Since starring together in The Three Amigos in 1986, Steve Martin and Martin Short have worked together on the blockbuster Father of the Bride movies, toured the country making relentless jokes at each other’s expense, and now they’re starring in a hilarious series about three neighbors working together to solve a murder in their New York City apartment building. Willie Geist gets together with the two comedy legends to talk about their series Only Murders in the Building and their friendship lasting more three decades. (Original broadcast date September 12, 2021)
Sunday Sitdown with Willie Geist
EMMY NOMINEES: Steve Martin & Martin Short
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It was one of our best conversations, our favorite conversations of the year. So we thought with the Globes this week, what better time than to spend some time with Steve and Marty right now on the Sunday Sit Down Podcast. Guys, thanks for doing this. Great to see you. We're happy to see you. I told you I just got caught up last night. I'm through episode four. Yes. So much fun. I'm watching it not only for my wife, but 14 and 12 year old. Wow. And how far are they? Into it. Totally into it. And let me ask you a question. Is it bothersome because of the F word? We've crossed that bridge in our house. Sorry. We don't use it in the house. We didn't move these in media. We're good. We've missed that totally now. So Steve, take me back to the sort of genesis of this show, the idea for it, where it came from, and at what point Marty enters the thing. Well, it's very hard for me to remember when I had this idea, but it was at least 10 years ago. And it actually started, because you had this link, the album to tell the whole story. I was at a party with a very good friend of our Sandy Gallon. And Sandy Gallon was a great guy. We both knew him. He was a manager, he represented Dolly Parton and Frank Sumatra. No. He represented Dolly Whoopi, Cher, and Neil. Armstrong. You know. This is what I contend with. This is kind of memory. It's unbelievable. What day did we meet? We met June, July 14th, 1985. Is that true? Yeah. Absolutely. You can't believe it. I, you know, I thought I might be... So anyway... Oh, no, no. I'll do one joke. And then we'll go back to your part and we can snip. Okay. I thought I had H. Sam. Do you know what that is? Oh, right. Where you can remember every day in detail. Yeah. Right. And I said to someone, I think I have H. Sam, like Mary Lou. I couldn't remember him, so I knew I didn't have it. Go ahead. So, I'm at a party at his house. We loved this guy. He was great. He suggested I was writing songs at the time and I played one of the songs. He said, "Dolly Parton should record that." Wow. And he called her and she said yes. Yeah. And "Dolly Parton" recorded one of my songs. That's incredible. Yeah. And so anyway, so I'm at a party at his house and we really like the guy. And there's three older Broadway actors there. And Sandy came up to me and he said, "You know what? You ought to write something for them." And thought, "You know, that's actually a good idea." Like, you know, and so I started thinking about it and came up with this idea of three old guys who, but this is ten years ago, I remember, who live in a building and they'd like true crime and they decide that they would like to solve some crimes but because they're older and tired, they would only solve murders in the building. They're not going to go downtown. So, that's where it came from. And then, you know, one day I'm telling Marty the idea and you know, he liked it and he said, "You know what?" I said, "What? We're old." So, so that's how we thought, "Okay, well, maybe we can do this thing." Is that how you remember it? Was Marty, did you have him in mind when you were thinking through this? No, I had these three actors in mind. And then it just sort of drifted, you know, you don't get, you just think about how much work it is and everything. And so, they asked me when I pitched it to Dan Fogelman and at, what's the name of the company? Try more. I'm making that up. I have no idea. Sure. Yeah. And try more. T-R-I-M-O-R is the way I'm seeing it. Try more presents. And he said, "Would you do it? Be in it." And I wasn't thinking of being in it at all. And I thought, "Well, I'll do it if Marty does it." And then he signed up immediately and there we were. And then somebody had the brilliant idea to bring in Selena Gomez. Well, that's, I mean, that is really, I talked about my 14-year-old daughter. That's where the interest is. Yeah. No. My daughter is Selena Gomez, isn't it? And by the way, it's such a perfect unexpected match. Yeah. You know, it's like there's us doing our thing. And then when the camera comes to her, it's like it rests on her face and her thinking and her internal acting. It's beautiful for the triangle of performances. So, do you jump always Marty at the chance to work with Steve? This idea comes up. It's going to be the two of us. We'll shoot in New York. We'll have a good time. Oh, absolutely. And then, and don't leave out John. Good. Oh, Dan. No, I was going to say Dan Fogelman. I got mixed. John Hopp and Dan Fogelman are brilliant people. So, you know, every element of it seemed like ideal. You know what always goes through that thing where you have managers and they're going to raise all the flags and there were no flags. And, but also, we really did it on our own. We didn't run it by anybody. Actually, the idea of having, I know this is so boring and you can cut this out. But, the idea of having the launch with Dan, I know, I saw the cameraman walk away while I started this story. They're drinking your tea. And so, my agent called and said, "I think you should have lunch with Dan Fogelman and just Rosenthal." And I said, "Look, I know what these lunches are. They always call up and they say, "You should meet Wes Anderson. You should meet so-and-so." And I said, "Well, I love Wes Anderson. Of course, I'll meet with him." But it's supposed to generate a project. And by the time you've had lunch with the two people who want to have lunch, they're so over you. You know, that, "Well, I've done that. So I don't need to do anything with that guy." But this actually worked. I just had a lunch. I said, "I'm not even going to pitch an idea. You get a turn to talk in a minute." And I talked, I said the idea. And we kind of had the feeling like, "It's not a bad idea. First time I heard it out loud." So I think it's a fabulous idea. Really? In a building and make it about New York? And the characters are just so good. Did you shape that character? The backstory of Oliver? No, a scene that actually wrote the backstory of all that. I mean, we knew that he was an ex. The details of Splash and things like that. Well, I didn't write Selena Gomez as his character. That was written by John Hoffman and the writers, because that wasn't a part of the element. And I feel the cameraman coming back. And I'm talking about Selena. We have key words. Yeah. Yeah. But you are amazing. I was thinking, you know, just before I was back in my room, googling my symptoms, I was thinking about Steve. And he is an unending creative source. He never gets writer's block, no matter how much you pray for it. He doesn't. It's amazing. And it was just a great idea from the beginning. Wait, I was going to say something. Yeah, I had a joke. No, no. No, the original idea was that I was an actor from the '90s who had a big hit crime show. And because I've always fascinated by people in show business who have these huge careers. And then the show ends and it just kind of stops. So I wanted to play that. And I thought Marty would be, oh, I didn't write it for Marty. I just wrote it for a guy who was an off-Broadway director who never quite made it. And because even an off-Broadway director can have a huge, huge ego. Oh, of course. We've never had a hit, exactly. There is, to anybody who lives in New York, there's a real familiarity to the building and sort of the app-thorp and the insomia and all those kind of mash together. And something that happens in New York where people live in a building together but they don't really know each other and the person right on the other side of your wall, maybe you've never met. Right. And here comes this event in the case of your show that brings them all together. And it's because they're all these true crime podcasts. And it's such a great vehicle because the greatest actors in the world live in either Los Angeles and New York. They're great actors for up. But the amount of every time you cast any smaller role or big role in this series, every actor is like, why isn't he a massive star? In this city. In the city. He has filled with actors. It's amazing. Good actors. We've got Jane Lynch, Tina Fey. Yeah. Yeah. Sting. Sting. I didn't know if we went that way. Nathan Lane. How about Nathan Lane? It's incredible. Amy Roy. We were in awe of Nathan Lane. We'd have scenes with him and we weren't acting. We'd just stare at him. It's like Nathan Lane is so unbelievable. Then your line would come up and you go, oh, Nathan. I mean, no. So when the idea for Selena Gomez comes through, you two guys I suspect are not terribly familiar with her music because you wouldn't surprise me. I would. Yes. So what did you think when you heard that name? Well, I thought it was kind of a brilliant idea because right away it seemed all generations brought in. Instantly, I thought it was a good idea. And I never heard any other name besides Selena's. That's true. Yeah. It was no other name. I know they probably have lists. You know, there was always with a list. But when it got to us, it was only Selena. Yeah. And we thought, would she do it? And then we had one of those Zoom readings. That was an audition. She was hired. And we hung up and Marty and I called her each other and said, she's fantastic. She's got this slight, I even, people are picking up a slight kind of a New York accent. I don't know if she's doing it or that's her or what. She's from Texas. So probably not. Yeah. But she's got that. There's a, in a later episode at one point, Steve says to her, I want you to be less mean. And she just looks at him and says, I know you do. By the way, that was already been on. Yes. Oh yeah. That's good. Yes. You should, you should watch a show. I read the script. No, I don't want to. I got other fish to fry. She also has, I think on the show, but also when I watch you guys do press together. She has sort of a charming eye roll at the two of them. Absolutely. She does. Generally speaking, like here they go again. It's surprising. First of all, the people say, is there a generation gap? And I say, well, of course. Yeah. Yeah. It's what you want. I don't want to be up and talk the lingo of a 29 year old. No. So there is that. But I'm always surprised. She's using the word lingo kind of covers that idea. I'm always surprised at what she shocked at us by. Because it's always something, I'm like, really you're shocked at that? And it's kind of a fun shock. He goes, you know, like we just said something shocking. And, you know, she outshocked us by, you know, a 10 million. Yeah. And she's got like 300 million Instagram followers. It's not that bad. Every week I hear that it goes up. It's crazy. It started, she has 190 million. Then you start hearing. She's got 220. No, I think it's now 260 million. She's way up there. Yeah. Yeah. She's among the, among the highest. So something that couldn't have been part of the, the pitch 10 years ago was this idea of the podcast. No, that came up. That came new. Which is so brilliant because boy, it's so intense right now. You know, it was almost ahead of the curve. Because, you know, this would have come up like two years ago. And I kind of think it was in the last two years that it started, you know, these big numbers. Yeah. I mean, there's a scene that was already been on. So I mean, Tina Fey is hosting a podcast in the middle of our meeting with her. She sells it for 30 million dollars. Yeah, yeah, yeah. It just turns in her chair, closes the deal. Yeah. Yeah. My favorite thing is she, she turns and she's actually killing time. So we have a scene together. Yeah. But she's also twirling the phone line. You know, it was almost like a 50s secretary movie. Yeah. Yeah. Which is closing a 30 million dollar deal. Yeah. So it raises the obvious question. Do either or both of you listen in real life to these crime podcasts? Because you play it well. I do not. I do. No. I do. And I've listened to a lot of crime podcasts and watched a lot of true crime shows. And I think, yeah, I know what you're saying. That guy's sick. Well, that means the rest of the nation is sick too. Yes. I like, I like the solving part. I find that, I like the scientific solving and clues and tracking down and CCTV. In fact, even now, because of this show and watching these shows, I'm always thinking, just walking around in my life thinking, what's my alibi? If something were to happen right now, could I prove I was in my car? Yes, I've got the GPS and there's a CCTV camera and I wave at it. Well, there's not too much. What is your crime that you're afraid of? I don't know. I'm not planning. Are you planning anything? No, I'm not planning anything. No, it's some other crime, like God forbid, but I could always prove I'd be the first suspect. I would be hit absolutely be the first suspect and then replay, you know, my eye rolls at you. I'm telling you, when you do, you know, some joke that doesn't work, which is often. So do you, Steve, do you watch Dateline and those kinds of shows or do you that deep into it? Mm hmm. So you're really in it. Yeah. Why don't you read the news or something? I do read the news. No. So are you principally objected to the crime podcast or just not interested? You know, I just feel that there's so much despair around that I just don't want to hear about another person's murder. And first of all, why should you research a movie you're working on? Oh, that would only get in the way. You like going in blind? I am playing a director. I know the theatre. Okay. I've been on Broadway. Yes, you have. Yes, I have. Isn't that unbelievable? It's incredible. You want a Tony award? You know, well, you want to, no, I've won an Emmy, an Oscar, and a Grammy, and this guy has won a Tony. Yeah. That's the one you want. No, that's the one I want. Well, it's perfect for him because it's the ego. Yes. Yeah. You know what I'd like to do? It would really be great. But if you'd lend me your Tony for just, you know, like a parties and stuff, and then you give me the Oscar. No, I need the whole set. I need the whole set. He changed the plate, maybe, to put your name on him. You've been nominated a bunch. You deserve one. Tony, I've been nominated. Yeah. Sourcebot. You know, I got put up to show you how you had it. Yeah, right. By the way, is that horrible what I just said? What did you say? I bought my awards. It is kind of. But it's -- What? You mean it's horrible. What do you mean? Well, you know, somebody else should have said it. Well, no one is that obsessed with you, like, how do you sell it? You'd have to have put an ego to bring that up normally. The reception to the show has been overwhelmingly great. Yes. I mean, if you read the reviews and just -- We're 100% unrodden. Oh, now you've ruined it, that's it. Oh, really? Oh, because now someone's going to go, "Oh, really? I'll show them." Well, so what? Yeah, you're right. Yeah. Takes you on into double digits. No, we are. Honestly, you know, we've had a long career in show business. But a hit is fantastic because, you know, they're rare. You know, a real hit is a very, very rare thing. As long as you've been in show business, they don't -- there's not like everything you put out as a hit. And so it's especially at this point in my life, you know, to have -- No, I remember seeing the Tonight Show once with Johnny, and Tony Randall was on. And Johnny said he -- it was like the '70s, he was doing the odd couple and it was now a hit. And he said, "How long do you think you'll stay with the show?" And Tony said, "That's the dumbest question I've ever heard. I'll stay with it as long as it is a hit because hits are rare." Yeah. And it's true. And he's right. Yeah. And also, I mean, it's the two of you, so the expectations are high, but there's never any guarantee that it's going to go well or that people will find it. Well, but I wouldn't think there's -- Sorry. I think there's high expectations. It's just like, "Oh, well, let's see. I'll check it out. I think sometimes that can be a detriment. The expectations become too high. Right. I don't have that problem. No, no, no. What's it like for you guys who've seen a lot of different forms of show business to put something into the atmosphere now in this streaming universe where part of the job is to help people find it by sitting in doing things like this? I love it. Because, you know, when I first started, I was in television as a writer, you know? And then I sort of became a stand-up. And then I had the specials, television. This is what you did then, the early '80s. If I had to do all over, I wouldn't do it. But then you put a special on, and then some monster show is up against you and you're wiped out. Right. But here, you can do a good show and somebody will find it. You're not going to be wiped out by competition, you know? You like it too, Marty? You like streaming? I do. I mean, it's kind of -- but it is like all things. You can make a movie that no one cares about and five years later, it's a cult classic. And so things always find itself, but this is fascinating because it's -- some people, for example, I was told, are going to hesitate to watch it because they want to watch them all at once. This is a whole new way of being entertained. Right, that's true. No, I love that. And I -- well, I'm not going to say that because I got tired of going to movies because the volume was so intense. I'm really serious. It's just way too loud for me to listen to. You know? I think it's an age thing. You think? No, no. Bieber's going through the same thing. Bieber. Bieber. Oh, Bieber. I thought you meant like leave it to be. No, no, no. What's your name? Well, that's the age thing. Yeah. Do you guys -- I mean, this part of working together, okay, we've talked about the show, but how much fun is it for two buddies who've known each other for 35 years to kind of hit the road together and promote and -- Totally fun. I mean, I wouldn't do it any other way, honestly. I mean, I tour with the band, but we have good camaraderie, too, sometimes we do that. But basically, I wouldn't do it. No, I think the only thing you can really control in a work situation is the hang. In show business, you can have the greatest experience making a movie in that it bombs and the critics hate it. So the only thing that you can control is do you have fun while doing it. And Steve and I, you know, we do shows, live shows together, but we also have a great dinner of the night before, and we have great glasses of wine afterwards and discuss it with the band. That's the fun of it. And you've been doing it, as I said, for 35 years since you met doing the Three Amigos. Well, people ask me, they say, "What's your favorite movie that you ever made?" And I say, "Well, I don't know, because here's why." There are three things to a movie. How much fun you had doing it, was it a hit, and is it any good? Right. And when those things land together, it's fantastic. But sometimes you can love a movie just because you had such a great time making it. Right. And was that the case with Three Amigos? Was it instant for you two guys? It was not an instant hit. No, I know, this relationship, because it feels like- Yeah, no, we got along instantly. Instantly. All three of us did. And again, you make a movie or your on location for months, and sometimes you never see those people again. So you make a conscientious effort. I think I'll keep up with that guy. And it was mutual. And also, we got lucky because we did other movies together, Father of the Bride, one or two. That's true. Prince of Egypt. Prince of Egypt. But we were already friends with them. But I'd say Father of the Brides really put us in a comedy frame of mind, to be friends. Would you say that? No. Okay. Well, I think we were- So it's over. No, we were friends before that. Well, I know. But in fact- We've been to Europe. But there's so much- I can show you a photo album, and you'd be sick at how- No, we went to Europe to promote Father of the Bride. That was in '96. In '89. Remember we went to Ireland and England? Oh, that. Yeah, no. I thought you meant on a movie. That's not Europe. That's not Europe. You know, that's not Europe. Is it UK Europe? Sure. Sure. Wow. You know what? If you would give up the- Who shot? Stop taking. Honest to God. Do you know that we fought Germany twice? You know that. Yeah. Wow. I think of Europe as the continent. Well, that's your problem. I mean, I don't- when I land- I think of being in Ireland- In Ireland. In Ireland. In Ireland. In Ireland. I don't say to the locals, it's so great being here in Europe. And now you're thinking of Brexit, how they've sort of broken away. That's it. I'm trying to help you out. Yeah. Thank you. Wow. Who's the Prime Minister of Australia? I'll get a number of next questions. I was ready to say Boris Johnson. You switched it up at the last minute. I have a lot of connections in Australia. You do? I do. Name one. Nick Grindel. The Ambassador, a Consul General of Australia in New York State. Let me do Willie's work for him. The cameraman had walked out again. Yeah. No one's there again. Just lean and we'll get them back. I didn't realize, I guess I should have known this Marty, that three amigos was your first movie. Yes. Because we'd known you on SNL and we'd- Right. You were in the bloodstream. So that was your first movie. So what was it like to walk in with Steve Martin, who was already Steve Martin and Chevy Chase, who's already Chevy Chase? Well, it was a little bit intimidating, but they were very nice to me. We had to play three close friends. So I had to, the first couple of weeks, do an impersonation of someone really relaxed. But they made it very easy, we immediately bonded through laughter and scrabble. And before you knew it, you felt at ease and like this is a great thing to be doing. And the legend has it, your first conversation or maybe one of the first when you came to the house to get the script was a dig at Steve and so the relationship was set forever. Yes. Do you want to tell him the dig? Yes. I went to Steve's house to pick up a script for three amigos. He wrote it with Lauren Michaels and Ryan Newman. And I walked in to Steve's house and his old house in Beverly Hills and I looked around and there was a Picasso and there was a Hopper and I said, "How did you get this rich? Because I've seen your work." And you said, "Tort of the end of the meeting, I said it was great, great meeting you, I expected more charisma." But anyway, but it was kind of the natural instinct and it was overwhelming. And by the way, he really did say that. And I kind of remember my reaction which was like a kind of a curious side eye. So is this, you know, that's a daring thing to say to someone you've never met, you know. And then you sort of like, "Am I going with this or am I?" And you know, it was just comedy, comedy. And we just, we love hanging out with comedians because I think there's a, thank God I wasn't from Ireland where you would have said, "Have you ever thought of going to Europe?" So you're from, so your family goes back to Ireland. You know, I'd love to take on a trip to Europe. But that seems to me that first moment formed the basis for your, the foundation at least for your friendship. You watch your tour, if you watch the Netflix special, even the two of you acting in only murders in the building. I mean, I'm sure you have lifelong friends and a big connection has been humor. That's it. I think it's true. Yeah. Oh, sure. Absolutely. But I would say like your, I'm guessing, you probably have friends in the business who do the same thing as you, or do you ever rapport with them? Yeah. Because you know what it is. Absolutely. And that's, you know, we have that with comedians of all stripes, you know. But there's also something about a person you're comfortable with enough that can insult them constantly. Oh, yeah. Yeah. That means you're really nice. And you know, I mean, we're often asked, "Do we ever go too far? Do we ever have to apologize?" And it's never. And by the way, that's not the only thing we do. We actually have conversations. Sure. You know. Or we talk about how the show went or, you know, things to improve, like we, if we do a live show, we walk off and go, "We don't be right after the bow." We say, "Well, I think we should cut that one thing or move it up to the front of this." Yeah. Or I'll say to them, you know, we'll just be having comment. I'll say, "What do you think of Angela Merkel?" And you'll say, "Who?" Yeah. You know what would be great is if she lived in Europe. Yeah. That's where she should be. Yeah. You're going to regret that comment for a long time. I think, I don't think of the UK as Europe. I'm sorry. It's in a pain. No, it's a fact. It's a fact that I don't think that. I want it to be separate. You mentioned "Father of the Bride." When you guys did that in '91, '30, your anniversary coming up, by the way. That's crazy. Obviously, a great movie, great script, great characters. But you never could have imagined how well it would do and commercially. And through time. Yeah. And it's held up. You know, I always thought, I don't know what your question is to be all weight. No, go ahead. Okay. So this, you know, we did a remake and now they're doing another remake. And I, at the time, I thought, this movie, this subject will be remade through time as the times change because it's a universal subject, a father and his daughter, and getting married. I mean, what could be more fundamental? So I already knew they were headed for another remake and probably another remake after that because time's changed and that, but the core heart of it will always remain. It's also a perfect title, because it's like First Wives Club. You knew that had to be a perfect title. And how did you shape and create "Fronk," one of the great characters in movie history? Wow. Really? You heard them? Yeah. Yeah. I heard it. I didn't want to hear it. Yeah. Well, you know, it was written that way that when they meet "Fronk," that Diane Keaton and Kimberly Williams, mother and daughter, would understand it, but Steve couldn't understand him. So it symbolized his isolation from the process. And so we just did a million takes, variations, and the director and producer were a little apprehensive about this idea, too, because it was a sincere film. And this was this heightened character. But I kept thinking as long as I didn't wink into the camera and say, "Aren't I funny? We'd be fine." And then I went to a wedding after we stopped shooting. I won't tell you who, but I'll tell you a minute. And it was a big, fancy wedding with a wedding planner, and he had his initials embroidered on his shoes. Wow. I missed that. Oh. So, you know, you can't life is broader than any character. Was it based on anything you'd seen? No. Just a kind of person. Yeah. Yeah. Yeah. Right. So what did you think when that movie exploded the way it did? I mean... Here's what I actually thought. I thought, because I've watched movies come out, movies that I've done, and then there'll be massive hits at Christmas or something like that, other people's films. And then when that came out and it opened just before Christmas and it was doing so well and building, I thought, "Oh, it's my turn." There you go, fella, it was just justice, really. Yeah. Yeah, it did. It was like, "Yeah. European Justice." Yeah. Um, what is it called, Irish Justice? Irish. Yeah. It's your next film, Irish Justice. Oh, that's a good title. That is a good title. Um, yeah. This might be an uncomfortable question for either of you to answer, but why do you both think this relationship works so well? Steve, what is it about Marty? Marty, what is it about Steve? There's definitely a yin and a yang thing that goes on here, but why do you think this has endured this friendship and this professional partnership? You know, one thing I say is, you know, first of all, we don't talk every day. It's not like 8 a.m., you know, in a game where we talk, I don't necessarily listen. No, he puts a phone down. Yeah. Um, so there's that, that we have other lives. Sure. This is like a fun thing. We get, you know, we get along on a humor level, I don't know. And you know, humor is very superficial. I mean, you can joke and we can joke and we can joke without ever getting to the core of anything. So it's just up here in fun. Like I said, I'd never say to Marty, are you okay? You know, what, you know, a real friend would do. Um, well, no, you would if, if you really thought of it, but I don't think, I think that we both, first of all, we work very similar. Lee. Lee. Lee. In a very, we like a, we're loose, happy set, joking, all that and it makes us better. So there's that. And then, um, why else are we friends? I think it's a very hard thing to explain. It's like ask any friends and that have a hard time. He has more money and that's a seductive thing. He's like, uh, to me a, like an older brothers, older brother. What do you think is so funny about Steve? Why is he so great as a comedian? Oh my God. I, I mean, nothing, no, I mean, it's, you always feel self-conscious, the story. But when 1980, I didn't know Steve and I'm watching the Grammys and Steve comes out to present the best album of the year and he's in Tails and a shirt and studs and no pants. Boxer underwear, garter is up to here and he makes no acknowledgement of it. The audience is hysterical and he starts reading the nominations. And by the third nominations, a little bold man comes out running with a pair of pants on a hanger and Steve looks at him and says, well, it's about time. And then he puts the pants on and continues to read. And I thought that is the most brilliant joke. I would pay a billion dollars if I could have done that joke. So, and I didn't even know him that. So I think his mind is hilarious and he's deeply kind. You know, I think if you were that talented, but a bit of a jerk, there would be no relationship. You know, there wouldn't be. I find, you know, first of all, we just have a, you know, we're going to talk ourselves out of a friendship. That's what's going to happen. I can't believe you said that. No, no, we just have a kind of an ease, but in terms of his comedy, whenever I look at his old specials and things, I go, that's outrageous. That's, I can't believe you're doing that and the ears and the big head and all kinds. By the way, it's my head, but thank you. Yeah. No, you wear pieces, you know. And I find the characters are completely so big. Jackie Rogers Jr. is just like, oh, oh, oh. And I'll buy no pop star. Yeah. That makes sense. How about Jiminy? Jiminy? I mean, you've been interviewed by Jiminy. Jiminy, yeah. I'm shocked that he gets away with it. I mean, it's so devastating to the person you're interviewing. Yeah, but they were all Jiminy friends. Yeah, and all friends. But you're playing an idiot. No, I know. My favorite lines was to Mel Brooks when I said, why's your big beef for the Nazis? And he said, what's my big beef? What's my big beef? I don't know. I think they're rude. So it worked out. It's brilliant. It's so good. And do you have a favorite character of Steves through the years? I play the same thing. Everything you've done. Or a favorite special or moment that's stuck with you. I think Roxanne is my ultimate favorite. I mean, I love the first four comedies, and I love them. But Roxanne seemed to combine it all and great, great acting. So I would say that's your high watermark. Well, that was a long time ago. Yeah, I killed for you to hit that market guy. That's why I like only murders in the building. Yeah. No, remember, I once said to him, it was like the '90s, and I was at my cottage. I said, you know, all my two sons and all their friends are obsessed with the best of Steve Martin, SNL, on DVD, and Steven. If so, resurgence. I'm back, but it was with the weak, exhausted arms, too. You said Marty, too, beyond the funny and all this connection is that Steve was a great friend to you when Nancy passed away. Right. And that meant the world to you, to have somebody who you had somebody to laugh with be there. And you wrote a song in honor of her, a brilliant song. The great remember. What did that mean to you to have him at your side? Well, I, you know, listen to Steve. By the way, everybody was. Yeah. Everybody has a lot of friends. But of course it was magnificent to have those kind of friends. You know, I'm telling you, Marty has a lot of friends, and there's a lot of demand on his time because he gets, you know, invited to parties at days because he's really fun at a party. And I've told this before, but I say if I'm hosting a dinner party and I'm going to invite, you know, three or four couples, whatever, and I invite Marty, you know, and somebody else, and somebody else, and then if Marty says, I'm sorry, I can't come, I cancel the party. Is that true? Well, it's not really worth it. Because what's the point? Well, yeah. But it's not going to be a life story. I think you called him the perfect person. I did. Well, actually it was when Carl Reiner died, and I wrote a piece for the New York Times, kind of a memoir of his life, and the opening paragraph was, I said, I've known two perfect people in my life. One is Carl Reiner, and the other is that son of a bitch, Martin George. Take it as a compliment. Absolutely. Take anyone I can get. I know you've got to go catch a plane. I'll let you go. But Steve, I'm interested in what else your sort of portfolio of creativity is astounding, whether it's, you know, playing music or Broadway or film or anything you've done. What else do you see out there? Well, there is something, you know, first of all, this is what I'm dedicated to this show. I love the show, Only Murders in the Building. It's perfect for us. It's fun. It's in New York where I live. It's all kinds of things. But when people ask me, how do you do all this stuff? And I say, well, you know, I don't have a job. I just wake up and there's nothing to do. So I've come up with stuff. But I am working on, I've done some cartoon, a cartoon book with Harry Bliss, who's a great, great cartoonist. And we wrote a ton of cartoons, and now we're working on a book called A Memoir of the Movies, which we're going to do cartoon strips of stories and anecdotes that I remember from the movies. Oh, from your movies. I'm going to write a big book about it because it's just like, just anecdotes. But this is perfect for the cartoon format. But Steve's creative output, he thinks, is normal because he doesn't have a job. It's not normal. It's massive, and it continues, and that's what's so amazing about it, that so there's books and there's movies and there's plays and there's, what's that line we do in our show, what an honor it is for me to be standing next to a man who's a playwright, a musician, a composer, and a world-class comedian. No, you say, it's an honor for me. Did you say that? Yeah. And then I say, and let me say, what an honor it is for me to be standing next to the man who is standing next to that man. It's one of our favorites. What about for you, Marty? What else do you see out there? You've proven you can do it all too. You were just nominated for awards for The Morning Show. Yeah. You know, like kind of, you know, through the years I've been asked, like, to direct things. Yeah. And I've always thought, you know, people like Steven Spielberg had a camera when they were nine and they were filming everything. Right. I was up on my attic going, "Well, otherwise it's such a cuckoo day, you know, with a fake mic." So I think that, you know, you go by what you've been told by life and that is, I like being in front of the camera. I love to perform. I love, I'd love to do another Broadway show someday. I'd love to do all those things, but I have no really interest in, in behind the scenes or anything provocative like that that would be cool to talk about. Just keep doing what you're doing. Just keep doing what you're doing. Hey, guys. Thanks for listening to the Sunday Sit Down podcast. Stick around to hear more from Steve Martin and Martin Short, right after the break. Capella University is rethinking higher education. With their game-changing flex path format, you can earn your degree on your schedule, so you can fit education seamlessly into your life. 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Welcome back to the Sunday sit-down podcast now more of my conversation with Steve Martin and Martin Short. You've been out on tour together, obviously, with the big Netflix special. How do you put those together? You're not stand-ups out in the club trying material. How do those come together to make that tight hour or ten? We'll use a little echo show thing, and we'll talk, and we'll have sessions. We work with writers, and we write. But also because we have a structured show that, we'll see it works, we can put in a new bit that might be one minute out of a show that works, and if it works, that's good. If it doesn't, it hasn't harmed the show. So we do it. I've always done it incrementally. Right. Well, what's great about the show is you have music, you have the ability to insert music into it, so it becomes a full, almost, variety act. Oh, it's a classic. All right. Yeah. And begins naturally with 10 minutes of insulting each other. Exactly. It's very important. Guys, thanks so much. Congratulations. Thank you, Willow. It's a blast. Thanks, man. Oh, man, that was fun. My big thanks again to Steve and Marty for a great conversation. You can catch new episodes of their series Only Murders in the Building, streaming every Tuesday on Hulu. And my thanks, of course, to all of you for tuning in again this week. If you want to hear more of the conversations with my guests every week, be sure to click subscribe so you never miss an episode. And don't forget to tune in to Sunday Today, every weekend on NBC. I'm Willie Geist. We'll see you right back here next week on the Sunday Sit Down podcast. Willow University is rethinking higher education. With their game-changing flex-path format, you can earn your degree on your schedule so you can fit education seamlessly into your life. Imahinato futuro de ultramanera and capella.edu. [BLANK_AUDIO]