debut season

For much of the year, the Dodgers’ starting rotation felt broken.

In large part, because the pitcher acquired to be its anchor was struggling to find himself.

It’s easy to forget now, with Blake Snell in the midst of a historic October performance that has helped lead the Dodgers back to the World Series. But for most of his debut season in Los Angeles, the two-time Cy Young Award winner and $182 million offseason signing was grappling with frustration, enduring what he described recently as “the hardest year of my career.”

First, there was well-documented early adversity: A shoulder problem that Snell quietly pitched through in two underwhelming starts at the beginning of the campaign, before sidelining him on the injured list for the next four months.

Then, there was an ordeal Snell detailed last week for the first time: In late August, on the same day his wife Haeley gave birth to the couple’s second child, Snell got so sick in the hospital that he fainted, was taken to the emergency room, and kept overnight hooked up to IV fluids.

“This is awful,” he thought to himself then.

Which now, has made his dominant postseason — including an 0.86 ERA in his first three playoff outings, and a scheduled Game 1 start in the World Series on Friday night — all the more gratifying.

“It’s been a lot,” Snell told The Times last week, while reflecting on a difficult season now primed for a triumphant final act. “But that’s what this is all about. Find the best in yourself. Fight through all the doubt, the bull—. And figure it out.”

In many ways, figuring things out has been the story of the Dodgers’ entire season. From their inconsistent and injury-riddled offense. To their underperforming and injury-ravaged bullpen. To their ever-evolving rotation, most of all.

Early in the year, that group dealt with its own rash of injuries, losing Snell, Tyler Glasnow, Roki Sasaki and others in a harrowing flashback to 2024.

This time, most of their top arms returned healthy. But up until six weeks ago, they still faced genuine questions for the fall.

At that point, Yoshinobu Yamamoto was mired in an up-and-down stretch following his All-Star selection in the first half of the year, raising worries he could be tiring en route to making a career-high 30 starts.

Glasnow had returned from his early-season shoulder problem, but grinded through six starts from July 29 to Aug. 30 with an ERA above 4.00.

And while Shohei Ohtani was pitching well, he was also continuing to build up in his return from a second career Tommy John surgery.

Suddenly, it all left Snell to be the linchpin for the pitching staff — thrusting him to the center of the late-season resurgence that was soon to come.

“With every great starting staff, you got to have that anchor,” manager Dave Roberts said. “Having him get back to pitch the way he did, sort of raised the bar for everyone.”

This past winter, the Dodgers made Snell their top priority for a reason.

They looked at the patchwork rotation that nearly derailed their 2024 World Series run, and decided the year’s staff needed another star to build around.

Yamamoto, Glasnow and Ohtani already provided a well-established foundation. Clayton Kershaw, Emmet Sheehan, Tony Gonsolin and Dustin May offered plenty of depth to withstand a 162-game marathon.

What was missing, however, was another bona fide ace; the kind capable of swinging postseason series and transforming October fortunes. In Snell, they saw such potential. His presence, they hoped, would complete their title-defense blueprint.

“As we were talking about ways that we could put ourselves in the best position to win a World Series in 2025,” president of baseball operations Andrew Friedman said the day Snell was introduced by the club, “all conversations kept coming back to Blake.”

For most of the year, of course, Snell’s impact was limited. After his two injury-hampered starts at the beginning of the season, he remained out of action until after the trade deadline.

During that time, the Dodgers slow-played Snell’s recovery — putting him through a meticulous process (similar to their handling of Glasnow and Ohtani) that was designed to have him ready for the stretch run of the season, and hopefully peaking in time for the start of the playoffs.

Upon his initial return in early August, Snell seemed to be on track, with the left-hander posting a sub-2.00 ERA in his first four outings off the IL.

Then, however, came another unforeseen setback, after he rushed home from an Aug. 22 outing in San Diego for the birth of his child.

By the time Snell’s wife went into labor later that week, the 32-year-old arrived at the hospital feeling “extremely sick,” he recounted last week. At one point, as he got up from a couch to go hold his newly born baby, he said he passed out and fainted right there in the room.

Snell was taken to the emergency room and stayed there overnight, getting two IVs to combat an unspecified illness undoubtedly compounded by exhaustion.

“I couldn’t really stand,” he said. “I just felt awful.”

And yet, a few days later, there Snell was back atop the Dodger Stadium mound; making sure that, after his extended absence earlier in the campaign, he wouldn’t miss another start.

“That’s what I signed up to do,” Snell said. “When I pitch, I just forget about it. I don’t allow a lot of excuses.”

Snell’s illness was unknown at the time, but the physical toll it had taken quickly became obvious. His velocity was noticeably down in a three-run, 5 ⅓ innings start on Aug. 29 against the Arizona Diamondbacks. Six days later, he toiled again during a “frustrating” outing in Pittsburgh, yielding a season-high nine hits and five runs to the lowly Pirates.

Pushing through those games, though, gave Snell a key to hone in on for the rest of the season. “If this is who you are today, figure it out,” he told himself. And finally, with no more disruptions to his routine, improvement flowed quickly.

Dodgers pitcher Blake Snell puts his arm around catcher Ben Rortvedt as they walk back to the dugout together on Sept. 17.

(Gina Ferazzi/Los Angeles Times)

Snell struck out a season-high 11 batters over six scoreless innings in a Sept. 10 win against the Colorado Rockies. He topped that a week later with 12 punchouts in seven scoreless frames against the Philadelphia Phillies.

Snell said after that outing, which was followed by one more six-inning, one-run start in his regular-season finale in Arizona: “[I’m] starting to be able to play catch with more intent and work on stuff … Coming through in the push to the postseason, and being able to make it, that’s what the whole season is for.”

The old adage in baseball is that hitting can be contagious.

In the case of this year’s Dodgers, starting pitching evidently can be, too.

As Snell got hot in September, so did the rest of the team’s resurgent rotation. Yamamoto rediscovered his early-season form, winning National League pitcher of the month with an immaculate 0.67 ERA in four starts. Glasnow finished the month with a 2.49 mark, after finally refining the mechanics of his throw. Ohtani, meanwhile, got stretched out to six innings, maintaining his two-way dominance over repeated full-length appearances.

The bar had been raised, with the constant cycle of gems continuing to push it a little bit higher.

The pitchers rode off the momentum and relished in their shared success; to the point that Roberts joked they almost seemed to be competing to outdo one another.

“I think we’re all good,” Glasnow said. “So it was just a matter of time until all of us did good at the same time.”

But in these playoffs, no one has been more lethal than Snell. In his 21 innings so far, he has thrown a scoreless frame in all but one.

Dodgers pitcher Blake Snell walks off the mound after striking out the last batter of the second inning of Game 2 of the NLDS against the Philadelphia Phillies.

(Robert Gauthier / Los Angeles Times)

He was good in his first start, producing seven innings of two-run ball against the Cincinnati Reds in the wild-card round. He was superb in the next, going six scoreless against the Phillies in a hostile road environment.

His masterpiece, however, came in Game 1 of the NL Championship Series, when he tossed eight scoreless innings, struck out 10 batters, and ruthlessly toyed with a Milwaukee Brewers lineup helpless to adjust to his manipulative changeup.

“We’ve all known this: Blake, when he’s right, is the best pitcher in the game,” Kershaw, his future Hall of Fame teammate, said afterward. “To have a guy that can do that, set the tone, and just have a guy that you can count on like that, it’s huge.”

For his part, Snell continues to insist that “I feel like I could be way better.” After his repeated setbacks earlier this year, he claims that, “even now, I’m still battling.”

The numbers, of course, tell a different story. In the live-ball era (since 1920), only three other pitchers with 20 or more innings in a postseason had at least 20 strikeouts and a sub-1.00 ERA (Sandy Koufax in 1965, John Smoltz in 1996 and Justin Verlander in 2013).

On Friday night, Snell will be on the bump once again, trying to continue a dazzling streak for himself and his rotation.

What once felt like the hardest year of his career, is now four wins away from being the most fulfilling.

“It’s what you have to go through to win a World Series,” he said. “You can find an excuse, or you can find a way to figure it out.”

Blake Snell did not sound bitter. Somehow, he was not racked with regret.

Rather, when asked at his introductory Dodgers news conference this past offseason about the most infamous moment of his career, he took a brief moment to think. Then, unexpectedly, he expressed gratitude instead.

Five years ago, Snell was pitching the game of his life in Game 6 of the 2020 World Series. With his Tampa Bay Rays facing elimination against the Dodgers, he had answered the bell with five one-hit, nine-strikeout, virtually flawless Fall Classic innings.

What happened next remains controversial to this day. Snell gave up a one-out single in the sixth inning to Austin Barnes. Rays manager Kevin Cash came to the mound with a stunningly quick hook. The Dodgers went on to mount a rally against the Tampa Bay bullpen, ending a three-decade title drought while the left-handed ace watched from the bench. And in the aftermath, the second-guessing of the decision was as immediate as it was decisive.

Almost everyone else in the baseball world thought Snell should have stayed in.

Over time, however, the pitcher himself came to view it as a valuable lesson.

“It was a moment in my life that I’m very appreciative of,” Snell said last winter, donning a Dodger blue jersey for the first time after signing with the club for $182 million as a free agent.

“If I wanted to stay out there longer, I should have done a better job before that game to make that decision easier on Kevin. It’s ultimately up to me to be a better pitcher there in that moment.”

Five years later, he’s about to get his chance for postseason redemption.

Snell’s debut season in Los Angeles did not go as planned this year. He made two underwhelming starts at the beginning of the campaign while quietly battling shoulder soreness. He spent the next four months sidelined on the injured list, returning in time to make only nine more starts down the stretch.

Although his final numbers were strong (a 2.35 ERA, 72 strikeouts in 61⅓ innings, and Dodgers wins in seven of the 11 games he did pitch), his injury left his overall impact limited.

To Snell and the team, though, none of that matters now. Their union was always rooted in postseason success. And on Tuesday night, when the Dodgers open a best-of-three wild-card series against the Cincinnati Reds, it is Snell who will take the bump for Game 1 at Dodger Stadium.

“That’s why I came here,” Snell said amid the Dodgers’ division-clinching clubhouse celebration last week. “Get to the postseason, and see how good I can be.”

It’s an opportunity that’s been half a decade in the making.

Ever since breaking into the majors in 2016, and winning his first Cy Young Award with an immaculate 21-win, 1.89-ERA season two years later, Snell’s raw talent has never been in question. No starting pitcher in the history of the sport (minimum 1,000 career innings) has averaged more strikeouts per nine innings than his 11.2 mark. Even in the game’s modern era, few have possessed such a wicked arsenal, with Snell’s slider and curveball alone boasting a whopping career whiff rate of roughly 50%.

What Snell hasn’t done, however, is prove himself to be a workhorse. He has never had a 200-inning season. He has never gone six full frames in any of his 10 playoff starts. Through the years, he has been dogged by high walk rates and inefficient outings and a tendency to simply waste too many pitches. When Cash came to the mound in that sixth inning of the 2020 World Series, it only reinforced his five-and-dive reputation.

That’s why, when Snell looks back on that moment now, he views it through a lens of valuable perspective.

“I just learned, the manager’s job is to do whatever he thinks is gonna help the team win, and my job is to make him believe I’m the best option for us to win,” Snell said this past weekend, when asked about that ignominious Game 6 again. “And I didn’t do a good job of that, because he took me out.”

Thus, Snell has been on a different mission over the five years since. He not only wants to get back to the World Series and win his first championship. But he wants to do so as a bona fide October ace, the kind of anchor of a pitching staff that can get deeper into outings.

“[The playoffs are] where you want to see: What kind of player are you? How do you handle pressure situations? When everything is on the line,” Snell said. “That’s why I like it. It really allows you to understand who you are as a pitcher, where you’re at, and where you need to grow … How to find advantages to push yourself deeper in the game.”

The last time Snell pitched in the playoffs, such goals remained a work in progress. As a member of the San Diego Padres in 2022, he amassed just 13⅔ innings over three postseason starts, recording a 4.61 ERA while walking nine total batters.

Over the three seasons since then, however, he feels he has made more tangible strides. In 2023, he won another Cy Young by going 14-9 with a 2.25 ERA, averaging close to six innings per start despite a major-league-leading 99 walks. Last year might have been even more transformational, even as he battled injuries with the San Francisco Giants.

During his lone season in the Bay, Snell picked the brain of Giants ace Logan Webb, who has led the National League in innings pitched over each of the last three seasons. Their talks centered on the value of short at-bats, the importance of “dominating the inside part of the plate,” and the significance of executing competitive misses on throws around the edge of the zone.

“That was probably one of my biggest years of growth and development, in the sense of how to go deeper into games,” Snell said.

The results certainly backed that up, with Snell rebounding from an injury-plagued first half to post a 1.23 ERA over his final 14 starts. In an early August trip to Cincinnati (his last time facing the Reds ahead of this week’s playoff series), he threw his first career no-hitter on just 114 pitches.

“That no-hitter was insane,” said current Dodgers outfielder and former Giants teammate Michael Conforto, who like Snell went from San Francisco to Los Angeles as a free agent last offseason. “He just had everything working. He was hitting every corner. He knew exactly where he wanted to put it, and he put it there every time.

“That’s the kind of performance he’s capable of every time he goes out,” Conforto added. “It’s just a very, very tough at-bat. Especially when he’s throwing strikes.”

This year, Snell’s evolution has continued around the Dodgers — where manager Dave Roberts has lauded him as a “next-level thinker” for the way he can read opponents’ swings, figure out their tendencies in the batter’s box, and adapt his plan of attack to what he feels a given matchup requires.

Since returning from his early-season shoulder injury, Snell has increasingly tapped into top form. He has cut down on walks and wasted pitches. He has posted a 2.41 ERA over his nine second-half starts. His last three outings in particular: 19 innings, one run, 28 strikeouts and only five free passes.

The most important development has been his relationship with Roberts, who left Snell in the game after late-inning mound visits in each of his last two starts, and watched him escape high-leverage jams.

Those moments could be invaluable as the Dodgers enter the playoffs, giving Roberts a level of confidence to push his Game 1 starter and cover for what has been an unreliable bullpen.

“He understands his role on this ball club,” Roberts said. “When you put a starter in a position where they know they have to go deeper, you’ve got to just naturally be more efficient.”

It’s a skill Snell has been honing ever since that fateful October night five years ago. Starting Tuesday night, it’s about to be tested again.

“That’s everything,” Snell said of pitching in the postseason again. “To face the best when the stakes are highest, that’s what I’ve always wanted.”

“Conan O’Brien Must Go” wraps it’s three-episode second season on Thursday with a trip to Austria.

(Pamela Littky / Max)

If we had planned it better (and had the budget for it), this interview with Conan O’Brien would been better suited to happen in Vatican City rather than a Zoom room.

Our conversation coincided with the start of the papal conclave, the hush-hush assembly of cardinals who gathered to elect a successor to Pope Francis, and O’Brien can’t help but reference the event when explaining his slight delay: “Sorry, it took me a second to figure out there was a passcode to get into this secret room,” he says. “It felt like I was joining a conclave.”

“I think you and I should put our own vote in,” he continues. “Why can’t they listen to us? Are you paying attention? Are you rooting for somebody?”

“I’m not rooting for anyone except Stanley Tucci,” I tell him, referring to the actor’s turn as a shrewd and calculated cardinal in last year’s “Conclave.”

“I love that you want Tucci. I love that you blurred the line between reality and drama.” (As we know by now, Cardinal Robert Prevost was elected as the first U.S.-born pontiff, taking the name Pope Leo XIV. Sorry, Tucci.)

Absorbing the scene outside St. Peter’s Basilica alongside thousands of visitors from around the world is the sort of thing O’Brien and his crew might revel in on his Max travel show “Conan O’Brien Must Go.” The series, which will conclude its three-episode second season on Thursday, plays like a video postcard of silly and enlightening adventures as O’Brien travels around the world to meet with fans and experience different cultures. It carries on the tradition from his talk show era of international getaways and blends it with his podcast “Conan O’Brien Needs a Friend.”

Conan O’Brien and Javier Bardem in Season 2 of “Conan O’Brien Must Go.”

(Team Coco / Max)

After venturing to Norway, Ireland, Thailand and Argentina in the show’s debut season, the second landed him in Spain, where hijinx included cuddling with actor Javier Bardem and doing Spanish voice-overs, and New Zealand, where he got lessons from one of Aotearoa’s leading cultural advisors and attempted to break a haka world record with filmmaker and actor Taika Waititi. It culminates with this week’s finale, which was filmed in Austria.

At this moment, he’s not on the go. He is beaming in from his home in Pacific Palisades, which he recently returned to after months of living in a hotel while smoke remediation and other restorative measures took place in the wake of January’s wildfires.

“We were so lucky, crazy lucky,” he says. “We live far enough so that we don’t have that thing where you walk out your front door and it looks like you’re on the moon.”

It’s one reason why the season is truncated: “Initially we were going to do four [episodes], but between my parents passing away and the Oscars and the fires, we just were like, ‘We could do three.’ I hope it doesn’t feel too short to people, but this is what we could do this time around.”

O’ Brien discussed standout moments from this season of “Conan O’Brien Must Go,” which has been renewed for a third season, his plans for his Mark Twain Prize for American Humor and making his feature film debut.

You cuddled with Javier Bardem. You did Spanish voice–overs. You dressed as Freud. You went to the snow globe museum. What moment stood out for you from these trips?

You can’t cuddle with Javier Bardem and wipe it from your memory. Be you man, be you woman — I don’t care which. It doesn’t matter. He crosses over all gender barriers. It was really fun to be in these ridiculous pajamas. A highlight with him is, there’s a scene where we’re eating together in a restaurant and we’re doing improv together. I’ve done improv with all the best improvisers in entertainment, he’s as good as anybody.

I loved being on the hill where Julie Andrews did “The Sound of Music.” And one of our writers, Jose Arroyo, wrote — obviously, you can’t do that song — this song about how we can’t do the song, which I loved and it’s one of the things I love to do, is come close to the thing. Like on the Oscars, do a musical number called “I won’t waste your time” — I love doing the thing and making it about not doing the thing. I have to say, [dressing up as] Freud was a standout, because I think I went a little insane. Sometimes when you put me in makeup and dress me up, I become the thing that I’m pretending to be.

And doing the haka [a traditional dance form of the Māori people] in New Zealand with thousands and thousands of people. I thought we were just going to do it once. As we’re doing it, I’m finding out in real time — because, you know me, when I do something, I do it 110% whether it’s going on “Hot Ones” or dancing the haka, I will put all the dials to 11 — so when I start dancing, I’m going all out and I’ve got Taika and I’ve got this whole crowd with me. Then I realized they’re not stopping. They’re doing it over and over and over again and you can’t stop because you’re in a stadium. When that was done, I felt like I needed to go to the hospital.

Conan O’Brien in lederhosen in the season finale of “Conan O’Brien Must Go,” which has the host traveling to Austria.

(Max)

When you come up that hilltop in the lederhosen, I just thought, “What would Martin Short have to say about these shorts?”

Oh my God, you’re right. Marty Short would have 1,000 jokes about my legs: spam, freckles, pale. He would just be an immediate encyclopedia. I have to make sure that that episode does not air in Toronto, because I think he goes to Toronto for the summer.

A moment that killed me was at the snow globe museum when you asked about that life-size doll on the shelf, and the woman said it’s her father. But that wasn’t the best part. When you asked what his best advice for her was, and she said, to “f— around as much as possible as long as you’re not married.”

What’s fun is it reminds me of that thing that I’ve learned over and over and over again, and it’s one of the things that the travel show takes advantage of, and remotes [on location segments] in general take advantage of: You’re always on the hunt for a mistake. You’re always on the hunt for someone to say something you don’t expect. I couldn’t in a million years script what she said. The doll is so creepy that’s peeking out the window. I think one of the things that I really love about the travel show is I’m curious about other cultures. I’m curious about other people. I’m kind of on a mission to show Americans as humble and willing to be laughed at. But the ultimate treasure is someone saying something awkward or weird that I wasn’t expecting to me; once I get one of those, I’m like Gollum with the ring. I’m like [imitates Gollum voice], “Yes, yes, I can go back to my cave now,” and just “my precious, my precious.”

“Conan O’Brien Must Go” is essentially work trips. But how would your family describe your traveling persona?

I would say my wife, Liza, is the one who wants to be at the airport while they’re still building the plane. If she could, she’d be there days in advance. She’s the one who takes the lead on, “Here’s where we’re staying; I got a guide for this, I got a guide for that.” She is very organized about those things, which is a luxury. On the flight, I don’t sleep that much. My goal is show up in a country and get on their sleep schedule immediately — that I’m religious about. If that means I have to get a coffee enema, I’m getting a coffee enema. I’m going to do whatever I have to do, to stay up and get on their time zone.

I love to just wander. This is where my wife and I disagree — and it will be, eventually, the thing that destroys our marriage — is that she wants to go to the place that has the very best food. “Oh, it’s been written up in all these food magazines.” I don’t care about that. I want to go to the place where you sit outside and you see everybody. I love a tourist trap.

Conan O’Brien on finding a home for his recent Mark Twain Prize: “I’m weird about awards. I tend to put them in a closet. This one’s a little strange because it’s Mark Twain and he’s bare-chested.”

(Pamela Littky / Max)

The show has been renewed for a third season. Are you in the process of narrowing down the places you’ll visit?

Yes, we’re in the process of looking through [locations].

Are you worried about the Trump tariffs? What this will mean of how you’re received or what’s possible?

It’s possible. I went to Haiti during Trump’s first term, after he called them a “s—hole country.” We went there and, at one point, there was a group of men who seemed very hostile; our interpreter said, “They’re not happy. They know you’re American and they’re not happy about you being here.” My instinct is always to go toward the thing and not just, “Get in the van and let’s get out of here.” With my interpreter, we showed them clips of who I am and what I do. We looked at about three minutes of “Conan” clips, and they’re like, “OK, he’s harmless. He seems to have no dignity, so let’s leave him alone.” But it’s a changing world. We’re in a moment right now where we seem to have a leader or a government that’s terrified of the outside world and wants to say, “OK, let’s build a moat and America first.” My instinct is known. I mentioned it in the Twain award speech, but now more than ever, we need to be out there representing our country in a positive way and trying to spread positivity. I’m hoping that we won’t be affected by it, and if we are, if we encounter a hostility, if we encounter difficulty, that will be part of the show. And if it’s not particularly funny, the show can allow for me making an attempt to bridge a gap or make a friend.

Speaking of your speech for the Mark Twain Prize, have you found a spot for the award now that you’re back in your home?

I’m weird about awards. I tend to put them in a closet. This one’s a little strange because it’s Mark Twain and he’s bare-chested. It’s like, what? Why can’t he put on a shirt? I might buy a little shirt for him, a little white suit. I’ll do something. I’ll figure it out. I don’t like a bare-chested Mark Twain, I’m sorry. I think it stops right at the nipple.

Conan O’Brien receives the 26th Mark Twain Prize for American Humor.

(Clifton Prescod for Netflix)

You always look like you’re having fun. Does the work you do now gratify you any differently than it did when you were starting out?

I’ve been thinking about it a lot, and it’s not that I didn’t like what I did before, but you have to meet whatever age you are. You have to meet wherever you are in your life. When I started in 1993 behind a desk in that format, I loved it. It was terrifying at times and there were a lot of difficulties and we almost didn’t make it, but I loved going in there and living in Studio 6A; then I loved the different iterations of the show over the years, and even the brief time I was doing “The Tonight Show.” But then I got to a point where it became clear to me, “I’ve done this for 28 years. I need to go and explore these other things.” Because you can’t stay still. You have to, for lack of a better word, evolve. And there was a nice series of events — trying the podcast, which is now almost six years old, and realizing: Oh my God, I’ve talked to these people before for a total of seven minutes at a time and then I would have to throw to commercial, and the band would play. Now I’m talking to them for 45-50 minutes and it’s magical. That, of course, led to the travel show — also the previous travel shows had shown me that I had a real wanderlust. When you’re at a talk show desk, the idea of going to Geneva and getting into an altercation with somebody at a chocolate bunny factory just sounds amazing. I was doing that even before I had time to do it on the TBS show. And now being able to do it at Max affords us the ability to do it with drones. I love the open of our show because it’s sets just the right tone so solemn and self important and and also vicious towards me. All of that makes me really happy.

How about deciding to act in “If I Had Legs I’d Kick You”? Did it feel like you were pushing yourself out of your element?

I was definitely pushing myself out of my element. When I said yes to the Oscars, it was, “You get one life, try these things.” “Legs” happened because [the film’s writer and director] Mary Bronstein contacted me; she had a script and she said, “Please read the script. It’s an A24 script.” Adam Sandler also called me on behalf of the Safdies [Josh Safdie is a producer on the film] and said [launches into his Sandler impersonation], “Buddddy, buddddy … read the script.” I read the script and loved it. I have no aspirations to be an actor. I tried to talk to Mary Bronstein; I said, “You could get a real actor.” And she was like, “I’m telling you, I envision you doing this.” To her credit, she was tough. She said, “I’m going to come out to L.A. and I’m going to work with you.” And she trained me. It was like a “Rocky” montage. She would work with me. She would ask me, “Who is this character? Let’s dive deep on this character. Let’s rehearse these lines.” Then on set, she is such an impressive person, Mary. And I have to say, who isn’t in love with Rose Byrne? When I heard Rose was doing it, I was a little intimidated because I think she is a stellar actor. I realized all my scenes are with Rose, and they can get pretty intense. I don’t want to let her down. I have to be a good scene partner for Rose Byrne. I was scared. And there’s no audience. It’s not my show. It’s not me being me. I’m a very different person. I even look different. I saw the film and I think they did an amazing job. I’m so proud of Rose and Mary.

The night before your first day of shooting, could you sleep? Do you get stage fright?

I could sleep, but I will tell you … it was shot on a location in what might actually be a therapist’s office; very small room on the Upper West Side. There’s a lot of fussing around. Then everyone leaves the room and they shut the door, and it’s just me with Rose; and you hear way down the hall, “Action!” And the first time around, I was in my head. I knew it wasn’t good. But to her credit, Mary came back in and she was like, “Great, great, great.” And she said the subtlest thing. She didn’t say, “Conan, what the hell! I’ve made a mistake.” She just said, “On this next one, just a little more this way.” I realized, “Oh, you get a couple of chances.” She gave me a good note. By the second time, third time and the fourth time, I just wasn’t thinking about it. I was not in my head. I was just doing it.

You’re returning to host the Oscars; this time you have a little bit more runway. Do you have a sense of when you’ll start prep?

You really can’t get the room together and fully up until early January, just because that’s when you have the budget to really bring the writers in and everything. We need to wait to see what comes out — what’s the narrative? Who are the players? But I know me, I will start the process before we officially start the process. One idea is that I have radical facelifts now, so that people when I walk out in the next calendar year as the Oscar host, I want there to be an audible gasp from the audience, like, what has he done? I mean, I’ve got injections, fillers, things are pulled back, things are misaligned. Hairline is down, eyebrows are gone.

Or you can come out as Freud.

And psychoanalyze all the movies on a Freudian level. Hey, you’ve got good ideas. If you want in, I’ll get you in. You can give us some ideas.