tv The History of Comedy CNN August 12, 2018 7:00pm-8:01pm PDT
you fired gary abusic. these are the kind of decisions that would keep me up at night. when you can find two people that can work of off each other, there's nothing more brilliant to watch. >> chemistry is obviously the main special sauce in a comedy team. >> our timing was perfect for each other. >> you burnt a hole in my pants. >> and we're going to be pals, right? >> there's one guy who's out of control, and one guy trying to say calm down. >> do you ever disagree on material? >> no. >> yeah. >> the audience wants to feel they're loose and having fun. and we are really able to fake fun and business.
>> yeah. ♪ ♪ i actually grew up as a kid on comedy teams. that's the way i learned about comedy was comedy teams. >> hey, hey -- >> michelle pfeiffer. >> comedy teams are dependent upon harmony. that harmony that blends into one voice. it's like wow. >> i think chemistry is somebody that you're secure enough with that you can be playful.
you kind of delighted in being with them so it kind of comes out. you feel it. you feel excited. >> i'm not feeling sassy. >> oh, you're never feeling sassy. >> you don't know what sassy looks like on me. >> why don't you eat a bull of wings? >> when you can nail the chemistry of two comedians together -- >> that guy in a little coat. >> it's a symbiotic relationship, without the perfect straight man feeding the funny man or the stooge, one can't exist without the other. it's like a good tennis match, back and forth, back and forth. if you have two really great players, so much the better. >> i believe global warming is caused by man. >> and i believe it's just god hugging us closer. >> the idea of a comedy team predates the idea of a solo standup comedian. comedy teams now, you're considered an alternative act.
>> oh, hello. >> it was just a broadway show last year with john mulaney and nick crow called "oh hello". >> and now back to the play. >> george, can we take five minutes? my stomach's a little -- >> no, i'm good. >> i see an absolute parallel between what they were doing in 2017 on broadway -- >> enjoy the play. >> and what weber and fields created in the early 1900s, the basic conset of the comedy team. >> hey, keep a big cc from the paper. >> weber and fields gave us a lot of what we think of as the identifiable marks of a comedy team. they invented slapstick, ethnic jokes, and pie in the face. >> pretty much anybody doing comedy in vaudeville at the turn of the century more or less was in a team. the marks brothers uncle was in
a comedy team, al sheen, gallagher and sheen, bert williams and george walker were the first african-american performers to receive headline status. and there was smith and dale who were -- >> if you should die, what would your wife bury you with? >> with pleasure. >> many of them were canny enough to realize that radio not only opened a new door careerwise but could become a major vehicle for their careers. >> say hello to everybody. >> hello everybody. >> try again. >> it was not unique, the character of the dizzy dame as they used to call her was a troep, but they just did better. >> they even laughed at joe devos, but she went right ahead and built it. >> gracie had such a naive, wonderful cut into the truth.
she was the funny one. >> originally gracie allen was the straight woman. and a specialist suggested to them, flip it around. >> i heard a political speech on television yesterday, it was very interesting. >> was the speaker republican or democrat? >> i think so. >> say to gracie, how is your brother, and she would talk for 17 minutes, and i would smoke a cigar, when she would dance, i would point and tap my foot, we would exit and we'd split salaries. >> and now guess what the two of america's favorite, abbott and costello? >> i say, who's on first, what's on second, i don't know's on third. >> yeah, you know both names. >> yes. >> well, who's on first. >> yes. >> i mean the fella playing first. >> who. >> the guy playing first. >> who is on first? >> what are you asking me for? >> they were one of probably hundreds of comedy teams in burr less ck. after they appeared on radio,
they became the most hated comedy team in burlesque. now abbott and costello are nationally known and they get their own radio show on nbc. >> did you and lou originate who's on first. >> let's not go into that. >> no one knows who wrote who's's on first. that's the great part of it. they perfected it. >> and now the abbott and costello show. >> it was a pervasive presence, there was an absurdist element, and it was also funny in a kind of savaudevillian way. they were the biggest box office draw a couple years in a ro. >> which way do you want me to turn. >> to the left. >> to the left, that's left. >> that's right.
>> to the left. >> to the left. >> that's right. >> when i was a kid, the ones i loved were when they meet the monsters. every person around my age couldn't get enough of those movies. >> oh, these are classic comedy routines, wouldn't they be just as funny today? >> why not? i think they're funnier today. >> give me a five. >> did you ever go to school, stupid? >> yeah, they come out the same way. >> they had variations on material a lot of vaudevillians did, but theirs was the best. they had honed it over the years of performing it live until it became completely specific to them and their dynamic and their chemistry. >> who's on second? >> who's on first? >> i don't know. >> he's on third. >> there i go, back -- >> oh, no, no, no. >> announcer: history of comedy brought to you by --
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♪ stan laurel and oliver hardy had separate film careers and both were doing okay on their own. but then leo mccarry, the great comedy director, decided to pair them. >> now, is that better? naked and wet. >> oh, oh. >> it was the beginning of something very, very special. >> you know, i'm not as dumb as you look. >> you bet your life you're not.
>> there was always a smart one and a dumb one. but with laurel and hardy, there was an incredible -- sorry, sorry, sorry. >> go ahead. >> laurel and hardy kind of changed it because they were both kind of dumb. but one thought he was smart. >> and they were both really funny. >> what can that do? >> that's simple. you don't have to use your brains for that. >> well, here's another nice mess you've gotten me into. >> they were always true to their characters. you never get a sense that stan laurel is playing a character called stan laurel, or that oliver hardy is playing a guy named oliver hardy, they just are stan and 'olly. >> hello? >> where have you been? >> i was here with me. >> stan laurel was the brains of
the operation. oliver hardy would show up, do his job well and then go golfing. he left it all to stan laurel. >> what are you doing with that cushion? >> well, i keep on bumping me head. see. >> stan laurel was the total filmmaker. he wasn't just a character or a screen comedian. he was a writer and a director, but he was never credited as either. >> i think we were fortunate in sticking to our methods. we're not talking comedians. we only said enough to motivate what we were doing. everybody started to talk their heads off for no reason at all, forgetting the principle of the comic. >> they brought so much laughter to so many people. i can't help but think that the moment laurel and hardy came together to work as a team was a gift from the comedy gods. >> you felt that they shared a
bond. olly was sometimes mean to stan and they were violent with each other at different times. but i don't think anybody ever questioned that they were friends. they even slept in the same bed. >> we've been together for 23 years, and we're still friends. i think that's a record. >> that is a record. >> during the great depression, people didn't have much they can rely on. and there were laurel and hardy providing you with a way of seeing how you could be a faithful friend under any circumstance. and audiences desperately needed that. >> ain't this swell? >> yeah. get out of here. >> hal roach tried to replicate laurel and hardy's success with women. in the early '30s he had thelma todd and he signed zasu pits and put them together.
>> historically, most of the duos have been either two men or a man and a woman. there's very few two female comedy roles. >> they dealt with more contemporary subjects than their peers. they wandered into romantic attraction, and you could see in some cases manipulating men on dates, or using beauty. it's really subject matter that wandered far afield from what everyone else was doing. >> is your name fred heel? >> no ted healy is the name. >> he had three stooges he would berate. larry fine, curly howard, mo howard, but he was a severe alcoholic. and when you're on the stage doing physical comedy, your comedy might get much more violent. so when they got offers to do solo shorts, mo howard realized
we can't work with this guy so they went out on their own. >> dr. howard, dr. fine, dr. howard. >> it took people's minds off their real troubles. a lot of it was depression era comedy. they were always looking for something to eat. come on boys, we've got to get something to eat. i think i saw a roasted turkey. >> give us something to eat. >> you're hungry, huh? >> i never appreciated how funny they were, how intricate and well written a lot of their things were. >> this is football, chump. all you've got to do when a man gets the ball is tackle him. get it? the man with the ball. take him down. >> throw me the ball. >> mo howard was tremendous at getting them to rehearse. so every movement is perfectly planned, like a ballet. >> i'm a victim of circumstance.
>> who you hitting? >> they checked a lot of boxes. they were visually funny, they were physically funny, the situations were funny. and the insults that mo would fling were genius. >> i said we can't come over. >> oh, a coward, huh? >> announcer: history of comedy brought to you by -- it's a golden opportunity to experience a rare form of craftsmanship. before a single grain is finished. before a single shape is forged. before a single stitch is sewn by hand, that hand must first be deemed a master.
the plunge into television, i understand crosby is going to do it as soon as they get the wider screen. >> hope and i are just friendly rivals. there's nothing in the world i wouldn't do for bob hope. and there's nothing in the world he wouldn't do for me. that's the way we go through life, doing nothing for each other. >> bob hope and bing crosby first performed together in december of 1932 at the capital theater. >> the meeting gave birth to the longest running gag in show business. for three decades they've been attacking each other. >> bing was performing and bob hope was emceeing, and bob hope was like let's do some bits together. it worked beautifully. >> you passed my house last night. >> you passed my house, thanks. >> the two of them, separate of each other, were already under contract to paramount. they were great friends, golfing buddies, so they did play off of each other well. so they threw them together for the great road movies at paramount. >> here we are, off on another road. >> what a road, chasing those
trees, that snow, that scenery, that sky. >> get a load of that bread and butter. >> hope and crosby movies are very important in the history of comedy because they're the first ones to explore metacomedy. >> fine thing. first you sell me for a hundred bucks, you cut in on me. now we're going to have our heads chopped off. >> i know all that. >> the people who came in the middle of the picture don't. >> they missed my song? >> i love when they break the fourth wall and turn to the camera and say something to the audience. as a kid, i said -- i never thought you could do that. >> as far as i'm concerned this picture is over right now. >> when you break the fourth wall you're basically inviting the audience in. these people aren't performing for you, you're hanging out with them. when bob hope breaks and looks at the camera, the people watching are like we're all friends vague a great time. >> these movies were grounded by the two of them hanging out and wisecracking through the whole
thing. there was a certain ease to it that was difference than the franticness of abbott and costello or the three stooges. >> this is the screwiest picture i was ever in. >> you thought of something, you said it, and bing was the same way. you had to react and counter. that's actually made a different kind of chemistry for those films. the public really enjoyed that. >> the road movies are sort of like the original buddy comedy. it was not the classic comedy team template where they had established routines, those films worked. they could have just as easily not worked. maybe the chemistry wouldn't have been there. it becomes fairly obvious when it clicks or when it doesn't. >> if i do anything that irritates you or gets on your nerves, don't be afraid to tell me. he's your partner, and i don't want to do anything that irritates you or gets on your nerves. >> hello. >> i'm not here. you haven't heard from me. i am not here. >> yes, he's here.
>> jack lemon and walter matthau, there's a version of a comedy team that wasn't really a comedy team. >> once you started with temporary teams, that opened a whole new world. if you wanted to have just two stars, put them together, mix and match. >> yeah. >> you would just be excited when you hear that they were doing a movie together because you know that their chemistry was explosive. >> we seemed to know each other, like an old couple. >> sometimes you can have two very good actors and don't seem to work together very well, you find two other people and -- >> i can't pass for black. >> who you telling? i didn't say i was going to make you black. i said i was going to get you on the train. we've got to make them cops think you're black. >> it will never work. >> what, are you afraid it won't come off? >> that's a good joke. that's humorous. >> when you saw richard pryor, and gene wilder, you simply believed it, you just believed it. you thought that when they left that movie set, they went and
had a beer, you just knew they were friends. >> help, i can't -- >> no amount of brainstorming and planning, if they put all the great actors on the wall, richard pryor and gene wilder are great. nobody could have predicted that that was going to be that good. >> i mean, two incredible drama people come together, and if they get chemistry, it's delightful. >> saturday night live had a great and has a great knack of putting two people together. >> two people together. they had aykroyd and belushi and the blues brothers. >> we're on a mission from god. >> it was a chemistry they had that, okay, fine, you're going to raise money to save the church, fine, i'm going to go along with this. >> baby clothes. this place has got everything. >> i think what it is is mutual assured construction. you cheer each other on. >> i'm getting out of here, damian. >> fine, then go. >> i'm gone. >> go?
>> i'm gone. >> go then. >> well, i am. >> i think with dana, i had chocolate in his peanut butter, he had peanut butter in my chocolate. between action and cut, it was a great them industry. >> it's a melting pot for people to come in and exchange comedy ideas. when you find somebody that you connect with, it usually ends in a bunch of huge comedy sparks. >> are you okay? >> i'm sweaty. >> oh, my god. >> what is happening? >> i don't know. >> as performers, when you're around somebody who gets you, and you get them, you go, what more can we do with this? >> a lot of people go to college for seven years. >> i know. they're called doctors. >> there are a lot of different kinds of comedy teams, and it all depends what your definition of a comedy team is. >> went out, you're not moving your mouth. say it. say it. how is it, son, that when i
shout, you stick in my face. >> what fascinated me about ventriloquism was about seeing a little wooden doll, so to speak, come to life. it's like magic. >> i saw you running down the street the other day, the strange thing, i never seen you run as fast as you ran the other day. i can talk better than you, and i'm a dummy. >> the basics of ventriloquism is the friction between the ventriloquist and the dummy. >> i certainly as a kid until recently thought of them as two people. >> it's always fascinating to see how people reinvent the dynamic of the relationship of the comedy team. >> you know, how about you and me putting together an act? >> oh, no, sorry, i only work in the single. >> oh, okay. >> jim henson and frank oz created duos, they replicated their own friendship through these puppets.
bert and ernie were swuft most famous comedy duos of all time. the tall skinny one and the short pudgy one. >> bert, you're not mad at me, are you? >> no. >> anybody tell you you've got eyes like ping-pong balls floating in green motor oil. >> write about the essence of the characters when i'm talking to miss piggy, i think she's real. when i was with kermit, i thought he was real. they come alive. >> frank oz joined me about 18 years ago, which i think i've often credited him with being one of the real reasons that the much p muppett show is funny. >> they didn't invent puppets, but they invented a style of puppetry that's been replicated over and over again, giving them deep personalities. i'm sure that starts with those two people hanging out a lot and
making each other laugh. >> let's set up in one bowl. >> they had one of the all-time great chemistries, sesame street, the muppett show, sam and friends, it's timeless. >> we certainly enjoyed your performance. >> oh, well -- >> say thank you. >> right. thank you very much. >> you're welcome. ♪running through the door as i start to yell♪ ♪movement was my only chance ♪full speed ahead was my only plan♪
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we've got to get these boys out. they've done a great couple of shows tonight. they're wonderful for coming out and helping us. >> there has never been an act as convulsive, unpredictable, and frighteningly funny as dean martin and jerry lewis. you didn't know what they were going to do next. >> all right, it's time -- it's time for the old-timers to sit down. >> i often think of the moment when martin and lewis discovered each other, it must have been fantastic. they were just working in the same club. lewis was doing a lip singing act. >> they sort of improvised together at after hours clubs. >> that was a good one. >> they were made for television because television was a new medium. and it was still finding its way. and was in danger of becoming
very conventional. >> now, i know what i'm talking about. because i've been in this business close to a week. and you -- no, if you don't mind -- oh, there you are, up there. you're drunk, both of you. >> the core of their act was one very talented, very suave, very casual singer being interrupted by a crazy person. ♪ ♪ i've got a right to hang around ♪ >> the rules were new. so they were easily broken. >> oh, look at this, bing. oh. >> the joke wasn't funny?
>> what are you smoking, chesterfield? >> yes. >> that's our brand, because that's front -- money, money. >> he's a physical guy that jumped around and did -- ask did all kinds of stuff. you've got to let me know when you're doing that. >> okay, fine. >> dean martin seemed like he was a straight man, and jerry lewis called himself a monkey. it was way more complex than that. unlike hope and crosby, which were funny guys, jerry lewis was 20 years old, so he had a certain appeal. and then dean martin had this very easy going style that women loved, men loved, and they were a post-war phenomenon. >> martin and lewis were bigger than the beatles. they were massive. there were tens of thousands of people in the streets lining up to see them. they created this mass hysteria of comedy. >> tell you what, you want to come up for crosby?
we ain't got any. >> martin and lewis transcended their material in a huge way. >> no, no, you be a good boy, be a nice boy, after the show, i'll take it apart and we'll paint some socks on statues. >> the root of what makes chemistry work for people, it seems like they love each other. martin and lewis had that. they did love each other at one point in the beginning. but then they hated each other towards the end. >> that was a terrific gag. >> i mean, i was surprised, you know, because i do the jokes, and everything, and you came out with a good one. you know what i mean? >> there usually is a life span for these comedy teams for duos in general, whether it be rogers and hammer stein or len anyone and mccartney, or abbott and costello. >> let me catch a breath here. >> you had this explosion of comedy, and when they broke up
in 1956 it was huge news. people couldn't believe it. >> we had put in ten years, ten very successful years and we built the kind of a theatrical empire the likes of which no one has ever seen. and there was a very, very strong relationship there. but egos get pulled into this kind of a thing, and the truth is simply that we loved one another, and if dean feels this day as i feel about him, then i can say we still love one another. we just didn't like working together anymore. >> i have a friend who loves what you do every year, and who just wanted to come out -- would you send my friend out, please? would you send him out here? come here. >> for 20 years, martin and lewis had not seen each other or talked to each other until they were reunited on the jerry lewis
telethon. >> all right, all right, break it up, break it up. >> thinking about that moment, i remember watching it live. it really makes my eyes well up right now. it's really something. you knew it was a marriage between two people who loved each other, but just couldn't get along anymore and split up, but will never forget what they had together at one time. >> so, are you working? >> martin and lewis broke up, everybody wanted to try and create the next martin and lewis to try and fill that vacuum. >> is your name josephine. >> get away from me, doris, now beat it. >> doris, i'm just trying to be friendly. do you live around here? >> look, i'm warning you, i don't want any trouble, yes, i live around here, get out. >> what's your address? >> look, it's no good, you're not going to make a pickup, you understand, 4411 westminster place, now get going. >> nicols and -- came out of the compass players in chicago. it was a precursor to second
city. i used to go to sleep at night listening to their records and i discovered things about comedy i could never have learned like sometimes mike would just go, oh. so, oh can be funny. >> absolutely. >> instead of a line or a joke, you can get a laugh on oh. >> it's a great thrill to be on the show tonight. >> uh-huh, uh-huh. >> such a great thrill. >> how about that? >> these two people were coimmediatically in love with each other and expressed their comedic love to us the audience and we were the lucky recipients of it. seriously, though. >> they had snob appeal, and the mob appeal. people liked them and the snobs liked them. >> they were a great comedy companion to what was going on in america at the time politically, socially, culturally. so they were the start of a stylistic shift. there was jerry stiller and ann mira. >> i bet you get a lot of wrong
number calls. >> yes, you. >> you sound -- >> there was tim reed, did a white man, black man act. >> you pretend you're not the black man. walk up to me and start a conversation. >> hey, baby. oh, look here, leroy. what do you think this is? amos and andy. >> in the '60s, comedy itself changed. there's a war going on, society was changing. and comedy teams reflected that. >> you may have noticed that now and then we kind of poke fun -- a little fun at the people in washington. >> washington? >> washington. actually, we mean every word of it. ♪
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you know, you're a hero among the kids now because they've rediscovered all the marks brothers films. duck soup is playing at the new yorker with hamlet. >> with hamlet? >> i swear. >> the late '60s there was a revival of the marks brothers among college-aged audiences. >> the counterculture generation caught on to the anarchy of the marks brothers and it was
perfect. it was also lovely that groucho lived to see it. >> you had a move like duck soup which shows how preposterous the whole idea of war is. if you're a college student in the '60s, what's better than that? >> general smith reporting a gas attack. >> take a tea spoon of soda and half a glass of water. >> yes, sir. >> the marks brothers are great example of characters that have all this chemistry. croucho represents an authoritarian figure, but not really. >> captain spalding, it's a wonderful idea. >> you do? >> yes. >> forget about it. >> harpo, he's like an alien from a different world that chases women and plays the harp. what is that? and immigrant, who fleeces people who you he twists language all the time? >> i'm columbus, sailing along on a vessel. >> on his what?
>> not on his what, on his vessel. >> don't you know what a vessel is? >> how the three of them melded together was a thing of beauty. >> do you take this woman to be your lawful wedded wife? >> we do. >> they have an irreverence towards authority. that was their main draw. it was four brothers. and tommy and i, we were like that. we were like brothers. me and you against the world. that's how we did it. >> that's some heavy [ bleep ]. >> they are counterculture comedians who have developed a specific kind of audience through the sale of their albums. >> their influence was ubiquitous. people grew up on smoke. >> their comedic timing, the chemistry. they improvised a lot. >> and the weed. >> and the weed, of course. >> but they were also political too.
>> we were of the rock generation, and we were rockers. the almond brothers for a long time, alice cooper. but very soon, we had rock bands opening for us. >> it's quite an unlikely pairing. mexican-american, and you are chinese-canadian. how in the world did you ever get together? >> it was a mixup at the green card office. >> we were really burlesque, representing a street level view of what was going on in the country. that was the most legitimate voice. >> am i driving okay? >> everyone focuses on the drug side of it. they were also just great timing, it's all about those two guys being finely tuned to each other. >> who is it? >> it's dave, man, we open up. i got the stuff with me. >> who? >> dave, man, open up. >> dave? >> yeah, dave, come on, man, open up, i think the cop's
coming. >> dave's not here. >> how long have you been working together now? >> we have been working together about five years. >> can you imagine 20 years from now doing a drug act. >> oh, for sure. >> the '60s and '70s became in one way the demise of teams. >> the comedy team as we knew it does not necessarily exist today. >> with bob newhart and shelly berman and lenny bruce. comedy started shifting. these guys were in the more intellectual arena. it lent itself to one person. >> i've got to stay here. there's no reason why you folks shouldn't go into the lobby. >> one of the reason, you have to split the check, it's not economically feasible. you see it in modern standup comedies, it's when it's musical. >> hello. >> hi. >> hello, man, sitting in the
park. >> i just said hi. >> you can do twice as many gigs, the comedy festival, and the music festival. >> i love you baby, but all i can think about is -- >> okay, thank you. >> you can play an instrument, or if you can sing like jack black can sing, it automatically puts you in a different -- people respect us more. you're doing something not everyone can do. >> pregnant women are smug, everyone knows it, nobody says it because they're pregnant. >> traditionally, to be defined as a comedy team, your roots are on the stage. >> what do you think about this for my facebook status update, seeking air conditioner, free to cheap, thanks, bye, guys. >> bye, guys, is my favorite part, i love that. i want more you, more spunk. >> okay.
>> when you think of famous comedy teams today, their domain is sketch comedy. >> before we begin, i'd like to once again introduce you to my anger translator luther. >> hi. >> with comedy teams like bob and i, we're a duo that does comedy, but we're not really in any way what's considered a traditional comedy duo. >> i could use a guy like you as an example. you're still fired. >> the only comedy teams that work together all the time are 20 years and we don't really talk about being wins that much. >> we don't want it to define us, what it really does. >> identical twins seems to fly in the face of the basic concept of the comedy team, which is one guy powerful, one guy ridiculous. >> we made a conscious choice that we weren't going to be different. we were like maybe we can do the
post modern take. >> our chemistry carries us when it's time for he to jump in and add interjection. i can sense it. >> we were in the supermarket looking for jell-o and some dude came out of nowhere and said yo, do you have a stick of double mint gum? i know that sounds like an innocent question but to twins it's mad disrespect. >> absolutely. >> two people that aren't from the same family that can easily separate and disappear for the rest of their lives if it's not working out. we can't leave each other's lives. not like i'm going to get traded to the lucas brothers, know what i mean? you wouldn't accept an incomplete job from any one else. why accept it from your allergy pills? most pills don't finish the job because they don't relieve nasal congestion. flonase sensimist is different. it relieves all your worst symptoms,
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there are a lot of people you may just like together, certain peep have chemistry that seem special. >> bill cosby has spoken out about allegations against him. cosby admitted to a reporter, i put the pills in the people. >> tina, that's not right. that's not right. it's more like i got the pills in the bathroom when i put them in the people. >> when tina fey and amy poehler hosted the golden globes, they were good friends and respect each other and you're getting a
glimpse of what it's like in real life. >> people like to see the friendship. they want to walk away saying my god, they really love each other or have a good time together. >> for more on this situation, we turn to stephen colbert. >> in a way, john and stephen were a team on comedy essential. >> excuse me, i've been invited to a hunting party, a few dozen men, some stable boys, all of us in kilts naturally. [ laughter ] >> here is the fun part, john, whoever shoots the -- [ laughter ] >> people lump them together in a way and still do because they like them together. >> is that her? >> yes. >> we're going to need a special locker for the hat. >> that's a terrific thing when you have another actor that you feel you have chemistry with. >> i'm conconfused.
>> he's not going to get us alone because he thinks we're too old. >> too old? i was blasting drake all the way here. >> great to be with jane and working with her and people say we have chemistry, if we do, it's because we love each other and enjoy each other and have fun and i know i can trust her and she can trust me and i know she's got my back. >> malcolm is over every night. >> every night. >> how long is that relationship? >> 1950 on. >> mel and i weren't a team. we were having fun. we did it ten years without ever getting paid for it. we just did it because we enjoyed it as much as the audience. >> sir, i'm afraid to ask the next question, do you have any children? >> i have over 1500 children. and not one comes to visit me on a sunday. >> great to be here. i'm bob white and this is my wooden headed friend jasper. >> hello chums. what a crowd.
>> when i was working alone, there is a pressure on yourself and you're the only one to judge yourself. but i told marty, i said this is the first time i ever really enjoyed performing where i thought let me out there. >> i think it's ideal when you work with someone else, when you bond or something goes weird and you're not alone up there, you're sharing it with someone. >> i loved working with marty because he understands the concept of 60/40. >> chemistry is impossible to define but when i'm out on stage, i actually enjoy watching you so maybe that, there is a genuine interest in the other person. >> i wish i had that. [ laughter ] >> what's the matter? >> i'm scared. >> comedy in general is a team sport. you have to do it with people listening and responding so there is a connection that has to happen for it to work. >> 106 miles to chicago. we got a full tank of gas.
half a pack of cigarettes. it's dark and we're wearing sunglasses. >> hit it. >> there is something about that dynamic that you don't get from a singular comic voice just like in life, two people contributing to the same thing can bring it more power than one person acting on their own. >> we'll stand here until they fade to black. how about a nice hand. >> you don't know why chemistry works, you don't know how to manufacturer. it's there or not and it's just beautiful when it works. >> put in another piece of film. >> this is a little off track but just for fun, why don't you tell me who was on first, yes, the fella's name, the guy in first. the first baseman. who was on first? are you asking me for? i'm not asking you i'm telling you. i'm asking you whose on first. that's the man's name. go ahead and tell me who, the guy on first, the first baseman. when you pay off the first baseman every month, who gets the money? every dollar of it.
why not? the man is entitled to it. who is? yes. who gets it? absolutely. sometimes his wife comes down and collects it. whose wife? yes. i pick up the ball and throw it to first base and who gets it? naturally. we're all going to die. didn't mine to remind you of it, but it is on your schedule. >> we find the loss of comedians so profound because we had fun with them, and they were in our home. >> she'd make you feel that you had a special place in her heart. >> laughing with somebody binds you to them. >> comedians don't have a great mortality rate. we lose a lot of people. >> when you lose a comedian, i feel it's more personal because i know the [ bleep ]. ♪