Jimmy Fallon revealed this by showing a recent argument he and Ed Norton had on the show.

“Tank Tops Political Talk Show” featured Holt, addressing the midterm elections, and Norton, Fallon and Arianna Huffington debating the issue – while all wearing tank tops. Norton believed the Independent voters were most important, Fallon disagreed. “Independent voters are not reliable,” said Fallon, while Norton called him a “fundamentalist” and “terrorist.”

“Let’s everybody keep their tank tops on, please,” urged Holt. (For what it’s worth, Huffington was Team Norton.)

The segment felt more like Saturday Night Live than a late night show, which follows the theme of a lot of what Fallon does with his NBC program. It also follows another theme – segments that have the ability to potentially go viral, and at the very least, find a new life online after its initial TV airing. Even if Tank Tops Political Talk Show doesn’t return (but it certainly could in the lead-up to the election), we’ll see it around.

Check it out:

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» Follow Steve Krakauer on Twitter

As a creative person working on a number of different projects but operating as a solo practitioner, for all intents and purposes, how do you structure your work life? Do you have an office? An assistant? Or just a very trusty laptop?

I am far to DIY for my own good – I do my own scheduling, online ordering, laundy, cooking. The only thing I don’t do is write. For that, I pay this amazing 16 year old named Raj who lives in Bangalore, India. For twenty bucks an hour he churns out amazingly nuanced American dramedies… No, no, I write in the mornings from 8-1 and that’s pretty much all I can do. The afternoon is devoted to the chores, errands, calls, emails, gym, guitar playing and the occasional nap…

You are also pretty bi-coastal, zinging back and forth from New York to LA. How easy is it to find focus for solo creative work between travel, meetings and jet lag?

Over the years, I’ve gotten better at carving out times for meetings and then hunkering down with no distractions (on either coast) and just plowing through the work.

Let’s talk about The Kids Are All Right (congratulations!). You co-wrote this with Lisa Cholodenko, who also directed the film. What was your process like for writing this together? And did that process continue on while she was directing as you tweaked, or did your part end when the script was done?

We spent months on the outline, months on the first draft (back in ’05). We sat side by side for months on end, pounding it out together. Every single scene, character, line was reworked at least ten times. That work continued through production. I was on set every day, re-working scenes. It was non-stop.

You’ve been doing this for a while, having written Keeping The Faith over a decade ago. While basic word processing hasn’t changed much during that time, all sorts of other technology has. How do you integrate technology into your work?

Skype is my new BFF – I’m currently collaborating with someone in LA on a script. We work for 2 hours a day and there’s no commute. It’s awesome. We both sign on and with screen-sharing we can both view the script on a real time basis as I type away. I love it.

You switched hats and co-produced By The People , the election 2008 documentary about Barack Obama. First of all, how the heck does that happen? Second of all, did it blow your mind or were you too busy with the details to think, wow, we’re chronicling a pretty historic event?

My very good friend Amy Rice approached me in 2005 and said, “Hey, I think this cat Barack Obama is gonna run for President, I think he has a shot, and I think we should make a documentary about it. I took the idea to my producing parter, Edward Norton, who was totally down with idea. We approached Barack when he was still a junior senator getting his sea-legs, pitched him the idea, and he was nice/naive enough to agree to it. And yes, we knew we were chronicling a major historical event. That’s the angle we pitched investors to part them from their money.

You’ve worked with some pretty amazing people – your frequent collaborator and pal Ed Norton many times, Ben Stiller in Keeping The Faith, Annette Bening, Julianne Moore and Mark Ruffalo in The Kids Are All Right – and, of course, a half-naked Elisha Cuthbert in The Girl Next Door. Oh! And freaking Eli Wallach in Keeping The Faith! And Anne Bancroft! Wow. Who would you love to work with in the future? Anyone specific on your wish list?

Meryl Streep, Henry Winkler….and Meryl Streep playing Henry Winkler…

You’re from Cleveland. How do you feel about LeBron?

That’s personal. It’s not just the basketball. About seven years back, I lent him a couple of my CDs and he never returned them, and frankly, that just hurt.

Which family is crazier, your movie brood or the Palins?

I don’t like the word crazy. It has too many bad connotations. I prefer the term batshit-loco. And that would be the family from Alaska.

This post was reprinted with permission from Rypple.com and its “I ♥ Work” series.

*****

Watch for Blumberg’s upcoming projects, including one on a subject dear to Canadian hearts: Hockey! He’s working on the remake of Slapshot. Awesome. Sample a diverse array of Blumberg’s work below — let’s hope it’s the only time Obama is linked to a porn star.

Trailer: The Kids Are All Right

Trailer: Keeping The Faith

Trailer: By The People: The Election of Barack Obama

Trailer: The Girl Next Door

I’m a total sap; your mileage may vary. (And, full disclosure, I’m friends with the movie’s assistant producer Elissa Brown.) But with the rich benefit of hindsight, viewing the early days of the Obama campaign is like walking a friend to her surprise birthday party: You’re secretly giddy about what’s in store. The film — which will air on November 3 on HBO — begins in Iowa in 2007, eight months before the caucuses and light years before today, and spends nearly half of its two-hours focusing on the state and the young supporters populating its campaign headquarters.

We meet Tommy Vietor, the baby-faced Iowa press secretary, and Ronnie Cho, the son of Korean immigrants who throughout the course of the film rivaled me in tears shed. We meet the people — David Axelrod, David Plouffe, Robert Gibbs — whose names flooded the news and our email inboxes. And we meet, in intimate, backstage detail, Senator Barack Obama.

Early takes have already compared the film to the celebrated 1993 documentary The War Room, but as the Chicago Sun Times‘ Lynn Sweet (who appears often in By The People) points out: “The War Room did not have Clinton.” Filmmakers Amy Rice and Alicia Sams began following Obama on his trip to Kenya in 2006, and their acess to him and his staff, particularly early in the film, is stunning. The cameras literally trail behind as he gladhands through Iowa crowds (and, out of their earshot, admits to feeling like he’s been through a wrestling match) and strategizes with his advisors. The filmmakers even secure an honest and moving interview with Obama’s sister in Hawaii — one of the great moments in By The People — and catch her young daughter playing with an Obama bobblehead doll and chirping about “Uncle Rocky.” It’s not until a later moment, when a weary Obama finally asks from a barbershop chair for some “quiet time” with the cameras off, that you realize just how up-close and personal you’ve been all along.

The pitfall of this proximity is an air of adulation that hangs over By The People. (One cameraman questioning Obama about a poll showing Hillary Clinton widening her lead to 34 points is quite literally apologetic: “I’m sorry, but I have to ask”.) Producer Ed Norton noted in an interview that the film was not designed to be an exposé but rather “a document of what the internal reality of the movement was.” In other words, those hoping for any gotcha moments should look elsewhere. A snippy review — in my opinion, overly so — in Variety finds this to be the movie’s biggest flaw, maintaining that the filmmakers “apparent emotional investment is reflected in the cheerleading tone that informs so much of the film” and complaining about the film’s rapid sprint in the final 30 minutes through the highlights (and, in the case of a few disturbing shots of rabid Republicans, lowlights) of the general election.

The pacing didn’t bother me; I’ve had enough Sarah Palin in my life, thank you very much, and at this point we all know the details of the Jeremiah Wright flap by heart. And I found the older footage illuminating. In a touching Christmas Eve call to the Iowa headquarters, David Axelrod pep-talks about winning the nomination and going on to defeat “Mitt or Rudy or Huckabee, or whoever those assholes nominate” with nary a mention of the ultimate Republican nominee. How quickly things change! And allocating more time to the details of September and October would mean cutting back on perfectly understated moments from February and March, like David Alexrod human-pretzeled over a hotel chair – legs akimbo, cell phone to ear, index finger barely reaching the trackpad of an adjacent laptop on the floor – or Jon Favreau watching TV with his mouth hanging skeptically open, rolling his eyes as Hillary Clinton intones “You know what they say: As goes Ohio, so goes the nation!”

I was told that the filmmakers had to tread lightly in their coverage of Clinton in the editing process, given her current position in Obama’s cabinet, but to me the Hillary-related moments are devastating enough. At the Iowa County Fair we watch Obama playing carnival games with his daughters and disarming a nearby crowd with some goofy chants; the movie then cuts to our first glimpse of Hillary — awkwardly flipping burgers, her face quivering in concentration, surrounded by fusty middle aged supporters struggling to operate their digital cameras. I winced. The juxtaposition is meant to be funny, but it felt a little mean: less a smile than a smirk.

While Obama’s opponents are hastily constructed, the film takes tremendous care to develop the personalities of those within the Obama camp. Speechwriter Favreau, so brilliant with his prose, occasionally slips and acts his age. “Blah blah blah, hope change… yeah” is his answer when asked about the text of one upcoming speech. The ongoing dynamic, particularly on Election Day, between the feisty (and at times, black leather jacket–clad) Axelrod and the laser-focused Plouffe is a joy to watch, as are the scenes featuring Gibbs and his young towheaded son. “This is like listening to the pregame show before the Super Bowl,” mutters Gibbs nervously in the hours before the Iowa caucus results as he stares at the TV. “None of it matters. Just kick-off the damn ball.” (No clearer an indictment has been made, really, about the state of the media today.)

But while the documentary avoids getting sucked into that dangerous meta-trap of focusing on the 24-hour news cycles du jour, media nerds will nevertheless delight at all the cameos in the film. Milling around in the theater lobby afterwards, I confessed to a friend that one of my favorite moments was scoping out Ryan Lizza’s office at the New Yorker while he was being interviewed on screen. Overhearing, a random girl rushed over and grabbed my arm. “Oh my god,” she said. “I was doing that too!” (The film, unsurprisingly, made no mention of Lizza’s later being denied a seat on the Obama plane late in the campaign in what some felt to be retribution for controversial New Yorker cover art.) The wonderful Candy Crowley crops up often, as does Newsweek’s Richard Wolffe. I chuckled to myself during a classic clip of Chris Matthews — “What was once inevitable for Hillary is now barely a possibility,” he says gravely, practically licking his chops — and felt a pang of nostalgia when I saw that his two guests were David Gregory and Chuck Todd. And when Tim Russert’s mug appeared, I cried. Again.

Obama himself becomes understandably more distant from the cameras as the election wears on and his profile rises, but there remains plenty of behind-the-scenes footage late in the film, most notably in a scene showing his preparation for a debate with McCain in which Obama worries about appearing “whiny.” And when he delivers an election eve speech in the rain just hours after the death of his grandmother (who is interviewed early on in the movie and talks charmingly about her grandson and his friends playing basketball and “raiding the fridge”) the documentary cameras captured what the cable news crews did not: tears in his eyes, and even on his cheeks.

My sniffles, by that point, were no longer the only ones in the theater.

Katie Baker has contributed to Gawker, the Yale Daily News, Young Manhattanite, and US College Hockey Online. Her blog can be found here. She also has a day job.