a passion for something when you see other people wanting to spend all day every day doing it and you're like, we're gonna do other things, right?

Yeah. That was exactly that.

And so then you meet your bandmates. Yeah. At art school. Yes. And you're in a band called Trenchmouth. And Trenchmouth is like, what, 1988 Chicago? That's right.

More like '89, '90 is when it really took shape.

So let's just for the heck of it, let's listen to a little Trenchmouth. Let's go back. Let's go back. Do you still remember how to play this? Yeah. This photo of you guys is so of this era. You guys are all in front of a— you're a VW in front of a VW van. I'm just being like, yeah, I don't even know how we got here.

We loved being on tour.

Okay, what was it like? What was it like playing? Like, was that feeling—

the feeling was like, it's like a campaign. Like, we're gonna do it, we're gonna drop our jobs, we're gonna do it. This band did it. This band did it. Go. What's the gig? Des Moines, Iowa. Great. No money. Fine. Go, go, go. Fill the tank. You know, like, we kept the van running and clean and— Right. It was like being Boy Scouts and, you know, packing up the drums. Come on, come on. Lifting and putting things on. What time are we going on? Hey, let's all dress in black for this. Great. Let's all dress in white. Great. Everything. Energy. Like, energy of, like, it's us. Yeah. How'd you like that? They were awesome. Let's do it. Let's exchange information with them. Didn't like that band so much. That's okay. They're lame. I don't want to be like them. Right. A lot of, like, uh, looking up to bands like, that's the way to go.

Who were you looking up to at the time?

Like, Lungfish, No Means No, Fugazi, Jawbox, uh, Nation of Ulysses. We looked up at these, we, like, we They— because they were also really, like, possessed. They were possessed with this thing. How much longer can we be on the road? Go, go. It was just this. And then playing, as you hear with this music, everything— come on, there's a change here and another change and louder. And everything was kind of mathematical. This wasn't like jam out music, like, let's enjoy. How about something— there was no groove.

I laugh and I love the feelings that I remember at that age where you would argue about something for hours. You had the luxury of time. Oh, yes. I remember thinking about jokes we would write or whatever, and we'd just spend hours talking about it. And it was so important. And it was so important. And just the energy of getting everything right. God, that— Did you guys have— Oh yeah. Were you an arguing band? You know, a couple normal arguments.

But what you're talking about, about those discussions, they would go into the night. Well, as it's getting dark, as we're driving, everything's getting dark and we're still like, but that's not— that's not what punk is then. Or by your definition, that's not what it is. Well, that's not what I'm saying. And then silence and then endless, endless and into, you know, I get like that. The feeling it's giving me now of like, I remember that like, it's like you have a flag in your head. You're like, no, this is the way it's got to be.

Yes. And very like, I mean, so much of it I feel like in your 20s is like rejecting some version that you think if you're not careful you'll turn into. Yes. And playing punk is such a true expression of that, of like being like, I'm not gonna be that person. Absolutely. I always find that interesting that like bands have to keep reinvesting in the band, like, every couple years. Like, and I can relate because it felt that way with, like, Sketch. Like, you were in a group and you were like, no, let's— and then, you know, certain people would, like, get opportunities and you'd have to decide, like, no, I'm doubling down, I'm staying with the band. And then you'd see other success happening and you think, like, it's because we're not— like, it was like, we need to be more committed for that success to happen. But sometimes That isn't always the case. It's so— it's exactly that.

That's so funny.

So you went through the same thing with UCB because we had to, you know, we were like, you know, we were like doing shows and people were trying to, you know, cherry-pick us or like, and you had to just keep like, you just keep like renewing the contract.

Yeah. Or renewing the goal. Yeah, renewing. Well, now as long as we're this, now if we get on this label or whatever.

And we were in Chicago at the same time, like all that, like Smashing Pumpkins, Liz Phair, like, ah, so cool, so cool. Okay, so you're there, you're in the band, you're like, we're close, but we're not quite there yet. Then you— how does joining Blue Man Group happen?

Oh, well, you know, I have to give credit to my wife at the time, Sally. Um, she's in this band, the Mecons, and she was kind of a little bit like If you're going to do stuff, you have to sort of open up to not just being in this one band. They were coming to Chicago and I auditioned. I went to this rehearsal space. What was it?

Were you just drumming for the audition? Is that all? Did you have to do anything else?

I was drumming and they were like— there were other musicians there kind of playing. And they were— they did a thing where they're like, do a fill, but don't end on the one. So usually, you know, you do a fill and it's like a resolve that's very predictable. They're like, "Make it a little..." Which is kind of like what Trenchmouth was like anyway. It was a little jagged. So then I got it. Then they had a series of drummers, different rotations of bands. And it was like my first showbiz paycheck.

What was it like? Like, how was it like a Broadway run? You had to be performing all the time?

Did you rotate it? The— I rotated. So there's a full-time drummer and I would, I would play like 2 or 3 shows a week or something out of whatever, 8. What was it like?

It was fantastic. What was your favorite part? I've never— I never saw the Blue Man Group, but I was— they were such a big— oh, we'll pull it up. Let's pull it up. Is there footage of you in the Blue Man Group? I wonder. I wonder. But what was your favorite part of the show? You know how like it's always like, oh, I like that song. Oh, I like that moment.

I like when they open the opening. So like the opening, like The first, there's just 3 blue men on these paint drums and they do their own thing. And then the band kicks in when they're done. And it's— it was great because we were lit by blue, you know, those black light. Yeah. And so we had like stick figure drawings on us, on our costumes. And there's a stick player, a zither player. So we'd start playing and that was just like— it really felt like a proper beginning of a show. Very loud. Very huge drum kit. Huge. Really? Yeah. I went through training for it. I trained a little bit in Boston, in New York, and it made my drumming better. It was really frenetic and crazy, and I really loved it. I learned a lot.

And the dumb question, but like, is like, what was the makeup application and removal like? Well, for me, for people who don't remember, you had to paint yourself blue. Yeah.

But the band didn't. The band we had, we had like, we painted like stick. Yeah. Like sort of, you know, on our hands and like, but easy to get off, easy to get off with water. The Blue Men had like a bald cap that went over their ears and layers of like glow-in-the-dark paint, then blue paint. Wow. And they had a lot. They had like blue gloves on there. They— that was a real ordeal. And then the rest of the time they would walk around with like They'd always have a little blue in their nose and ears. And they were like interesting people, you know, they're like all kind of, I would say, like juggler, performance artist, athlete, those types, like those perfect, you know, like perfectly fit people. Yes. Who also drummed. So they were really great to be around.

Okay, so then you do that and then there's so much that happens after that, but you create this video series, pre-SNL, that is a version of a character that you played interviewing musicians. And you kind of play this hilarious German interviewer who knows nothing about the bands.

Yeah, or is very mean to bands. 'Cause we experienced it all the time. And I don't think they meant to be mean. I think that's just the way they are. It's that they would always tell us how poorly we were doing. They'd always say, "Oh, your group is not so good." Fugazi was here a week ago, and it was very crowded, and it's not so crowded today. And it was just based on that.

It was so genius because it didn't expect much of the musicians. Like, the musicians could just kind of play it real, and you were steering— like, you were doing the comedy, basically. But what was so fun is watching all these musicians who— and realizing that a lot of them were very naturally funny. That was so fun, is watching them make choices with your character.

Yes. Steve Albini did it. A bunch of people. Bob from Pavement. Yeah, it got— it was— I just put a video together.

And I mean, that was back when you just, like, filmed it and made a—

asked someone to edit it. Can you edit this? No concept of money. You know, just like, can you do it? Yeah.

And then they did it and then they give it back to you and you carry it around.

Thank you. And then that's, that's what existed.

I mean, to, like, age us, I don't know if this was like when you started in 2003, but in 2001 at SNL, there was still, when we wanted to do an impression, you'd have to go— VHS. Get a VHS tape.

Yep. Can you believe it?

No. And they'd tape it off the Today Show or TV, and then you'd get a big bulky tape that you would— and you put it in a VCR and you'd watch like 6 minutes of whatever thing that they had. And they'd have tapes and tapes of people that you were impersonating.

This is so funny talking to you about all this, 'cause I've, You don't need to put this in, but like, I've known you for so long. I know. And to talk about Blue Man Group actually makes me like, it jumps like a track in my head of like, oh yeah, we've never talked about Blue Man Group.

We've never talked about it. We talked about it very briefly, but everybody's road to where they get is so circuitous, like one different, one different change. And we're not where we are. But I would say Freddie, more than anyone, I know you know that every day. Yeah. Like you really know every day. Like, I can't believe I got here. Like you say it. Yeah. You live your life that way. Yeah. Like, like what? Like what are we doing here?

Every bit of it. Yeah. Standing on that stage, auditioning for SNL, that already felt like this is insane. Yeah. That whatever from Blue Man Group to be here in front of Tina. Yeah.

How did you get the audition? Through Marcy Cline. Yeah. She found a—

The producer on the show, Marcy Cline? Yeah. She found a video of, like, all the stuff that I'd done. Yeah. And she made Lauren watch it. And then they called me in. Wow.

Insane. And you were, like, you know, 30-what when you auditioned? 33, 32? 32 or 33. And I was 30 when I got the show. And I just wonder, like, there's something about having a little bit of life before that really helped.

I appreciated it so much because also because I'd been through being in the band for so long so that I mean it, like, it all felt like icing. The whole thing felt like, ah, this is— I was just in the van, you know, like, yeah, whatever, maybe 5 years before that. It felt very like, oh, this is all— even with like the money part of it. Yeah. Where some people would say like, that's not a lot to get paid for your first year. I was like, are you kidding me? To me it was so much money. Yeah. To me it felt like $1 million.

Yeah. Yeah. And it was $1 million. And it was $1 million. Fred insisted on $1 million a week and it almost took the show down.

I asked, but I asked really nicely. I was like, please, come on, come on. Give me a break.

Come on, man.

Come on, come on, it's just me.

It's me, your friend Fred.

Come on, Lauren, look at me, buddy. And he was like, all right.

I feel like a lot of people that got on SNL have like evidence when they were younger of like, see you on SNL, or like writing in their journals. Like, was it a dream growing up? Did you watch the show and think, I want to be on it?

The relationship I had to SNL was I watched it all the time. Yeah, but I really connected to the B-52s and Devo and Talking Heads, like, and I'm not saying it in a way that's like, hey, I just only like the bands. I'm saying that like Lorne was communicating with me these bands that he had on. I did feel like I— there's something I understood about the show and then like Mr. Bill and every like the sketches, but also like the bands on there, I was like, that must be fun. Yes. That's kind of was like— and then as the years went on, when Mike Myers was on was more of a like, I felt like that was a direct message of like, there's got to be some way to— I felt like we were speaking the same language. Ooh.

Have you ever told Mike Myers that?

I think I might have told him. Yeah.

But— It's a good way to put it. Yeah.

Like, that sketch, Sprockets, was a favorite sketch of mine before I'd even seen it. Someone described it, and I was like, "What is going on over there?" So then you make—

you're on SNL. You, like— some of my most fun memories of being on that show is doing bits with you when we weren't on. When we weren't on camera and the in-betweenness of that job. Like, I'll never have anything like it. The— talk about luxury of time. Like, just the amount of time wasted— not even wasted— amount of time— the amount of time, like, thinking about sketches and talking about stuff and fucking around, basically, which is like the most— which is like, that was the preciousness of it. Oh, that's The best.

I have a million memories of it, too. And of you. It's for me to even describe bits you've done. It doesn't do it justice. I just—

I knew I was going to describe all your bits and that was like— it's like inside jokey.

Yeah, it's like too difficult to even. But I remember like voices and faces you've done. Who knows where? In some dressing room somewhere for no reason. And it's the funniest times of my life.

Same. And, and what I love about and always loved about playing around with you is And I'm just gonna say it, Freddie, I do think that you and I share this, which is we definitely liked, we wanted to not forget that we were having a good time. Like we really, it matters to us. It matters to us that we don't forget the joy part in all of the hard stuff. We don't love a complainer.

No.

You and I do not love a complainer.

That's a real crime.

If SNL is a microcosm of life, you can spend your whole life figuring out what you don't have. It doesn't matter how much you have, you can focus on what you don't have. You sure can. And the more you talk about what you don't have, like the more you—

It's wild. I know. I've met some real complainers and it's really shocking.

It is really interesting when I'm complaining, because we always, we all complain. But when I find myself complaining, I'm like, Ooh, something's off. Yes. Something's off. Like, not other people.

I'm off. I'm trying to get better at spotting it because sometimes you fool yourself into— you're like, this isn't really a complaint. And like, well, that might actually be a complaint.

But I don't think of you— I don't think of you as conflict averse, but you don't love conflict. No. So let's say you're doing— let's say you're getting ready for your tour. And like the light is like, the lights aren't working the way you want them to work and you don't, and you're like, hey, can we adjust the lights? And it still isn't working. What do you do next? Um, I, let's say, so Fred, you have a very intense light show and you're like, here's how the lights go. And then you've run it and the lights aren't working and you're like, okay. And then, okay, I'm just gonna talk out this thought experiment, and then the show hap— and you're like, just make sure that the blues come up at the right time. They don't. What do you do?

Oh, well, if it's hour to hour, day to day, it's gone. I really do feel— treat it like a page that's turned. I'm like, oh, that didn't work out. But to your point, let's say if I'm being asked too much, you okay?

All good? See, we are very—

And I'm like, how do you tell someone?

I know exactly, 'cause I've done it. This is where Fred and I are a little different. I've said, I notice you're asking me a lot. Fred hates this. This is where, because I don't think you like this direct conflict.

I envy it. I wish I could do it.

I wish I could be a little less direct, 'cause sometimes I feel like it comes on too strong. But I would say, I'm noticing that you're asking this and Fred's so uncomfortable. He made this face. I've said, okay, I think about it when I'm in, like when I'm getting my, let's say you're getting your hair, like I'm getting my hair done for a scene. And if you're doing a couple days in a new show, new people, they don't exactly know what you like and they're trying to figure out, or they're giving you a hairdo or whatever. I've had very nice people be like, just checking in. Do you like, is this working? You know? And I'll say, I notice that you're asking a lot. I promise you I won't suffer if I don't like something. You'll know if I don't like something, I'll let you know. But I have to nip it in the bud because it makes me insane. Because are you okay? Are you okay? Are you mad? Are you okay? Yeah. Makes me nuts. It makes you nuts too. But what do you do instead?

You, for me, I just sort of, goes away. I know that. I know that it's temporary. And I think, well, the next tour, that person isn't— they'll be on— they'll be doing that to somebody else. And maybe that other person loves it. I'm not saying that the way that I do it is correct. Same. I just sort of gently, like, if it's like on water, like the little boat just goes the other way. I'm like, and you go, shh, shh, shh. I'm okay now. I'm okay. And then they— then they're off. Yeah. But I'm like, I can get my own things. I can get my water. I can get— Yes. To be asked if, you know. Yeah. But now that sounded like complaining. That was very complaining of me.

No, that was not complaining of you. You never, ever complain. That would be a funny sketch you should have done where you were like the head of the complaint department and you were like, what? Are you joking? You have a complaint?

You got a job in show business and there's a problem of some kind?

God, it's true though. And that's what's fun about working at a place like SNL is you have someone come through every week as a new guest. They're really vulnerable. When people are vulnerable, they're kind of— they're like, a lot of stuff comes up. And when people are scared, they get— they act all different kinds of ways. And you kind of see like this very human moment where people feel vulnerable and sometimes they misbehave. Oh, yes. And it's like, and also often they're— often they're great. Often they're great.

You don't have to put this in, you probably won't, but you— your reaction to some hosts, oh my God, it's delicious. It's the best thing in the world.

Like, you really— I just— I'm like, you've said this so much, not even like—

actually, and you're not insulting to them, you just do that in a way that is so good. You're like, And I'm like, oh, that's exactly what's happening.

I mean, people are audacious. Yeah.

Outrageous. Outrageous. I mean, and people ask it like in interviews, like, who's been the worst host, the best? And I always keep it same.

I would— what am I going to— yeah, that's the most low-hanging. Like, why? Yeah, why would I ever say that? But I have a lot of thoughts.

Yeah.

Oh yeah, I have a lot of thoughts. And I do. I mean, I've actually tried to work on it because I like— that's my stuff is like, I like to be like paying attention attention to like detective-y, like, you know, like, like I hate that part of myself that's very like, you did it right, you did it wrong. But no, little— I pay attention. Yeah, yeah, you do. And I, and I won't forget. Like, I remember, I'm like, I remember you were not very nice, or I remember that you were very late. Tina has a good memory for that stuff. That's Tina and I, that we're like yummy food. That's our favorite food. We're like, um, oh, we love it so And that's what I mean is bad behavior is sometimes kind of fun because I'm like, holy shit. Yeah. My favorite feeling sometimes in the world is when someone's acting badly and you can feel everybody else like watching them and just like, I can't wait to talk about this.

It's like telepathy and it's almost like everyone's waiting for the moment to be done. Everyone's like, let this finish.

And then they'll be like, electricity. And no one's looking at each other. Everyone's like, And you're just like, "I'm just trying to remember every moment so I can—" I know.

And try to have like a face that's like, "Oh." And then— I know.

But in general, like, and I think you would say the same thing, like every— I found people to be awesome to work with. Incredible. Who did you meet on SNL that like you just think about now and you're just like, they just met what you thought they'd be like? Like you just, you think about them in love.

So many. Do you mean like hosts?

Anyone. Hosts, or people that came in to do a bit, or old cast members. For example, I'll give you one right now. I didn't really know Laraine Newman that well. She's great. And hung out with her at the 50th. Fuck, she's so cool. She's so cool. I knew she would be cool, and I didn't really get a chance very much to talk to her over the years. And she's the fucking coolest. She is the coolest. Excuse my language.

That's okay. Lorne.

Yes. You and Lorne had a really— you have a very sweet relationship. How would you define it? How do you feel?

Both fans. I think he's a fan as well. Whenever he describes— because I grill him all the time on musical guests. He is— he— you know how some people are like, "I don't know what you're talking about." Yeah. He knows what I'm talking about.

Mm-hmm. Who do you talk— like, I mean, there's— There was an amazing Questlove doc about all the musical guests. But if you can remember, like, who were like the— you know, I'm thinking of like Elvis Costello's performance. The specials was the best thing I've ever seen.

Why was it? Because for me, I'm from Long Island, you know, so we were like Long Island and everyone had kind of like longer hair and these guys with these little suits and crew cuts, this like energetic band running off the stage when they were done. I— that really—

hold on, I want to watch it again with you right now. I have a laptop.

I've watched it so much. There's a song called Gangsters that I wonder if you'll find it. It's right here. Look at the drummer, is like back straight, jumping around.

Holding a machine gun. Yeah, they're so cool. Did you like drummers that played like this?

Yeah, I like— Clem Burke was that way. Really good, really good posture. Clem Burke from Blondie. Ah, the Blondie drummer. My favorite drummer ever. Really? Oh yeah. Yeah. And really, like, nice suit. I think he had a turtleneck on SNL. Uh, just really, like, you know, placed on the drum throne. Loved it. And Blondie was great on SNL. Devo and the B-52s, really. Like, that was like— I remember that was the first moment of like, oh, there are weirdos in the world.

Yes. And like, talk about full circle. At the SNL 50th, you get to play with the B-52s and Devo. What was that like?

It was like the top, like the very crystallized top of a mountain. Like, I— it's almost scary because I was like, that's it.

Yeah. You're like, I'm going to have a heart attack.

It felt that way. I was like, that's all right. That is the very like, you know, that shows at Radio City Music Hall. I had seen Devo when I was 14 at Radio City Music Hall. I had paid for tickets to see them and And also getting to meet them. They're great people. Being friends with them, it's like it really— yeah, those two, that was unreal. And also on SNL, not at some gig, not some show somewhere like, hey, I got up on SNL. Yeah, it's, it's everything at once. Yeah, I can't believe it.

Yeah. Okay, so now I want to just get on to a new section, but the person that will help us get to this section is Carrie Brownstein. Aw. Because we talked to her today. You did? Yes! You know, I was saying this to Carrie, but maybe you can speak to this too. Like, your relationship with Carrie is very special. It's— Like, how do you define your relationship with her?

She's like— She's my soulmate. She is a person who I feel like I've known forever. I don't mean to speak in those terms. I know that, you know, those like sort of spiritual terms, but it does feel spiritual and it's immediate. It's just a feeling I had as soon as I met her. And every time I talk to her, it feels the same. I'm completely stripped of being worried if I'm boring or talking too much or anything. I'm completely, completely like myself around her, and it's always been that way. And I just love her so much, and I'm, uh, really into everything she does. When I watch her play guitar, I'm like, there's nothing better than watching her play guitar and sing. And then getting— she's so smart and so funny that I feel like getting to do that show with her was That was a lucky thing, but that keeps going.

We just keep— It's so— It remains— It has such a life, Portlandia. And those characters in Portlandia are so fun, are so specific, and therefore feel so universal. God, it was the best.

I got to hang out with her all the time. She's a great writer. She's such a— Not that you need me to tell you that, but— So funny, brilliant. And she came up with, like, a lot of those ideas that are now sort of things that people repeat. Put a bird on it and all that stuff is like, that's all Carrie. Okay.

Carrie said, describe the way one of your musical heroes informed your comedy. Oh, that's easy.

David Byrne. The way that he would direct a movie and then sort of choreograph part of his show, like the way that he presented everything to me was like, that really informed, like, you know, what a comedian can be. Like, there was a way that he was like, not exactly making a joke, but also not being totally serious that whatever that was. Right.

Really, I was like, that's a really great way to be. Like a playfulness. And he kind of also— He was also, I guess, not afraid to— He wasn't trying to be cool at all. No. But he was very cool. Yeah.

Just the way he, for no reason, he'll, "I have a fuzzy suit," or something.

So, I'm gonna do a rapid fire. Tell me what you think about these things or what you remember. You can be as fast or as slow as you want. Freddie, you do many accents really well. And one of the things I love about you is you can do accents from anywhere. What are some of your favorite sounds state or countries like that you like hearing?

I really love how Texas just really— it just changes from city to city. Yeah. There's something about it that— there's something about Texas that has so much varying personality. Yes. That always— that does exceed my expectations.

So with that in mind, can you please do someone from Houston and someone from Dallas?

Houston, I feel like, has got a whisper to it. Houston. I've— some people I know from there are going through some personal growth. Personal growth. Uh, Dallas, I always— my idea about them is that, uh, they're kind of business-like. Uh, I, I hear them on planes, on a conference call. I had been, uh, at, uh, I was on a layover. Uh, we know someone from Beaumont, and that's kind of Baumarkt's the biggest I've ever heard. I can't imagine. They're like this little Y before imagine.

The longest word. Yeah, I love it. And then countries. Can you do Iceland? Iceland?

Iceland. Iceland. Iceland has a whisper to it. Iceland has a hushed—

you're pushing through the throat, I think. It's like, it's, it's very light.

I feel like Sweden is so devoid of accent that I hear people from Sweden and they sound almost like they're American. They sound like, I don't love that the door is closing right now. There's like this thing where they no longer are Swedish people. Yes, you're right. Like thing where they're like so casual with English that I actually feel like I'm talking to someone.

But you know what gives the Swedes away is the— yeah, that is the Swedish thing people don't know is, you know, instead of going, uh-huh, uh-huh, Swedes go— it's true. And you hear them on the phone, you just always think they're getting the worst news. Yeah, you're like— but they're just saying, uh-huh, uh-huh, uh-huh.

Yeah, that is because their face doesn't change.

No. Um, okay, what do you like to do when you travel?

Oh, wake up early, have breakfast, coffee alone. Just down in the restaurant. Yes. Not room service. Okay. I love— then I really feel like I'm in a country. So I have, like, landed somewhere. It's my—

I can't wait for breakfast. Breakfast. Oh, I love it. And then you want it. Then do you try— like, let's say you're doing a show in another country. Do you walk during it?

Not that much. I kind of stick around, like, hotel. Maybe there's a little store of some kind. I'm not a big like, I'm going to go explore this side of the city. I'm a little bit like, I get the— by the way, this is an ignorant thing to say and I'm sorry, but I just kind of like, this seems like Berlin. Okay.

And then what do you hate doing when you travel? What do you, what do you not do? Like, do you ever check a bag? I try not to, but sometimes you do.

Sometimes you have Sometimes you have to, but no, I'm pretty good about it. I travel pretty light. Got it. But I did a tour recently and I did have to bring some equipment.

Yeah. Okay. Got it. Broad City. Oh, yeah. That was so fun. Amy. That's— people— and Parks. I mean, we did—

people talk to me about Broad City all the time. All the time. When I— everywhere I go. Someone brings it up. Some people do it as a deep cut. They think they're like, "I'm actually a real fan." Which is great.

But oh, my God. Fred came and did the first episode of Broad City, which was a huge get for us.

I've seen people dressed up as it as Halloween.

As the baby. "I'm just a baby." Little mustache.

Thanks for that.

Thank you very much for that. You're so welcome that I could put you in a diaper and make you a Halloween costume. For real.

Thank you for that. That was like— That really kept on going.

Okay, dogs or cats? Cats. Interesting. I didn't know that. No dog? Like, just no thank you to dogs?

When we first met, the first thing I told you, I was like, cats. FYI, cats. I just met Lauren. Cats. You know that, right?

I love cats. I mean, that makes sense that you would— that you're a cat person. I feel like you're more of a cat. You're more of a cat than a dog as a person, I would say. Although you have a lot of dog qualities because you're very loyal and friendly, but you are a cat.

I like how they don't ask ask anything and they sort of— they don't. That's their own. Yeah, their own business.

Yeah. Um, sweet or salty? Sweet. That you say that. I wish it wasn't that way. Salty's not good either.

I don't believe that.

I don't either. I think salty is better.

I think when people say that salt causes health problems, I never believe it. But it does. I know, but I'm like, why? What does it turn into? That's like, it's just high blood pressure. I know you're right.

But I know what you mean.

But whenever they're like, there was too much salt on it, I'm like, I don't think that's going to be the thing. That's just the ignorance.

Do you ever put salt on anything? No, no. You never like, like salt your chocolate chip cookies or— Oh, I see what you mean.

If there's a chocolate bar that has salt in it, great. I like that.

You like that? Okay. But I love sweet.

I mean, I love chocolate so much. Yeah.

Too much, do you think? Yeah, too much. Are you trying to cut down or like you have to depend on it at the end of the day, especially after a show?

I'm always like, oh, there's a cookie, there's a— I love a little cookie treat. Oh, it's the best. Yeah, you guys had great—

I have a hard time. I have a harder time with sugar because I get on a real ride and I crash pretty hard after sugar. Like, I have big sugar crashes. Oh yeah. But salty, it's perfect. It is. Um, do you like to be scared?

Yeah, I like horror movies and, and all that stuff. I do. But I don't like to be scared in real life, like on a flight.

Have you ever been scared on a flight?

You know, the usual. I'm not afraid of flying. Do you have any phobias?

Oh, heights. That's right, Fred.

I couldn't do a taping of this because of it. Yeah. Because they were like, it's on the whatever floor.

And I'm like, can't do it. That's right. In New York. May we speak of that? Is that okay? We record in Spotify in New York, and it's a really, really high floor. And Fred was like, Nope. Yeah. And I totally forgot about that. Yeah.

But I told you about that. I think one time we were at a hotel and you guys were so nice because I just went up to your hotel. Me, you, and Tina went up to you. Yeah. And it was— I told you, and you guys were so nice. You just closed the blinds. And— but I did it. I wasn't like, I'm not going up there.

Yeah, but you don't like it. I don't like it.

And I don't like that. I don't like it. How come? Because it's too like it's not real. Like buildings are built well for centuries. There's never been like, hey, watch out, buildings. Yeah, that one fell. I've never seen that in the news, you know, like, oh, New York, is this one going to fall?

I actually never even think about heights until I'm reminded that when someone who's afraid of heights and then you go like, whoa, wait, that is weird that we're up here so high.

But there's so much engineering that's gone into it. Yeah. An engineer would actually be insulted by that. Like, do you have any idea? Like, we studied—

Like hundreds and thousands of people going to buildings, millions of people going to buildings every day.

Around the world. Yeah. Everywhere. Yeah.

But could you ever like climb a tree or like, is it that kind of height too? Like you could, a ladder. A— would you be able to get like—

I don't love it, but I, you know, I do try to like expand a little just so I'm not—

Have you ever done any kind of like a bungee or—

No, no, nothing like that.

Nothing like that. No. I like that about you, Freddie. I feel like we're very similar. We don't— I don't like— I don't like— No, I— Like, what am I, insane? Like, I don't like taking risks. No, no, no, no.

None of that. I'm not interested. No. I'm also not interested in watching it. I'm not like— or stories about it. Like, Like all that, I'm not—

no. Like if you're gonna free— if you're gonna free climb, you know, I don't want to know about it. I don't want to know.

I don't want to know about it.

I don't want to know, but I don't want to see it.

I'm oddly not impressed.

Yeah.

Of all things, the thing that you want me to be, I'm like—

I'm like, whatever. Yeah. I don't know.

Yeah. You— what is free climb? That's when you do the ropes?

Yeah, when you do the like— no, no, with no ropes and just You just crevice and crevice and just thumb and foot. Yeah.

And then like one more slow. And then— No. And then you get— what happens?

You get to the top. If you had to do that by accident, if you were stuck somewhere and you did it, I want to know everything about your story.

If you do that for fun— That happened to me once. I was chased and I saw this mountain. I was like, there's nowhere to go.

And I was like—

Get out of here. And then the person couldn't. They were like, they were like, and then, yeah, and then you stayed on there.

I feel bad because if someone's watching, I don't feel bad for people who recreationally free climb. What's wrong with you? What's— what is wrong with you? I think there's something wrong with them. I'm gonna say it. Wow. With no ropes. No one's making you do it. What if it's your job?

Some people are unemployed and they— that's what they fill out the application. They're like, I guess I have to. No way. There's no one. There's no one. Monday. I hate this job. You're right. There might be a few people. That's their job. It's just the world.

That's their job. And they— and I'm sorry for those people. I'm sorry. And then last question. What are you like, what kind of stuff do you watch, read, go to, to make you laugh? Like, what comedy are you watching? Who are you watching? Like, anything you'd recommend? Wow. For real?

The thing that I'm most religious about of like actually catching is SNL. Yeah. It's the one thing that I'm like, I watch it when it's live and you know, there's those moments that you're like, that was pretty great.

Oh God, I could talk forever. I know we've ended this, but I just wanna say, I do feel like we, you and I, I think we've played this game before. It's like an improv game of experts, but I think I talked to you about this. I always wanted to do like a fake TED Talk, like a fake, you know, kind of like experts symposium where you just can talk about anything for like a minute. For a minute you can seem like an expert on almost anything. Yeah, I think so.

You have to memorize a couple things, couple of terms.

And then there'll be a word or something where people will go, "Huh? She doesn't know what she's talking about." But I think almost anything—

It's reachable.

It's reachable. It's fun. So on our way out, I'm gonna give you something that I want you to pretend to be an expert in for 1 minute. Okay. Okay? I'm gonna set the timer. I'm gonna say the Alaskan pipeline. The Alaskan pipeline. Yeah. Ready? So with me today is an expert, Fred Armisen, who has been studying the Alaskan pipeline and is here to talk to us about it. Fred, what should we know about the Alaskan pipeline?

Well, the first misnomer is Alaskan. So many, many people do know this, that it's originally the Siberian pipeline. Why is it the Siberian pipeline? Because it goes through Siberia? No, because the shipping magnates shipped oil through there from Siberia and through Russia, and the only people who benefited from it were people from Canada. You think it would be Alaska. Since Alaska was not yet a state and the pipeline was built in 1951, Canadians were the first to benefit, but they didn't have oil refineries. Ah, why didn't they have oil refineries? Because of World War II. And as we knew Canada to be a series of provinces, they did not have the capacity to have these refineries. Who comes in then but Mexico?

And that's a minute. Fantastic. Answering your own question. You did it. I don't know if any of that's true. When you said 1951? I have no idea. No idea. Thank you, Fred. Love you. Thank you so much for doing this.

I love you. Thank you so much for—

You're the best. I'm glad we dressed you.

I like— We did.

Thank you so much, Fred Armisen. Thank you for coming and being on the pod. I love talking to you. And, you know, for this polar plunge, we like to go deep on something that we talked about. And there's so many things that we could go deep on. We could talk about David Byrne. We could talk about the specials. We could talk about Lorraine Newman. All cool, cool things. But I just want to I also want to shout out Fred's new record that he made with Drag City called 100 Sound Effects. But in this case, I believe he does 101. Spoiler alert. Check out his record and everything that Fred does all the time. And, um, and yeah, and go back and look at old performances of all the music on SNL. It's an incredible, impressive, gigantic catalog. Mix of culture all in one place. Thanks so much for listening to Good Hang. Thank you always for tuning in and checking us out, and we'll see you soon. Bye! You've been listening to Good Hang. The executive producers for this show are Bill Simmons, Jenna Weiss-Berman, and me, Amy Poehler. The show is produced by The Ringer and Paperkite.

For The Ringer, production by Jack Wilson, Kat Spillane, Kyle Mcmullen and Alea Zanaris. For Paper Kite, production by Sam Green, Joel Lovell, and Jenna Weiss-Berman. Original music by Amy Miles.