Transcript:

David Steinberg: I was at the University of Chicago. There was a disc jockey by the name of Dan Serkan. Never forget his name because he played all these comedy albums. They were they weren't even called comedy albums. They were called spoken word. That's how new the whole thing was. And he played Shelley Berman was very sort of theatrical and wonderful album. And he played Bob and. You'd never heard anything like this ever, it sort of broke the whole pattern of comedy at the time, the comedians in the clubs. Not on television. The comedians in the clubs were kind of a throwback to Catskills and vaudeville style. Jerry Lewis was probably the first guy who invented standup. And he he was a singer, didn't invent it, but he was sort of attributed to it. He was a singer and he was a gambler. And he the the story goes that he owed money to the mob and they cut his throat or something so that he couldn't sing anymore. But he was. No, not for his singing, but for his pattern in between the singing. So he went back on stage and just decided, I'm going to talk with his pianist there. So his second show, when he would have a little bit more to drink and he talked about his gambling, was what everyone came to, sort of a new form. And this style of singing are actually talking with a pianist is what was going on in all the clubs at the time. If you went to the Shea Perre or the Copacabana, a comedian would still be sort of mimic Joey Lewis. They talk with this piano and very sort of broad, very risque because it wasn't television and wasn't radio and it was the 50s, very repressed. And then all of a sudden you hear this just a regular sounding guy. Coming on TV with these really wonderful concepts. Talking through a phone, although you only noticed that afterwards and always every thing that Bob did created a picture in your mind. So you weren't just listening to one man. You didn't really care about the other guy on the phone. It was a picture. It was an ape on the Empire State Building. It was him talking about tobacco to whoever you you could see the picture. He was. Verbal, but creating. Visual images for you. And I remember I wasn't even thinking of being a comedian at the time. I was just a sort of bad student at the University of Chicago. And I just couldn't wait to hear Dan Sorkin and. And you you heard a lot of Bob. And then we sort of you found out that he was an accountant. And and, Bob, what's what's different about Bob is he was the opposite of everything. He was non theatrical. He sounded like a regular guy. Bob is a regular guy. He just happens to be a genius at being a regular guy. But he is every man and his stammer is it's precise. It's the way in which Jack Benny would do that. Look. And the way. I don't know. Django Reinhart plays the guitar. Just very original. But it's precise when you're with Bob in real life. You didn't stammer that much. But I'm camera. It just it just comes out very naturally. And. In the late 50s and in the 60s, a very overly simplistic view of the show business. Nightclub circuit where Afro Americans were musicians, Italians were singers and the Jews were comedians. And all of a sudden, here comes this WASPy guy talking in a way that no one ever had before and just owning it all with what's his first album.

Interviewer: And how do you compare with. I mean, for example, she was being able to hit a plane out of the plane.

David Steinberg: OK. OK. You can lead me. OK. You can lead me anywhere I go, I. If it's pontificating, stop me, ok.

Interviewer: You said the. Americans aware of the musicians.

David Steinberg: Yes. OK. I can repeat that. The over simplistic view of the 50s. But it was somewhat accurate. Is the African-Americans were the musicians, the Italians were the singers and the comics for Jews. And here comes this very WASPy guy doing the opposite of everyone else and brilliantly and all of us, and just owning a piece of comedy and comic geography. That was never even there before.

Interviewer: And what about at that time, too? He was part of this wave of new comedians that were very difficult to compare him like Bruce.

David Steinberg: Yeah, yeah. Well well, Lenny Bruce was getting known in the nightclubs. His albums were never as big as Bob's and Elaine May and Mike Nichols had started out. So there was a movement towards a different style of comedy than what you saw on television and television. The comedians were Red Skelton and I guess The Honeymooners and Milton Berle, but still broad. This was much more subtle, a subtle rather Nichols, and may establish a new kind of subtlety. They talked about relationships. No one talked about relationships. And then you had Shelly Berman dramatic and talking about acting and what it's like to sort of be this Jewish kid, having to tell your father that he was an actor, also. Brilliant. And and in the end. And then at the same time, you had Jackie Mason starting on The Ed Sullivan Show. And also I remember being played by Don Sorkin. And so the spoken word albums were starting in the 60s. They took off huge with Von Meter and the Kennedys and and. You would think that, Bob, like all comedians, have a moment. That's about that big. And then the rest of your career is just how you, you know, respond to what that moment was some saw. Some don't. It doesn't matter but that everyone just gets that. Bob, surprisingly, you would have expected would have had that. But he is as timely now, he's as current now as he was then. He's never out of style because he's a real person doing his comedy. When when I was asked by Bob to interview him at the Aspen Comedy Festival and the Aspen Comedy Festival had a lot of big stars, you couldn't get into this show. That's how many people were there. They had TV's out in the lobby and it was huge. That's how much people loved Bob. And he said to me the night before. Don't you want to you know. Let's go over some questions and all that. I said, no, I don't want you to think about this. This will just work out fine. And then as the play started to fill up and John Moffitt, the producer, said we we have to hold now because Billy Crystal's here and Steve Martin's and all of that, Bob, look at me and said, this can be the most embarrassing moment of my whole life because we knew the two of us could be very dull together. We knew each other too well. And and Bob's attitude was just so long as you sometimes comedians bond by hating the same people. So he he made sure that I wouldn't bring up anyone that he didn't like. And there aren't that many. But I know the ones that sort of got it. But he is so popular even even today. And he works today, whereas. To be a successful standup comedian, you have to you have to have talent that connects with a mass audience that is ready for you at that moment. That's why the moment is always sort of very small. With Bob. Just it still goes on two shows. He could do another show. When you see him live, it's it's so familiar.

Interviewer: You were saying, too, about the fact that you're so quiet. What do you think?

David Steinberg: Yes. Yes. And Bob, you know, he's sort of like he's he's sort of reversed it. What's the story about the kid who was raised by the wolves and gets into civilization? Well, Bob started in civilization, then throws into the wolves of show business. But all of a sudden, you know, surrounded by Jewish comedians and comfortable in totally with anyone. When Bob used to do The Tonight Show, Johnny would have him on. And because it didn't matter if Bob didn't work, if the material wasn't working, that was as much fun for Carson because this was much fun for Bob. Bob, not working is as funny as a material. Not work is as funny as the material work. So he could be called on all the time and he would just start to laugh and bark. Bob laughs easily. And he starts to giggle and carry on. And Carson just loved him. And I mean, it just it's an amazing career. He's he's easy to miss, if you're putting together big icons, but he belongs up there with all of them because he just carved out a piece for himself and no one has stepped into that territory.

Interviewer: What do you say to that? I mean, he was, again, part of this time the 30s and saw on the other side. He clearly wasn't as overtly subversive. But do you think he was more subtle? I mean, he was more subversive than you seemed in a way.

David Steinberg: Well, again, Mort Sahl was very political, amazing at the time. Shelley Berman was very actor ish, but still a very, very good writer. Lenny Bruce was totally political, even though he didn't talk about politics. I mean, the irony of Lenny Bruce is he never swore a lot, which is what this generation seems to pick up. It was his ideas that were subversive. But Bob's Bob was aware of everything that was going on around him. But just the way he painted was a sort of. Peaceful way in which to present comedy. And those are almost contradictory terms in presenting comedy, because comedy is an aggressive form. You do push the audience, you're trying to keep them on edge. What kept everyone edge just by how the caricatures that he was creating, just by the brilliant visual ideas that he was giving you. But he wasn't political like everyone was at that time. And they were creating a political statement just by being different than the entire tradition of comedy that come before them.

Interviewer: You mentioned about Chicago and your career kind of took off this year.

David Steinberg: Yes.

Interviewer: Talk about is there a is there a Chicago sensibility that Bob kind of represents?

David Steinberg: Yes. Sure. Bob Bob represents the Midwest sensibility and he carries it with him now, just as Johnny Carson always was. This guy from Nebraska. Bob is this guy from Chicago. And and the more you carry that, the less sort of show business see you get and the less disconnected from your audience you are. So there's no surprise as to why he's so connected to such a wide audience. He is always the sort of Midwestern guy. And even when he acts, it's just, you know, to be effortless. You have to work a lot harder than to be theatrical. And he's got that down incredibly.

Interviewer: There's that sort of cliche thing that most comics, you know, come from pain or anger. I don't know if you think Bob is just the exception to that. It's like they're more under their.

David Steinberg: Well, a lot of comedians come from those still waters run very deep, especially with Bob Bob's background. Has in it sort of the the extreme ups and downs of almost any comedian that you you know, he just handled it better. And there's a great antidote to that. Usually a success if you're if you're successful. It sort of distances you from your childhood or adolescent angst and neuroses. And Bob was successful immediately. It just happened. That album defined him and he his shoes are still somewhat a version of how he was in that album. So like Burns and Allen, they never changed what they did and they reached to sort of, you know, stature just by being themselves all the time. George Burns was successful up until isn't through the 90s.

Interviewer: Talk about as a comedian in his deliveries. So he has that, you know, the timing and that and the. Pauses in the silence. And just the courage that it takes as a stand up yourself on stage to do that.

David Steinberg: Sure. Well, when you're doing stand up comedy, there are standard rules. There's a set up and there's a punch line. And the punch line is always hit harder than the setup. That's sort of the rule. That was not Bob's rule. He would almost retreat from the punch line so that you had to sort of move towards him. If it was sometimes the punch line was just a character trait. It wasn't jokey at all. So he broke from the set up. Punch line early on and you when I've directed Bob on on the second showing, The Newhart Show, I was amazed at what got laughs. Sometimes it just really and his little stammer and it wasn't a line. And Bob in the chugwater, the television shows, I'm sure we'll get there. Sure, sure. Sure.

Interviewer: That's a good point, though. I was thinking. Oh, like, again, we were talking earlier about your role in the Smothers Brothers.

David Steinberg: Yes.

Interviewer: I'm curious to have Bob kind of fit into that or didn't because he was going on some of these shows when comedy was starting to push the envelope a little bit. It seems like he. To that, is that is that the successful formula?

David Steinberg: Yeah, Bob was not political at a time when the Smothers Brothers were starting to push the envelope a little bit. He'd be on variety shows. I mean, I think he even had a Carol Burnett summer show that he was on and he was just present as his own unique self doing this comedy. Separate from what? That. Political atmosphere was almost if he knew that eventually it all will change anyway. And if I just do this. I'll outlast everyone. Which he did.

Interviewer: Do you think there was pressure at that time for people to be more risky?

David Steinberg: Yes. There's always pressure when you're not on television to be more risque. That's what the audience comes to see. And there's a lot of pressure to be political and topical. Bob was always on top of politics. I can't remember ever starting a show that I directed him or we weren't he wasn't reading The New York Times, L.A. Times and knowing what went on. But. And sometimes in his monologues in front of an audience before the show, he would just because it wasn't being recorded, he'd be a little looser about his politics. But that wasn't his style. His style was to find the little things that sort of frustrate everybody. And in the most sort of. I won't say a total because it takes such a good ear. But in this perfect pitch, represent himself just a little bit up from what most normal people would be doing on the phone. But I think there's a lot of pressure for him. And I think that Bob knew that that would never be his style. It wouldn't be a style to be risque. It isn't his style and his nature to be angry or hostile. He's not. And if he borrowed that for himself, it would just wouldn't be authentic.

Interviewer: The fact that he stayed clean.

David Steinberg: Yes. Well, yes, he did. He never, ever was risque at all. Never. Nothing like that, ever. And in fact, when we did this show and asked means of one thing, he said to me, as you know, because we were together so much as a director and Star said, you know who I don't like and who I do, I will not go into that at all. I said, well, there's no way I'm going to lead you into that. So you don't have to worry about it. But he wouldn't. Publicly he wouldn't. And he just had his his boundaries and he knew he knew who he was to his audience.

Interviewer: So let's talk about bit about Newhart. How you got involved in that show and what it was like.

David Steinberg: Well, I was just starting to direct. And I had directed a movie with Burt Reynolds called Paternity. So it sort of started my whole career. Burt actually started my directing career. And I got very interested in situation comedy, wasn't it? Was called sitcoms is a very derogatory term. When Bob was doing it, not for his shows and not for Mary Tyler Moore, but it wasn't regarded as the coolest thing to do is to be on television. I was dying to learn how to do it. And I Terry directed one Danny Thomas show and Bob heard that I was around directing. And he asked me to come and start directing a show. And I directed it for long time and. And I can't I mean, I had so much fun working with Bob. His set was like him, like himself. All comedy stars that I've worked with are always involved in the minutia of their show and in the script and the detail of it and this character and that character that was not Bob. Bob, let everybody do what they were supposed to do, expect them to do it. And they did it as not to say if he didn't like a script, he wouldn't tell the writers and say we're in trouble here and all of that. But he wasn't micromanaging, which every comedy star I know does. And it was a reason why his show sort of had this. Consistency of being generally very funny all the way through.

Interviewer: His wife said to me also that he was more anxious about his job than he let on. Was it clear that he obviously got a lot of thought and care and.

David Steinberg: There's no question that he was involved with his show.He picked the writers. He picked the directors. He was concerned that he had the best professional help and he could tell when something wasn't right and would sit down and say, look, this isn't working. We've got to do this. But in a way that I'd never quite seen it done. Still letting people do their work. But you can't you can't have your name on a show like The Bob Newhart Show and not be anxious week to week by the ratings how it's being thought of how you're being represented, aren't you? Are you representing yourself? Well, it's it's a burden.

Interviewer: What do you have any sort of favorite kind of moments or any kinds of scenes that you like to see? Well.

Interviewer: Stop. In a second,.

David Steinberg: Okay.

Interviewer: Good for sound. Thank you.

David Steinberg: What I what I remember about The Bob Newhart Show was just the comfort level on the set. As a director, you could try new things. If Tom Poston would do something funny, Bob, they would get silly. They couldn't they wouldn't stop laughing. They wouldn't stop laughing in front of the audience. And I'm supposed to be the adult to get them to. And that and the notion that I would come in with my boyishness and try to try to control these do they would just laugh more. And and sometimes I could tell when we were setting up, Bob would be always working on a crossword puzzle, always in between the set ups with the audience there, but never ignoring the audience. And when I would come over to him, I know people thought we had these sort of intense talks about motivation, but it was never about that. I was afraid you'd see that woman in the audience here was not bad. So, yeah, I understand it wasn't bad. That's all we talked about. And just sports or whatever. And then when when the cameras were ready, I would go away and people thought I had adjusted a scene and had and I never did lunches with Bob. We were on the CBS MTM lot. The Radford lot. It's a small little village. One of my favorite places to work. We have lunch every day during the show and the lunches were just hilarious. Everyone wanted to be at our table. Bob was just open to everybody. And with Tom Poston would come to sit with us there. There isn't an obscene joke that Tom Poston motel. There he is. He knows them all. And he would tell them to everybody, mixed company, whatever. So he would sit down. It was just a truly a pleasure when I was younger, thinking of going into show business. I had this sort of fanciful image of what behind the scenes show business was like and working with Bob and Tom Poston. Rickles would join us and all that. It it exceeded my fantasy of what it was like to just be sitting at that table with these wonderful comedians enjoying each other.

Interviewer: Talk about he he does have a sort of surprising best friend.

David Steinberg: Yes, well. Well, Bob's best friend is Don Rickles. I mean, they they are the odd couple. There. There is no question about it. Their wives are our best friend. They traveled together. Bob is hilarious about Rickles in every way. And, you know, Bob always respected Don Rickles. Dynamic on stage in front of an audience, the opposite of what Bob does. But he still respects that Don Rickles will still go out there. Young people come to see him. His old fans come to see him. I know all the young comedy writers in town. I'll always tell me they went in, they saw Rickles. And Bob is so respectful of that. And in recalls and Rickles. Is so respectful of Bob's television career, which Don deserved but never had, because he was more of a live performer. And that dynamic in the two of them always interested me. Bob, Bob wanted Don sort of continual presence in Vegas and that dynamic. And Don wanted Bob's television career in a way without them being adversarial at all.

Interviewer: They complement each other.

David Steinberg: They complement each other perfectly. Perfectly.

Interviewer: You think there's something about that that comedians. You seem to have a lot of comedians. Do they understand each other?

David Steinberg: Comedians. Comedy people are like jazz musicians. You either get the music or you don't. So Don Nickles, whether he's met Dave Chappelle or not, I don't know, they have a lot in common, even though they haven't met. And you could tell on a comedy show, if if a civilian is around the comedy faithful, he might try and be funny or because most of the comedy for people who've done it professionally is effortless. It's never really forced. You allow someone to do it all at. They they compliment each other. They understand each other. They know what it's like to not succeed. That really is what. The comedians are bond with that, they all hate the same people that will unite people tremendously and with the fact that you know how hard it is to do. Everything going right. And then all of a sudden, it feels flat. The act feels flat. It's not working. Someone else comes along. Your career is not where it should be, their aspirations that you have that don't fulfill themselves. All those things are part of what make up the sort of jazz musician, comedian language.

Interviewer: Did Bob ever. Oh ok.Bob, you know, performing and so I'm wondering if he when you would sit around having these lunches and so forth. Did he ever sort of tell war stories about performing the clubs? I know sometimes it wasn't.

David Steinberg: He Bob, wouldn't let cleaning's get together. They don't. They don't talk about anything successful that happened to them. That's not even in the game. It's what terrible audience that you had. And I mean, I myself, I remember performing to six people once when I started out the bitter, bitter end. And rather than hate all the people that weren't there, I hated these six people who showed up to see that because it's just weird what happens to you on stage. Yeah. Bob, always I remember he had a story about performing right near Detroit somewhere where he he. And in Windsor. And he I think what happens, he get his show. And when you do your show, you know, in an hour of shows, it's like a novel. You know, it's not like you have another novel in you for the second show. Had the entire audience stayed for the second show. And he didn't know you didn't know what to do. And he said he he's struggled to find new things. There's no comedian I know that hasn't have a version of that experience. And then once he told me a story, I don't know if it was his story or someone else, one of these lunches about it was sort of a Sullivan type. It was a it was a variety. It was a show in Las Vegas. And Bob was one of the comedians and and he was very, very early on in his career. And this guy. Would before him sort of put a thing around his neck. He was an acrobat and twirled and was spinning and spinning and spinning. And Bob thought it was phenomenal, especially since they were out like the Chicago theater and doing six shows a night. And he just wanted to go to tell this guy how great it was. And then he went to the guy was throwing up. He thought, oh, that's a tough gig. I got Bob's version of that.

Interviewer: His standup.

David Steinberg: That was bad.

Interviewer: I don't think I asked you yet how you met.

David Steinberg: I don't really remember. I think we met socially first parties around. We liked each other immediately. And I was such a fan. Everyone's a fan. I don't know a comedian that isn't a fan of Bob Newhart.

Interviewer: Does he? I don't know. Comedians do this or not, but would he ever, you know, give a little tips or advice or is that something that.

David Steinberg: Well, you can't really give advice to another comedian because. You you paint a certain way and they paint a certain way. So you can't say to Picasso a little less blue or something like that. But you can't really give you can't really give an advice to anyone. But if anyone asks for help, you know, Bob, was he mentored so many people, so many writers came up with him and directors like myself and actors. I mean, Bob was very much like Jack Benny in a way. Jack Benny never had to have the punch line. He never had to get the laugh. And Bob surrounded himself on that first show. Peter Bonners was always sort of funnier in terms of a comedy than Bob, but Bob's reactions are what made Peter funny. And the same with Suzanne for shot. She's funny in person, funny on camera. And she was strong. I just Bob's reactions to her, he give away all of the good lines to everyone else. And he was just the audience's point of view. Every man's point of view to everyone around him. And even when he did this, the second show, the sort of running the hotel, it was everyone else was sort of extreme and going a little nuts around him. He was always sort of the center of sort of the calm of the storm and just getting laughs, just reflecting off of everybody else. That's very unusual.

Interviewer: How hard is that. As you look at the Newhart show. He'll just be at the desk doing the least. It seems like, and yet. What talent does that take?

David Steinberg: Well, it takes such security to be able to do that. It takes really liking other people being funny. But as I say, Bob laughs easily. He loves to laugh and die. You know, he's not a fool. Just laughs. But he he's around funny people all the time. And he he knew how little you had to do. I mean, Bob's expressions and Bob's sports range on television is just a little bit of a stammer and looking and laughing. But Bob as a comedian, has an incredible range. He does impressions that are great. He has an incredible ear. And you see that when you know him offstage. But but mostly who he is onstage is who he is offstage as well. So it's a little contradictory, but basically giving away everything to others. Very unusual in comedy. I mean, Ben, Jack Benny did it. I don't know anyone else who does that.

Interviewer: Did he pave the way in a way, for other people? There weren't that many stand ups before he was.

David Steinberg: Well. Well, yeah. He goes I mean, he did that he was starting his style of comedy. Showed a sort of new generation how original they could be and not have to follow sort of a traditional path. And. He trusted the audience to be as smart as him. He didn't never talk down to the audience. He was always just me talking straight out to you as he would talk to anybody. And that's a guide that became a guide for a lot of comedians to follow him. I mean, you would find comedians who aren't like him. I'm sure Woody Allen was influenced by him. Steve Martin, the Smothers Brothers, all of them were influenced by Bob and were fans of his.

Interviewer: Why do you think he is one of the few people to have had to hit shows and to be on TV for essentially two decades?

David Steinberg: Well, I think the reason that he had these hit shows is he had he has a timeliness because he's he is like everybody else. And this person that Bob is like is around all the time and every generation. It's not an extreme one way or the other. It's not a guy who hollers, it's not a guy who cries. I don't know. But he is around all the time. And there are more people like Bob than almost like any other comedian. Comedians usually separate themselves from the audience and sort of guide them and then get a large following. Bob, is the audience, the audience looking at. Bob Is Bob.

Interviewer: What about the series that you were on? Excuse me.What? Please. Sorry. Second, Sound ready.

David Steinberg: But I'll pick up on that answer. But I'll pick up on that answer. But the reason that Bob had two shows is not just Bob's connection with the audience. It's his behind the scenes instincts for who the writers are, who the characters are, when the script is right. When when you come on with a second show, that wasn't the only show that Bob thought up. There were 10 presentations writers coming to him all the time, producers coming to me all the time. He had to pick exactly what was right for himself and for what is what his audience was. And he did because it's so rare to have two hit shows, one after the other.

Interviewer: Do you know much about was there concern on that second one to differentiate from the first one or to carry over some of what was good in the first one?

David Steinberg: I came they came a year late into the show, but no, no, I didn't. I didn't think that there was a worry of duplicating. It was just putting Bob in another situation that would work for him. And Bob had a lot to say about that. That's why it worked. I mean, this Darryl, Darryl and Darryl, you know, these three guys were warm to hug. And, you know, Bob would just sort of look at me as if they were ordinary guys and sort of, you know, turn his head like a little puppy and stammer and get a laugh. And no, I don't think they certainly when you're doing it another show, if you try to reinvent yourself too much, you will lose the audience. It's very courageous to just sort of do another version of who you are. And I think that's what he did was after.

Interviewer: What did you think? Did I. Did you see any other favorite episodes or do you have any other favorite types of moments?

David Steinberg: I'm trying to think of what our favorite episode. No, there is.

Interviewer: Do you remember any moment? That was a great.

David Steinberg: I can't. No, I can't remember any any of those. I just remember. He and I just laughing a lot. I just remember laughing with Bob Golon at everything that was going on. Some of their stories are a little too intimate to tell. But I just remember just enjoying him so much. Everyone did.

Interviewer: Would he tend. You know, rehearsing or whatever. When he tends to crack up more. Would he be the ones to break?

David Steinberg: Well well, Bob would break first. But he he would yeah. He could get everyone laughing too. But he would break first. He was always sort of had this I wouldn't say silliness, but he had this lightness to them that you absolutely have to have to connect with an audience where he did. And that lightness, as I say, is not easy to come by. You have to. Have the depths to just let that little of yourself show.

Interviewer: What do you think is that is. I don't know. Greatest contribution is are how do we see this impact on on most on the field of comedy? Is it in the situation comedies or.

David Steinberg: Well, you see Bob's impact, certainly in standup comedy, in this very laid back style and comfort level on stage. You see all the young comedians or they're not even that young anymore who came after him certainly were influenced by him when they knew it or not. And in new situation comedy, he owns a certain part of that territory as well, because it was a situation. Comedy is done in a vacuum. There is no connection to anything topical. Because usually you want to gather enough show, so they carry on and on and on, and they both both Newhart shows. If you look at them now, we'll still make you laugh. They're not. It's not like you look back at them and they look weird or campy. Bob was the same then, and he's the same now and he's sort of, you know, you're a very sort of comfortable friend who just knows how to make you laugh. It's not a simple thing.

Interviewer: Are you surprised that he's still touring and doing shows at this age when he could just be?

David Steinberg: I'm not surprised that Bob is working as much as he. I know he loves to be in front of an audience. He he had a good time doing everything. He's still having a good time. And yet, you know, I do want to create the impression that he doesn't work as hard as anyone. That takes a tremendous amount of work. But no, I'm not surprised that he's working. Everyone hopes he works forever.

Interviewer: That's great. We'll just stop for a second.

David Steinberg: I think at the end of that series, Bob was sort of missing his family, even though. I think at the end of that series, Bob was sort of missing his family, even though situation comedy allows you to have the most time on almost every field like movie or going or working live. You do need the time to be with your kids and not have to go to the studio all the time and not be worrying about the next show. And I think it just had run its course and made that marvelous last show with Suzanne Fourchette being there. And it was just wonderful. And that's how connected his audience was that they could even take a call back to the previous show and.

David Steinberg
Interview Date:
2005-04-05
Runtime:
0:41:03
Keywords:
American Archive of Public Broadcasting GUID:
cpb-aacip-504-4746q1t12c, cpb-aacip-504-xs5j961439, cpb-aacip-504-rj48p5w33w, cpb-aacip-504-j09w08x27z
MLA CITATIONS:
"David Steinberg, Bob Newhart: Unbuttoned." American Masters Digital Archive (WNET). 05 Apr. 2005, https://www.pbs.org/wnet/americanmasters/archive/interviews/486
APA CITATIONS:
(2005, April 05). David Steinberg, Bob Newhart: Unbuttoned. [Video]. American Masters Digital Archive (WNET). https://www.pbs.org/wnet/americanmasters/archive/interviews/486
CHICAGO CITATIONS:
"David Steinberg, Bob Newhart: Unbuttoned." American Masters Digital Archive (WNET). April 05, 2005. Accessed May 29, 2022 https://www.pbs.org/wnet/americanmasters/archive/interviews/486

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