Watercooler Journal Jun. 2014 1

David Letterman “Gap-Toothed Monkey Boy” or Late-Night Revolutionary?

Joanna Ferrell

Sarah Lawrence College (2012)

Since the inception of both the variety show and late-night talk show (in 1948 with The Ed

Sullivan Show and 1962 with The Tonight Show with Johnny Carson, respectively), American

networks have produced countless broadcasts that replicate both the structure and “look” of

Sullivan and Carson’s paradigms. However, as a result of the constantly evolving televisual

conditions and the difficulty to adhere to the classic late-night format (while simultaneously

incorporating a unique sensibility and “look”), not many programs have run for more than a

few seasons. Because this generic structure so rarely results in long-term success, Letterman’s

command of the genre and revolutionary approach in the well-established Late Night with

David Letterman—which flourished for over eleven years, and gave rise to the Late Show with

David Letterman, now in its nineteenth season—will provide significant insight into why the

late-night talk show remains a fixture in today’s contemporary televisual landscape.

Watercooler Journal Jun. 2014 2

Before looking at Late Night with David Letterman, one must examine the late-night talk show

genre as a whole. An amalgamation of the classic talk show and hour-long variety show, the

late-night talk show traditionally consists of five to six “acts.” After a pre-taped opening

sequence, the host opens the program with a comedic monologue and/or a series of short

comedic bits (known as “extras”) followed by a commercial. Next, a house band usually plays

as the show returns from sponsored messages, often as an art card or B-roll clip featuring a bug

of the show’s logo is displayed. The host then launches into a desk segment, where he (or she,

in rare cases) discusses a humorous anecdote or plays a pre-taped comedy sketch. After

another break, the host introduces a guest to begin the first of two guest segments. Within

these five-to-ten-minute segments, the host and guest discuss several topics (covered in a pre-

interview between the guest and a segment producer), culminating in an inevitable plug. After

yet another commercial break, a segment advertises guests scheduled for the next episode,

followed by a musical or comedy act which closes the show.

Late Night With David Letterman, January 30th, 1991

Viewing an episode of Late Night With David Letterman broadcast on January 30th, 1991

demonstrates the full and evident adherence to the typical late-night format but with an

engaging spin. The show opens with a pre-taped sequence over live music from the house

musicians, Paul Shaffer and The World’s Most Dangerous Band. A helicopter shot of New York

City zooms past the Queensboro Bridge, giving the illusion of flying through the city. The

camera appears to travel through an office within a skyscraper, quickly passing through a series

of cubicles before exiting. Next, the camera swoops down into a typical bachelor pad,

complete with messy laundry basket and dog, continuing through a window to its next stop, a

dive bar. Once exiting the bar, the camera travels through an indoor garage, passing several

workers before making a sharp ascent into 30 Rockefeller Center and into the studio. Here, the

band plays, a curtain parts, a scrim flies, and finally, David Letterman (dressed unconventionally

in khaki slacks, a navy blue blazer, tie, and running shoes) makes his entrance, running full-tilt

toward the middle camera. He introduces Shaffer and the band and then launches into a

monologue of twelve jokes, often engaging a member of the audience from Wyoming (most

likely approached by Letterman in a brief audience chat segment that takes place minutes

before the taping). Letterman often solicits Shaffer’s response to the content of the

monologue, and their camaraderie is obvious with Letterman teasingly demands that Paul

“shut up” when Shaffer responds to a query in a sycophantic manner. Shaffer functions not

unlike Ed McMahon, Johnny Carson’s erstwhile sidekick. However, Shaffer simultaneously

performs the duties of bandleader—akin to Doc Severinsen, Carson’s musical director.

Watercooler Journal Jun. 2014 3

“Letterman’s authentic chagrin appears to strengthen the audience’s perception of Letterman as ‘the common man.’”

The monologue concludes with a visual gag, as a camera reveals an actor portraying Buffalo

Bills kicker Scott Norwood (known for missing a game-winning field goal in the final minutes of

Superbowl XXV) cooking bacon on a hot plate. The audience groans, suggesting that either

this was in bad taste, or more likely, that Letterman had used this gag several times before.

Letterman is known for reusing both monologue jokes and gags that he finds funny, regardless

of audience reaction. This behavior is congruous with Letterman’s rebellious, devil-may-care

comedic style.

After a commercial break (decidedly slanted toward the desirable 18-49 male demographic,

featuring commercials for Budweiser, the buddy adventure film Grand Canyon, Subway

meatball subs, and GMC trucks), the show returns via a quick “bumper” displaying what

appears to be Letterman’s office desk topped with a smattering of office supplies, a copy of

Variety, several cigars, and a Late Night script. Letterman, now seated behind his desk amongst

a phone, coffee mug, and his ever-present antique microphone, welcomes viewers back before

placing a call. As the mysterious recipient does not pick up, Letterman leads a cameraman into

the hallway of the studio, where he proceeds to interrogate an NBC page about the missed

phone call. Letterman returns to the studio, where he engages the production crew on set with

questions regarding the timing and pacing of the show, reinforcing the self-reflexive nature of

the program.

Watercooler Journal Jun. 2014 4

Letterman then sits at his desk, and sensing the audience’s anticipation of the next segment,

stretches out and drinks slowly from his coffee mug, inciting laughter from the audience, who

appear amused by Letterman’s stalling. This serves as a device to reassert his unchallenged

position as master of ceremonies, build suspense, and defy the closely held broadcasting

dogma of undesirable “dead air.” At various points in the show, Letterman pauses or physically

reacts after several seconds of silence before finally introducing his “Top Ten” segment,

wherein he ranks ten examples of a humorous topic, such as “Things that Almost Rhyme with

‘Peas’“ or “Orville Redenbacher’s Top Ten Most Horrifying Secrets.”

After a commercial break, Letterman introduces the first of two interview segments with

comedian Richard Lewis. Lewis’s intro consists of a brief instrumental piece played by the band

and a follow-spot to the desk, where Letterman stands up and shakes his hand. Their banter is

friendly. Letterman is known for his amiability with guests he respects and his borderline

condescending and hurried interaction with those he doesn’t. During this conversation, Dave

reveals a previous failed marriage in a sincere effort to soothe Lewis. A serious mention of a

negative real-life experience without a soupçon of Letterman’s trademark self-deprecation is

very rare on his program. Three cameras assume four positions throughout these interviews: a

standard middle two-shot, a head-on one-shot of both the guest and Letterman, and an over-

the-shoulder shot focused on Letterman. This carefully devised and regularized series of angles

not only allows for host/guest interaction, but the over-the-shoulder shot also provides an ideal

perspective for Letterman’s signature facial reactions (i.e., mugging, sipping coffee, etc.) to

unusual twists and turns that often take place during an interview.

Watercooler Journal Jun. 2014 5

After a commercial and another interview segment with Lewis—in which Letterman refers to

himself as a “dweeb,” effectively endearing himself to the audience, reinforcing his self-

deprecating TV persona, and perhaps divulging genuine neurotic tendencies)—a bumper in

the form of an art card depicting a group of people viewing an exhibit with one observer

sporting a Late Night baseball jacket appears. The picture transitions into Letterman at his

desk, announcing both the guests for the upcoming show and his next guest on this particular

show, Gretchen Warden, curator of the Odd and Obsolete Medical Devices exhibit in

Philadelphia. Human-interest pieces occasionally fill the fourth act, often the final interview slot

before the musical/comedic set. The band plays on Ms. Warden, but instead of sitting in next

to the desk (in typical interview fashion), Letterman meets her at a table in the middle of the

set. As Letterman questions Ms. Warden about the exhibit, his attention shifts to the tabletop,

and he begins to fiddle with some of the objects there in a display of impulse. He cracks jokes

about the objects, throwing Ms. Warden off her planned remarks. She concludes her segment

with a plug for a museum-sponsored calendar. Letterman thinly veils his contempt for the

concept of the plug by mocking the calendar, flipping through it dramatically, wisecracking,

and rolling his eyes.

Finally, in an anomalous turn of events, after the final commercial break, Letterman introduces

Kevin Bacon in lieu of a musical act. Often when an act runs longer than a planned segment, a

musical guest or stand-up comedian will be bumped in favor of a more well-known celebrity. In

a verbal sense, Dave approaches Bacon with a bit more caution than with his friend Richard

Lewis, as he seems to be under the impression that Bacon is just another pretty boy celebrity.

However, Bacon proves himself to be interesting, down-to-earth, and quite witty. The host and

guest establish a rapport. As the episode concludes, Letterman quickly thanks his guests from

Watercooler Journal Jun. 2014 6

his desk and wishes his audience and viewers a good night. The show’s theme music plays

against footage of The World’s Most Dangerous Band.

The Ethos of Late Night and Letterman

As one can see, the elements of the late-night talk show genre are easily identifiable (and

organized meticulously) within Late Night with David Letterman. But as a result of Letterman

and his staff’s ability to imbue the show with its singular intellectual and defiant persona, the

show seems to transcend the conventional format and carve out its own niche amidst its

monotonous, highly structured competitors. Letterman achieves his carefully constructed

“regular guy” persona via his casual dress, spontaneous physicality, and waning attention span.

He endears himself to his audience by engaging with them in the studio and self-deprecating

his looks, personality, and status (once referring to himself as a “gap-toothed monkey boy”)

alongside a display of intolerance for vain, dull Hollywood types. While interviewing or

discussing these individuals, Letterman’s personality seems to shift, and his biting wit replaces

lighthearted teasing. Through this, viewers can detect moodiness and exasperation. This

cantankerousness often charms the audience; Letterman’s authentic chagrin appears to

strengthen the audience’s perception of Letterman as “the common man.” His persona—

combined with his ability to see through much of the nonsense pervading the entertainment

industry—endears him to many important figures within the industry while simultaneously

creating wariness within the same circles.

Letterman does not pander to celebrities. For example, on CBS’ Late Show with David

Letterman in 2008, Letterman famously mocked Arizona senator and presidential candidate

John McCain for months on air after McCain skipped an interview with Letterman—citing an

emergency in Washington—for an interview on the CBS Evening News with Katie Couric

several blocks away. Letterman played raw footage of McCain attaching a lavalier microphone

to his suit on the Evening News set at the exact time he had promised to be on Late Show.

Three weeks after the gaffe (and after being the target of Letterman’s ridicule nightly), McCain

appeared on the show to apologize.

Occasionally, the skittish-yet-polite speaking manner and body language of guests will depict a

degree of intimidation. This was apparent to some extent with Kevin Bacon, who keeps his

arms folded and legs crossed in what seems to be a self-preserving pose. The role-reversing

concept of having A-list stars in the proverbial “hot seat” is an unfamiliar one for most of the

guests, and as Letterman strives to place the audience on his level, viewers feel they have an

Watercooler Journal Jun. 2014 7

upper hand on the guests. This charms the audience once more, but Letterman’s influence on

the audience is perhaps most evident in his monologues. Letterman takes jabs at high-profile

figures both in America and abroad (mocking numerous governmental fixtures from the New

York City Mayor Michael Bloomberg to the former Attorney General John Ashcroft). As a result

of the uproarious audience response, dissidence is encouraged and frequently taken into

consideration by viewers. Letterman’s liberal political affiliations are obvious, and although

most of his jokes are equal opportunity offenders, his leftist leaning is apparent in his reaction

to or delivery of certain jokes (eye-rolling while speaking about George H.W. Bush, and in later

episodes, playful jabs at Bill Clinton’s libido).

Late Night with David Letterman not only succeeded as a faithful supporter of the late-night

talk show format, but also as a revolutionary exemplar within that genre. Through Letterman’s

egalitarian treatment of his audience, adroit interview skills, innovative segments, and signature

brand of irreverent, rebellious-yet-cerebral humor, Letterman has established the late-night talk

show as an entertaining and informative postmodern genre that has and will continue to stand

the test of time.

Watercooler Journal Jun. 2014 8

works consulted Adler, Bill. The Letterman Wit: His Life and Humor. New York: Carroll & Graf, 1994. Print. Carter, Bill. The Late Shift: Letterman, Leno, and the Network Battle for the Night. New York:

Hyperion, 1994. Print. “Late Night with David Letterman December 1991 including Commercials.” YouTube.

YouTube, 20 May 2009. Web. 19 Feb. 2012. <http://www.youtube.com/watch?v=LNLFetTYq1I>.

O’Donnell, Victoria. Television Criticism. Los Angeles: Sage Publications, 2007. Print. Shales, Tom. “David Letterman and the Power of Babble.” Esquire (New York), Nov. 1986.

Print. Sullivan, Robert E. “Letterman: The First 100 Nights.” Vogue (New York), January 1994. Print. “This Day in Quotes: The First Letterman Top Ten List Debuted 25 Years Ago Today.” 18 Sep.

2010. Web. 18 Feb. 2012. <http://www.thisdayinquotes.com/2010/09/first-letterman-top-ten-list-debuted-25.html>.

image credits, in order: ©Associated Press, via http://media.npr.org/ ©NBC Universal Studios ©NBC Universal Studios ©NBC Universal Studios ©NBC Universal Studios