Robert Smigel on leaving Saturday Night Live; on Lorne Michaels wanting Conan O'Brien to produce the Late Night weekday slot first held by Steve Allen and later Jay Leno; on Lorne initially wanting Dana Carvey to host the show; on Conan O'Brien turning down producing the late-night show slot because he wanted to be an on-camera performer again; on Conan auditioning for Lorne Michaels to take over Late Night on Lorne's involvement with Conan's show Late Night with Conan O'Brien; on hiring Dino Stamatopoulos and Louis C.K. as writers on Late Night with Conan O'Brien; on Tom Brokaw's cameo on the show; on the first episode and the tone being very dark
21:10
Robert Smigel on the genesis of Late Night with Conan O'Brien; on wanting it to be the opposite of David Letterman’s style but invoking his name in the first episode; on wanting to go right to where the “stress” is in humor; on Tom Brokaw’s cameo on the show; on the very dark humor present in the first season of the Late Night show; on the "Actual Items" bit on the show
05:46
Robert Smigel on the sketch "In the Year 2000" that he wrote for Late Night with Conan O'Brien and on the inspiration coming from 60s television shows like The Jetsons; on the Clutch Cargo sketches which involved cutting out out lips from a still photograph and re-enacting the mouth through the photo (it was Smigel’s mouth); on his impressions being more "impercisions" than impressions of famous people like President Bill Clinton
04:51
Robert Smigel on the genesis of the Conan sketch "Masturbating Bear" which Brian Reich developed; on the bear bit being funnier due to the limitations put on it by Standards & Practices
01:44
Robert Smigel on having Adam West as a guest on Late Night with Conan O’Brien, and on other bits he came up with for West
02:42
Robert Smigel on switching roles from writer to producer on Late Night with Conan O'Brien; on producing a five-day-a-week show; on the format of the show; on what Conan brought to the show's dynamic
04:16
Robert Smigel on Andy Richter and how the role of a sidekick for Conan on Late Night with Conan O'Brien came about; on how Richter was originally hired as a writer; on why it clicked between Conan and Andy; on how Stephen Colbert was also considered as Conan’s sidekick; on how NBC hated Andy as a sidekick initially; on what made a good sidekick for a personality like Conan’s
06:30
Robert Smigel on the Clutch Cargo-style bits he and Dino Stamatopoulos devised for Late Night With Conan O"Brien (this technology consisted of a still photo image of a celebrity paired with a real person’s mouth voicing an impersonation of them); on how Smigel came to be the mouth on the Clutch Cargo sketches; on his impression of President Bill Clinton; on doing this sketch live being one of the most exciting moments in his career
04:05
Robert Smigel on what made the Clutch Cargo sketches work on Late Night with Conan O'Brien; on his Arnold Schwarzenegger Clutch Cargo impersonation; on Arnold reminding him of Desi Arnaz
02:14
Robert Smigel on his Bob Dole Clutch Cargo impression on Late Night with Conan O'Brien being his favorite; on talking about the Senator in the third person; on Dole being the funniest person he ever got to play; on doing a different version of the impression when he did Dole on The Dana Carvey Show
03:17
Robert Smigel on the stresses of producing Late Night with Conan O'Brien; on some of the challenges he faced as a producer; on his self-effacing personal style; on discontinuing "fake guests" on the show; on Don Ohlemeyer being a big supporter of the show; on a fake guest bit he did with Conan writer Louis C.K. about fake dog trainers; on this being the first time he did the dog-voice (a precursor to Smigel's "Triumph the Insult Comic Dog" character); on the genesis of his puppet character "Triumph the Insult Comic Dog" when he was producing Late Night with Conan O'Brien; on "Triumph" first uttering the phrase “for me to poop on”; on the dog’s gold bow tie and cigar; on the cigar prop; on doing a deadpan stare as "Triumph" in the vein of comedian Myron Cohen; on "Triumph" being able to do what Conan couldn't as a "nice host"; on the popularity of "Triumph"; on doing the first remote shoot with "Triumph" character at the Westminster Dog Show and how they were able to sneak into the show which did not want them filming there; on improvising the remote bits with "Triumph"; on being invited onto Hollywood Squares as "Triumph"; on going to a Bon Jovi concert; on "Triumph" filming the sketch outside a Star Wars movie premiere in New York City
25:46
Robert Smigel on why he left Late Night with Conan O'Brien, and on what made that show unique
06:05
Robert Smigel on the writers' room at Saturday Night Live when he joined in 1985; on the experience of his first week on the show and learning that even the funniest sketches in the room may bomb in front of a live audience; on when he first started writing on SNL and what it meant to him to be part of a show he grew up watching; on being a comedy “nerd”; on feeling like he didn’t fit in; on not knowing what kinds of sketches Lorne wanted him to write; on the early sketches he was writing being more oddball
09:32
Robert Smigel on the Saturday Night Live writer Jim Downey as an inspiration for him when they were both staff writers at SNL; on the importance of the first read-through at SNL for a writer; on Jim Downey coming out of the comedy school at The Harvard Lampoon and how that impacted his humor
09:59
Robert Smigel on Chevy Chase's return to Saturday Night Live as the show's host in 1986 and his unique take on the "Weekend Update" segment; on Jon Lovitz being the breakout star of that season; on Dennis Miller on "Weekend Update"; on some of the other SNL performers who were on the show during his tenure like Randy Quaid, Joan Cusack, Robert Downey, Jr. and Victoria Jackson; on the change in the cast when Dana Carvey and Jan Hooks came on the show;
06:22
Robert Smigel on Damon Wayans being fired from Saturday Night Live after going rogue on the live show; on the special and volatile nature of the show being live as opposed to pre-taped; on SNL hitting its peak stride with Tina Fey's impression of Sarah Palin in 2008
05:00
On writing about the ending of Saturday Night Live while being aware the show was in threat of being cancelled; on Tom Hanks guest-hosting on the show; on the bit with Tom Hanks with three guys who sounded like Jerry Seinfeld (a swipe at that style of conversational comedy) saving his role on the show (1985-86 season); on a cliffhanger sketch about the end of SNL he wrote for the season finale in May 1986 with George Martin setting the studio on fire and Lorne Michaels (as himself) only saving Jon Lovitz but sending the writers straight into the flames; on Jim Downey’s contribution to the sketch putting a "?" next to each player's name in the end-crawl; on SNL coming back for another season but with some major cast and crew changes
08:46
Robert Smigel on Dana Carvey's "Chopping Broccoli" sketch on Saturday Night Live; on Dana Carvey as a performer and his collaborations with Smigel; on contributions from writers Bonnie and Terry Turner; on some of Carvey’s sketches and impressions; on working with Carvey on his Johnny Carson impression, and on The McLaughlin Group impression being one of Smigel’s favorite sketches that he wrote; on Carvey's Regis Philbin impression; on “finding the music” in an impression with Carvey; on writing for Phil Hartman as Ronald Reagan (as an evil mastermind), and on changing up the way the show and others had done Reagan impressions in the past
09:31
Robert Smigel on his second year writing on Saturday Night Live; on changes to the writers' room and cast; on castmember Jan Hooks' versatility; on the first show back his second season and the sketch "Game Show Psychic" with Dana Carvey and Jan Hook, and on how it was a completely different show with the new cast
06:01
Robert Smigel on the political satire sketches he wrote for Saturday Night Live during the Clinton presidency; on the Stockdale vice presidential debate sketch; on observational humor on the show; on Dana Carvey's impression of President George Bush
04:46
Robert Smigel on the writing duo of Jim Downey and Al Franken on Saturday Night Live; on Adam McKay joining the writing staff of SNL and how the show's writing was changing in the 1990s; on the political sketches on SNL during the Bill Clinton presidency; on Will Ferrell’s impression of George W. Bush; on Jim Downey’s return to SNL for the Al Gore presidential debate sketch in 2000 featuring the classic line “lock box”; On Downey not wanting to focus on skewering the laughs towards one side of the political spectrum, but wanting to focus just on the comedy
09:25
Robert Smigel on the "Matt Foley Motivational Speaker" sketch with Chris Farley written by Bob Odenkirk, and on the "Chippendales" sketch with Farley written by Jim Downey
01:17
Robert Smigel on his 1986 Saturday Night Live sketch "Trekkers" co-written with SNL writer George Meyers; on his attitude towards nerds in general; on the "Get a Life" line on the "Trekkers" sketches with William Shatner of Star Trek; on the holiday monologue sketch he wrote for Steve Martin
05:20
Robert Smigel on writing the Steve Martin opening monologue "I'm not gonna phone it in tonight" on Saturday Night Live (December 14, 1991); on always being on-set for the sketches he wrote for SNL
03:39
Robert Smigel on the Saturday Night Live sketch "Nude Beach" (he had written the sketch the summer before and came back to SNL in the fall to find that NBC had dissolved the Standards & Practices department so they were able to get away with saying “penis” on air - the episode would become one of the most controversial episodes to air on the show
06:32
Robert Smigel on writing the "Bill Swerski's Superfans" sketch about the Chicago Bears fans for Saturday Night Live in 1991; on coming up with "da Bears" catchphrase; on writing the sketch for Phil Hartman but Jim Downey talking Smigel into appearing in the sketch instead of Joe Mantegna because his Chicago accent was more authentic and would set a "metronome" for the sketch; on writing another sketch for George Wendt as Bob Swerski; on doing a sketch “The Quiz Show” about "da Bears" versus "da Bulls"; on the real Mike Ditka's (of the Chicago Bears) take on the sketches
18:09
Robert Smigel on the tribute song Adam Sandler performed in honor of Chris Farley on Saturday Night Live, and on the bonding experience of Saturday Night Live for people who work on the show
05:40
Robert Smigel on what he learned from producing The Dana Carvey Show; on one of the funniest sketches he was involved in on The Dana Carvey Show, about Gerald Ford, that was never aired until Smigel and Dana Carvey revived it later for Saturday Night Live; on the inspiration for the sketch which was hearing news anchor Dan Rather pre-recording an obituary for Ronald Reagan (who was still alive at the time); on having to fight to get the sketch aired on SNL; on why he had trouble getting his sketches on SNL; on finally being able to get the Gerald Ford sketch on the air only when Dana Carvey came back to host Saturday Night Live in 1996
08:17
Robert Smigel on the animated sketches he created for Saturday Night Live; on the "Cluckin' Chicken" piece which he first created for The Dana Carvey Show and later brought to Saturday Night Live; on Adam Sandler as the voice of the "Cluckin' Chicken"; on hiring animation director J.J. Sedelmaier for these pieces; on why he turned to animation as a vehicle for comedy; on wanting to be a cartoonist
03:51
Robert Smigel on his return to Saturday Night Live with his "TV Funhouse" animated sketches, starting with the sketch "The Ambiguously Gay Duo" and then "The X Presidents" voiced by Jim Morris; on how the "TV Funhouse" animated sketches on SNL came about; on using Stephen Colbert and Steve Carrell as the voices of "Ace" and "Gary" in the "Ambiguously Gay Duo" sketches; on mimicking Lorne Michaels for the catchphrase “Come back here with my show” on "TV Funhouse"; on impressions of Lorne Michaels by himself and others including Tom Hanks and Mike Meyers
12:37
Robert Smigel on his animated holiday sketch "Christmastime for the Jews on Saturday Night Live, and on getting Phil Spector singer Darlene Love to sing the song for the sketch
02:08
Robert Smigel on the animated sketch "Journey to the Disney Vault" for Saturday Night Live's "TV Funhouse" animated sketches; on working with animation director Robert Marianetti, who came up with the idea of having skeletons in the Disney vault; on using a songalike of "Zip-a-Dee-Doo-Dah" in the piece; on the piece being a racy piece but the point was that it was making fun of racist people; Smigel's feeling that “intent should matter in comedy- if it matters in crime, it matters in comedy”; on his autonomy making "TV Funhouse" cartoons; on a controversial sketch he made about Michael Jackson
05:36
Robert Smigel on the "TV Funhouse" animated sketch “Conspiracy Theory Rock!” (as a parody of Schoolhouse Rock) which poked fun at GE (NBC’s parent company); on getting notes back about the sketch from Standards & Practices; on the sketch airing on SNL as NBC president Bob Wright happened to be watching and his reaction to the sketch; on this sketch never re-airing; on SNL assistant director Robert Caminiti letting Smigel know the sketch had been pulled; on Lorne Michaels' continued support for Smigel's sketches despite the backlash; on J.J. Sedelmaier coming back to animate the "Conspiracy Theory Rock" sketch and getting original artists who had worked on Schoolhouse Rock to animate the piece
07:14
Robert Smigel on his involvement with the 25th anniversary special of Saturday Night Live in 1999; on the animated sketch "Life of a Catchphrase" he created for "TV Funhouse" that aired during this special; on another "TV Funhouse" sketch he wrote for the special which aired later on the "X Presidents" episode; on his penchant for making fun of SNL producer Lorne Michaels and his deep affection for Lorne; on the special celebrity audience that was present for the anniversary show
11:48
Robert Smigel on how The Dana Carvey Show came about on ABC; on putting together the writing staff for that show; on writers Charlie Kaufman, Jon Glaser, and Steve Carrell; on Carrell’s contribution to the sketch “Germans Who Say Nice Things”; on the “Idiot Pranksters” sketches written by Louis C.K.; on the individuality of comedy ideas; on writer Stephen Colbert; on a sketch with Colbert and Carrell that wound up getting them both hired on The Daily Show; on Dana Carvey's signature characters from SNL and why they did not transfer over to own new show
19:00
Robert Smigel on the controversial opening sketch for the pilot episode of The Dana Carvey Showwhere a fictionalized President Bill Clinton breastfeeds a baby; on not realizing the show that preceded Carvey’s (which was Home Improvement) was a show that kids watched since Smigel himself had never watched it before; on the inevitable backlash to the first episode which Smigel had called resulting in a “cruel prank” on the unsuspecting audience; on the show's sponsor, Taco Bell, and its reaction to the pilot; on how the show was initially received (by getting thousands of complaints); on producer George Schlatter being an early supporter of the show
09:04
Robert Smigel on what he learned from producing The Dana Carvey Show; on one of the funniest sketches he was involved in on The Dana Carvey Show, about Gerald Ford, that was never aired until Smigel and Dana Carvey revived it later for Saturday Night Live; on the inspiration for the sketch which was hearing news anchor Dan Rather pre-recording an obituary for Ronald Reagan (who was still alive at the time); on having to fight to get the sketch aired on SNL; on why he had trouble getting his sketches on SNL; on finally being able to get the Gerald Ford sketch on the air only when Dana Carvey came back to host Saturday Night Live in 1996
09:56
Robert Smigel on the animated sketches he created for Saturday Night Live; on the "Cluckin' Chicken" piece which he first created for The Dana Carvey Show and later brought to Saturday Night Live; on Adam Sandler as the voice of the "Cluckin' Chicken"; on hiring animation director J.J. Sedelmaier for these pieces; on why he turned to animation as a vehicle for comedy; on wanting to be a cartoonist
12:25