Back in April, my editor at Amazon Kindle Singles commissioned me to write an oral history of Late Night with David Letterman. Since, I spoke with somewhere between 40 to 50 people who worked or appeared on the 12:30 a.m. NBC talk show — the one that transformed comedy forever with its ironic obsessions and enabled a generation of writers to flourish, from Jimmy Kimmel to Judd Apatow to Jon Stewart. But many are likely unaware of Letterman being some kind of comedy god; the master tapes of his years at NBC have been locked in a vault since he changed networks in 1993. “To those people [who haven’t seen the original Late Night], Dave is like this old guy on TV,” Jay Mohr explained on his podcast in 2012. “Dave was Chappelle’s Show. It was that underground and that young and that cool.”
Mohr isn’t the only one who can attest. In AND NOW…An Oral History of “Late Night with David Letterman,” 1982-1993 — available for download to your Kindle app for the low, low price of $2.99 — one of my interview subjects is actor Mark Hamill, a recurring Late Night guest in the early years who is easily in the running as one of its all-time #1 fans. In August, Hamill and I had a hour-long phone call in which he shared his questionably unhealthy Letterman obsession — keeping a journal, recording episodes for decades — and how he became something of a de facto archivist for the show. The majority of Hamill’s interview didn’t make it into the e-book, but I felt it deserved a place somewhere for posterity, i.e. for other fanatics to document in their Letterman journals. They’re out there. Believe me.
Here’s an abbreviated version of that call.
BRIAN ABRAMS: Rolling Stone’s David Browne wrote in 2011 about your keeping a journal [of Late Night] when you lived on the Upper West Side and how in love you were with the “Viewer Mail” segments.
MARK HAMILL: It wasn’t specifically “Viewer Mail,” but that gets into it. First of all, I love comedians. I’m fascinated with the form. It seems to be one of the more bold and brave things to do in show business where you have no one to blame but yourself if you’re not successful. You can always blame an author, a playwright, a director — it’s never your fault. With comedians, they’re just “out there.” When I saw Letterman, I liked him from the beginning. He had a sense of irony and attitude that reminded me of other comedians I liked a lot. He seemed to, like Johnny Carson, have this secret weapon of not being able to bomb because he would make flatter moments funny by commenting on them. Other comedians do that too, but something about Letterman I thought was just gold.
BA: When did you first catch Letterman?
MH: When I saw his [short-lived 1980 NBC] morning show, I said, “This is the next wave of comedy.” It harkened back to Steve Allen, who I loved as a kid, who would go out into the street and do observational humor that was so clever. And I thought, “This is really odd” because this show is so wrong for morning TV, but I can’t get enough of it. And of course it was cancelled. I was really depressed. I have this feeling that things that I love too much are destined to be cancelled. I don’t get over it very easily. I’m still mourning the loss of Square Pegs and Dabney Coleman in Buffalo Bill. Recently I was upset that they cancelled The Neighbors on ABC. Sometimes I have a feeling that, if I love it, it’s the kiss of death. Somehow I’m responsible.