Jim Gaffigan’s upcoming Amazon Prime special debuts Friday, with four more following, but he opts for multi-platform releases like Apple TV and theaters to avoid Netflix’s opaque viewership data. Frustrated by cancel culture and ideological criticism—like his The Good Fight movie being misjudged for political themes—he argues human nature, not just ideologies, drives conflict, from WWII atrocities to modern-day Libya’s slave auctions. Authenticity in comedy thrives despite puritanical cultural shifts, with Gaffigan and Rogan comparing stand-up to UFC and hunting: all demand discipline and commitment. Gaffigan’s unconventional career, blending humor with travel observations like Ireland’s Gaelic drinking culture, proves comedy’s resilience over manufactured labels, while Rogan’s podcast offers deeper, unfiltered discourse. [Automatically generated summary]
Yeah, it's fascinating how the outlets for specials has changed so dramatically.
Because when we were kids, it was just HBO. And then Comedy Central, when I released Beyond the Pale, it was that perfect moment where in every dorm room in America, Comedy Central was on.
It shifted from MTV to Comedy Central, probably because of Chappelle and Jon Stewart.
But it shifts.
It's like the Netflix was big, and we see these other platforms coming out.
So it'll be interesting, if I can convince people, because everyone...
It goes to Amazon, or someone in their family does.
So if I can convince them the next time they're buying paper towels and socks to just go over to Prime, because everyone has a Prime membership.
You know, some of how it was explained to me was I released Nobilate, my special before this, independently, you know, through a lot of different platforms.
So, like, the great success that Segura and Ali Wong had.
And, you know, like, we're comedians.
We watch all of the specials on Netflix.
I mean, whether we watch the whole thing is another thing, right?
That's like, with Ted Alexandro and I, we're always like, I'm like, did you watch it?
And he goes, 10 minutes.
Did you watch the...
It's like the best compliment is I watched the whole thing.
I watched Chris Rock's whole special.
You know, and...
So I wanted to do something different.
I was offered...
And it's expanding your audience.
And I also understood that a lot of people consume things on demand.
I have young kids, so I'm still buying on iTunes.
It's 1981. And people consume things on demand.
I was convinced on that.
And so it went...
We did this kind of like everywhere but Netflix, and then there was a second window that was on Amazon Prime, and it got a lot of viewers, and so that prompted Amazon to approach for this special.
I mean, I really do enjoy that Netflix has gotten so big into stand-up specials because they've given so many people opportunities and exposed the world to so many great comics.
I don't like the fact they don't give you the numbers.
That's a little annoying.
But I do like the fact there's other options now.
I think it's great.
I think, look, HBO now has a streaming option.
They're trying to get really behind HBO Go and hopefully more people do that.
Yeah.
HBO specials will be what they used to be.
Used to be, if someone got an HBO special, like, holy shit!
I feel like in my adult lifetime, the CW appeared, and I still have never watched the show on the CW. Have you ever watched the show on the CW? I don't believe so.
But I sometimes think, like I have two theories on this.
One, I sometimes think...
Was it always like this and I didn't see it?
Here's my other theory.
My other theory is that in the collapse of traditional media, meaning the collapse of newspapers and television news bureaus, that because there's no money to pay Yeah, And that was his job.
And that job is really only present in very rare situations.
Otherwise, it's just the opportunity of someone that does it out of a passion thing, meaning someone who has a blog, or it's someone who doesn't need a financial incentive.
So in other words, they're like, you got 50 bucks to write a review of this thing.
And I think if you're going to really study something, like if you want to know about a person, you know, say if it's a politician or, you know, an actor or comic or whoever you're writing about, the idea that you're going to figure them out with just a few hours of Google searching is kind of crazy.
I feel as though, like I did this movie that came out.
It was just a small indie comedy where I was a guy who had two separate families and they didn't know about each other.
So it's like he's a good guy.
No, but he had two families.
And it's a comedy.
It's set in the 90s and You know, the reviews that didn't like the movie, that didn't surprise me, you know, or the criticisms.
But like a lot of the reviews were kind of – there was a tone of like, how dare this white male have two – like they couldn't get beyond – Like, it wasn't...
Like, they would insert, like, a social commentary onto a platform that was not for that.
Do you know what I mean?
Like, it was...
There was a portrayal of...
And there were great female actors that played my wives.
And there were some reviews that were like, they underserved them!
And it's like, you know, the movie was really about...
My character and his son.
But people were frustrated about story.
But because of the day we live in, it had to be kind of deciphered through this kind of social critique that is just absurd.
Well, they feel like there's an obligation to discuss that now, too.
If they feel like there's some sort of an imbalance sexually, like between genders on a television show, or intersectionality, if it has something to do with race or gender or politics, they feel like this is something that must be discussed.
And one of the things that I hear from friends that are very frustrated is that when they pitch shows, when they pitch shows to the network, if they have a story, an idea, like this is the thing, they're like, okay, where's the diversity?
Maybe it'll be long after we're done, long after we're dead.
But when there's no more racism, and this is no longer a viable storyline, and no one gives a fuck if you're Chinese or Indian or from Pakistan, we legitimately don't care.
They're just different varieties of people, and there's no judgment whatsoever.
I can't wait for that time.
Until then, we just have to deal with these absurd people that peddle in this narrative that you have to have X amount of – like, I was reading something where someone was saying that I should run for – I should moderate the presidential debates.
But on the other hand, one way to look at it is the idea that there can be no darkness without light, right?
There can be no real appreciation of true diversity without an understanding of racism.
Like, to have it around in its ugliest form makes you appreciate the people that don't express that, that aren't racist, that are just even-keeled people that appreciate everybody.
Um, and, uh, yeah, you know, it's, you know, they don't have a yard.
But, like, I'm kind of like, I don't know, it seems like people that have yards, they're like paranoid about their kids getting snatched anyway.
So, uh, But, I don't know, it's what, I also, you know, I feel like there's a lot of convenience in New York that I like.
And I also, to be perfectly honest, it's like, in LA, I feel like, I feel kind of smothered by the entertainment industry.
And maybe it's my insecurity, but it's like, there's like, you drive down the street, there's all these billboards, and each of those billboards is saying, you're a failure!
Look at this person.
This is their fifth show where they're going to get an Emmy nomination and people don't even know your name.
I mean, obviously, just fate had it where I stayed in New York, because there's plenty of reasons to live in LA. Well, first and foremost, you're a comic.
You're always recognized as a comic, but you do a lot of other things as well.
But being in New York City, I think in some ways you get the best of both worlds.
because you get many clubs to perform in, many clubs to practice in, but you also don't get that sort of scrutiny of the agents and the managers and the entertainment industry, so you can work on your shit.
And then on top of that, you're not surrounded by the business, right?
You're around fucking regular folks, just hustling and doing their thing.
I mean, here's where I think I'm doing it wrong or doing it right.
It's like, I just care about good stage time, quality stage time.
Whereas I think...
I don't work at the cellar in New York City, and some of that goes back history.
But some of it is, I just want stage time, and I can eat dinner with my kids, put some of them to bed, and decide to do a spot, go do the spot, come back, and wrangle my two other kids to get to sleep.
Whereas...
If I went to the cellar or if I had to make the journey the drive in LA, it would be a different commitment.
It's a time management thing, and it's also, I don't believe that they have a good format.
I think that format is nonsense.
I think the format of waiting for commercials and the audience being right there and playing to the audience, it's not an effective way to have a conversation.
It's definitely not an effective way to express ideas that are complicated.
You want to be able to air them out in a long-form way.
And you can't do that on those shows.
You just can't.
It's in.
It's out.
And if anything weird or controversial comes up, you stick your foot in your mouth.
You never have a chance to take it out.
Nobody really gets a chance to see how your mind really works.
What are you thinking?
Where is your head at?
How do you come to these conclusions?
What's your thought process?
Who are you as a person?
Are you a good person?
Are you trying to do good?
Are you flawed?
What are you?
And you find that out in a long-form conversation.
When I had Bernie Sanders on, one of the things that people said was most interesting was like, this guy's not a cartoon.
He's a really nice guy.
I see him on these shows and he seems like this fucking cartoonish character.
But now you see him here in this long form conversation where there's no interruptions at all.
He just has a chance to think and talk and express himself and you go, oh, now I know the real Bernie because I never knew him in these goddamn debates when he's screaming for 12 seconds about healthcare or about taxes or about whatever it is.
It's like, but we were talking about this outside.
I'm like, there are times when I've been more in shape than others, but I feel like at this point, I'm like, you know, maybe I'll just go all in and fat guy.
I might just be like, you know what, I'm just going to go all in, you know, like, you know, I'll just, you know, I'll take the place of Panette, you know, I'll just do that.
I think listening to sets is one thing that not enough comics do.
They record their sets, but they don't listen to them because it's gross and you feel it's annoying.
You don't want to hear it.
But it's the way you learn.
And I feel like...
I would like to know how you feel about this, but I feel like the amount of time that you spend concentrating on your material has a direct result in how good it is and how good it gets quick, especially when you're producing specials, so you abandon all your material and then you have to write new stuff.
For me, the process is greatly accelerated by physically writing.
Physically writing is very important.
I devote a lot of time to sit in front of a computer, staring at it, smoking pot, writing things out, looking at notes, writing things out.
Performing, those are critical, but also listening.
Listening to those recordings and then writing notes on the recordings.
School assemblies, you know, like chatting with the principal who talks about their philosophy.
And so, like, there's a commitment.
But, like, doing the hour, I don't really usually do it in New York.
I like to do, I don't know what they're called now, but alt shows in Brooklyn, which is, it'll kind of like, I'll do material that would work in a comedy club, but like in Brooklyn in front of like a more, I don't know how to describe it.
Where, you know, like when I go on stage in New York City, in Manhattan, I'm a white guy who's like fat.
When I go on stage in some of these rooms in Brooklyn, I'm a white man.
You know what I mean?
So it's a different experience.
And it's very important to see that because how I characterize things, you know, it's good to like be educated on like, oh, you know, all right, maybe that does sound a little picky.
Like, a great example is I used to have, back when USA—I'm sure USA Today is still there, but I used to have all this material that I developed in— In Brooklyn, about the USA Today, how it's just like a coloring book.
You know what I mean?
And how it's just kind of like, do you like news, but also pictures of news?
And it was just great, and it would kill in Brooklyn, and it would kill in New York.
And then I would go on the road, and people would be like, what the hell are you talking about?
I like the USA Today.
That's what I get when I travel.
You know what I mean?
Or it's got a great sports section.
So it's like, there's so much value in traveling around with material, because you gain different perspectives.
I mean, I love the fact even, you know, how, you know, doing, talking about, you know, I make a point of not doing too much material on having five kids, but, like, I'll do, like, if I talk about having five kids in New York City, At a show in New York City, people are like, you're crazy.
And then if I talk about having five kids in Boston, and I'm generalizing, people in Boston might be like, you're crazy, I came from one of those families.
And if I do it in Utah, people would be like, yeah, we are crazy for having five kids.
So it is the same joke, and it's the same point of view, but it's tweaked a little bit.
And it's so fun kind of traveling around and learning that material and learning the impact and how it's digested.
Well, comics have a unique perspective on America because of that.
Because we don't just go to these different places, but we also perform material in all these different places.
So I think, like, I've been talking a lot with comics lately about, like, what was your reaction to Trump winning the election?
Comics saw it coming more than most people who live in LA. Because most people who live in LA are very liberal, very left-wing, convinced that this is...
It didn't matter who you voted for, Hillary was going to win California no matter what.
This was a pro-Democrat state.
And when Trump won, I ran into people that were shell-shocked.
I understood some of that logic, but I thought it was fascinating because there was a time for me Because I tour with Ted Alexander a lot.
I love Ted.
He's like an Occupy Wall Street guy.
He's very progressive.
And we would tour and he would have, during the election, he would have some material on Hillary and some material on Trump.
And it worked everywhere.
It worked in Texas, it worked in Tennessee, which I think is the most conservative place outside of Nashville.
And so it would work everywhere.
And then the election happened.
And that same material, and it wasn't just the context of the post-election, it was, I describe it as people looking at the ceiling, is that people didn't want to hear it.
And I think some of it is people are like, we deal with this all day.
We need a break from it.
But it was both sides.
So Trump voters were more emboldened, kind of like, that's right!
And then also the left, people were like, please, I just want to hear Jim talk about horses for 10 minutes.
Do you know what I mean?
And so there is something fascinating that occurs.
And there's also something fascinating about international shows.
Bush, when W was president, there were much more people coming up to me going, how dare he start the Iraq war?
And with Trump, they're like, yeah, you probably didn't have anything to do with that.
If you really stop and think about it, if you're alive for 75, 85 years on this planet, and most of your waking time interacting with people is discussing politics, how much of it actually does affect your life other than those conversations?
Those conversations It's a giant part of a lot of people's anxiety, a giant part of the argument.
But the real life, like getting up in the morning, fixing breakfast for your kids, taking them to school.
How much does fucking Trump play a part in any of that?
Like human beings, like we, you know, and we were going around this Tarazin, this place outside of Prague where they stuck all the Jewish people.
And with my children, and my children who just want to play on iPads, were just mesmerized.
They're like, what?
And the takeaway was not, oh, the Germans are bad and Nazis are bad.
The takeaway is, oh, humans are crazy.
Like, it's just a matter of months that these same people that were your neighbors that you would go to their kids' birthday parties, you were waving goodbye to because you got their apartment.
And I'm like, oh.
Like, it was terrifying.
Like, human beings, it's very easy for us to go, yeah, it was the Germans.
It was the Germans that did that.
You know, it was the Lithuanians that did that.
But it wasn't.
It was human beings that were, like, manipulated like that.
That's a legitimate World War II helmet and a bayonet.
Wow.
It's a good reminder.
It's filled with little holes and shit.
There's apparently places in Europe where you can find thousands of those things just scattered out there.
You know, there's areas in France that are...
Impossible for people to go to, because there's so many rounds that have been shot into the ground there, and so much toxic chemicals and stuff from World War II, that to this day, they don't want people traveling to.
So when I was in Prague, and you go on these tours, and The punishment, like they would just be like, and I also learned this in Greece, they'd be like, okay, so as punishment, we are going to murder an entire village.
And you're like, what?
And by the way, again, we can characterize this, because on the internet everyone's going to be like, Gaffigan was defending Nazis.
That's not my point at all.
It's just that human beings, like it wasn't that long ago...
When rape and pillage was the go-to tactic.
It's like, alright, we'll conquer, then we'll rape and pillage.
You know there were some guys that were like, you know what, can I just pillage?
I just, you know, I got a girlfriend now and I don't really feel like raping.
Like, I don't think people really appreciate, you know, that World War II was, like, 70 years ago.
Like, it was not that long ago.
Like, even the, you know, like, Serbia, I was in Dubrovnik, and they're like, yeah, up there the Montenegrins used to shoot at us, all those guys, you know, now we go to their bar.
You know what I think is, and I think this is also a reflection of the success of comedians' podcasts, is that what people don't realize is that comedians...
Really appreciate a different point of view.
We actually, like, we have friends that, like, we don't agree with.
In fact, we almost find it entertaining.
Like, let's talk to this friend, because I know I disagree with him.
And we can have that banter.
And I think that, particularly in this cancel culture, there is...
And so, like, you get these comedians...
Like you, hosting these podcasts, having these discussions, and comedians have kind of like the boldness to step in it and say, hey, I don't know about that.
Tell me about that.
Whereas from a societal basis, there's like, don't question.
Don't question why we're pursuing this.
Because if you question it, that means you're not...
A true believer.
And we're looking for true believers.
Whereas, and by the way, it's just interesting because I think, you know, I have a friend, Tom Shalhou, who I love, who has a show on Fox Nation.
And it is weird because like six years ago, and I did this interview and I talked about it, and I could see the interviewer go, you're friends with someone that works at Fox?
You know, here's another thing that I find very frustrating.
I feel as though I'm – and sometimes I'll get messages on social media, and they'll be like, you know that some of the people that like your comedy are Trump supporters.
And I'm like, I hope so.
I hope that I appeal to a lot of different people.
It's a very strange...
I remember the success I had, and I'm so grateful for the success that I've had on Beyond the Pale.
I remember I came back to New York after I had done this tour, and you don't know with stand-up.
You don't know how long it's going to last.
You don't know what's going on.
And I came back, and I remember someone reading an article, maybe it was in Time Out New York, and they're like, He's very mainstream.
Mainstream.
And there was recently a New York Times article.
He's very conventional.
And I'm like, what is that?
Do you mean like conventional in that people want to go and see me perform?
It's almost kind of a – and I don't know if I've talked about this, but there's this cultural revolution that is occurring that is – it's well-intended, but it's almost puritanical.
And by the way, I'm not somebody – I'm against any form of censorship, but I'm also somebody that believes that if we can articulate transgender terms that make people that are transgender feel comfortable, there's nothing wrong with that.
We can adjust our language.
We do it all the time.
But I do think that there is kind of this almost puritanical thing that's ironically happening on the left.
That is what we – You know, as comedians, we used to make fun of the right for.
So he was the CEO of Halliburton, he leaves Halliburton, and then he becomes the vice president, and then he gives Halliburton these no-bid contracts to rebuild Iraq after they blew it up.
And also, when you have these farms, there are farms that raise deer and some other animals.
There's a real problem with chronic wasting disease and certain diseases that get easily spread when all these animals are eating off of the same food source.
So if they have like a bin where they're all eating out of and they share saliva, it actually contributes to the contamination of certain diseases.
And there's a real problem in this country with something called CWD. Which is chronic wasting disease.
The idea of taking an idea, crafting it, and then distributing it, performing it in front of people who paid money to hear you talk, when they can talk too.
And it's just a matter of how much effort you put into it, how much you've learned your craft, how much you've recognized your weaknesses and shored up your holes in the world.
You could pick up rifle hunting for certain animals.
All you'd have to do is understand how to keep your breath under control, how to not flinch when you pull a trigger, how to aim, how to use a weapon properly, and have someone who puts you in a good position where you have a guide maybe that helps bring you along.
Bow hunting is another level of commitment.
That requires athleticism.
You're most likely going to have to be in really good shape because you're going to have to go into the mountains, and just the altitude alone, and then climbing up hills.
You're going up and down several thousand feet of elevation in a day, and it's exhausting.
The community of comedians, which I truly enjoy, and you obviously do too, it's like you'll sometimes run into other communities, because there is this solitary nature to it, and then there's this shared obsession.
I sometimes feel like chefs...
Or people that, you know, just even cooks that really get true enjoyment out of it, have that shared kind of, you know, like the prep time, the kind of, you're doing it for yourself.
Like, you know, a chef will come to the table and say, do you like your meal?
But they don't need someone to approve it.
They know.
So it's like, with stand-up, it's the respect of your peers, too.
It's gratifying the audience liking it, but...
There is something about the creation of the material that is so profoundly approving and also the feedback that you get from an audience.
I mean, I would venture there might be about 250. Which is amazing, because by the way, when I started, and you're around the same period, there was like nobody.
And by the way, in Seinfeld's era, there was even less nobody.
It's like when we try and figure out why a joke works so that we can figure out how to do another one, we lose it.
Like, there is some magic.
There's some magic.
Not to get too...
There is something of, like...
There's a moment, you know, like sometimes singers, songwriters talk about this, that like a song just appears.
And some of it is we put in the time and we put in the work on ourselves and kind of like self-reflection and we're open to understanding who our point of view is and we're embracing our embarrassment that kind of opens us to material.
But I think that's the case with virtually everything, that we all need perspective, and you need discipline, and you need the work ethic to put all the time in and do all the work.
But you also need to think clearly, and you need enthusiasm.
And sometimes that, like, it's intelligent and it's disciplined to take a break.
I'm somebody—like, I always arrive in a market with an hour of new material, but—and I have—there's plenty of people that they do a special, and then they take a break, and they hang out, and they might kind of slowly develop more material.
And to me, that is— I don't know if that's...
I'm on both sides of it.
I understand the value of it, but I also...
I don't have control of when the stuff's going to come out.
So I kind of want...
I want to be paying attention when the material comes out.
Because sometimes, you know, the comedians all have this.
It's like, you had a great idea, but you didn't reach over for your phone when you were falling asleep, and it's gone.
And there is also something about, I have a big belief that comedy changes, just as we were talking about, you know, there's a difference between political correctness and like there is a cultural trend that's almost kind of looking for someone making a mistake.
That it's shifted every—I call it decades.
So, like, there is a, in the 80s, you know, at the peak of kind of Seinfeld's stand-up, which transformed into his show, he didn't need to provide any autobiographical information.
It was just jokes.
And there was also, and it was, even Carlin at his peak, he wasn't, he would provide some, he was grounded in authenticity, but it wasn't like, you know, I struggle with whether I'm a good dad or not.
It was.
But in this day and age, we're such an exhibitionist and voyeuristic culture that there is a requirement of that, where I think that...
When I watch stand-up, and by the way, I also believe that when people go, oh, my stories, everything's true, that's true.
It's like, it's not true.
It's inspired by truth, but authenticity is so important.
So when you hear a comedian say, my...
My girlfriend or my father, and it's not true?
Like, that could have worked in the 80s, but I think now the authenticity is the audience is like...
Oh, that's a great joke, but that's not your girlfriend or your dad or your brother.
I remember when I was deep into stand-up, maybe like eight years, and I went and consumed Pryor stuff again after being in the business.
It was so shocking how much had been stolen from him.
Like, entire acts.
You're like, oh my gosh!
You know, that's in so-and-so special.
That's in, you know, every comedian that comes from a certain area does these jokes.
And it was, like, he was really revolutionary on so many different levels.
Forget the true gift of, like, being funny and autobiographical and kind of vulnerable.
Like, people don't realize that When he did that show in Long Beach, and he opened for Patti LaBelle, and people were coming in at the beginning, it's like, that's absurd!
That's like, you know, like, and I think Chappelle has that.
Oh, for sure.
Chappelle has like, just, you know, I don't know, it's like, almost like a level of genius where he's almost kind of like, I'm gonna set up a hurdle for myself.
Like, he just popped into the belly room two nights ago, just showed up, does a set in the belly room, does a set in the main room, goes over to the improv, constantly hopping around, you know?
I've told this story before, but it's a crazy one.
I was in Denver.
I was doing the Comedy Works, and it's Friday night at 10 o'clock show.
I get done.
I go into the green room.
Dave's there.
I go, what are you doing, man?
He goes, oh, what's up, Joe?
I decided to come by.
He decided to come by, meaning he flew into Denver on a private jet with no show set up because he knew that I was going to be there and wanted to do a set.
So he just does what he wants.
Like, he just shows up.
And I go, do you want to go up?
He goes, oh, shoot!
I go, fuck yeah!
Hold on a second.
I run back on stage.
I tell the audience.
I go, come back!
Sit down!
Dave Chappelle's here!
They're like, what?
And so everybody comes back in and sits down.
I go, ladies and gentlemen, please welcome Dave Chappelle.
I don't even have my stuff here, but I'm always putting stuff down.
But, like, I... You know, some of it's bits and nubs.
You know, like, these are notes from, like, Ireland.
I mean, I love being in other cultures, because I... Not only do you see the eccentric side of their culture, but it also exposes how absurd our culture is.
But, yeah, no, some of it is just...
And also, you know, it's just...
Just absurd.
You know, it's like also in another country as opposed to cities.
It's so different, and I am an American, so I can just kind of horse around for 10 minutes.
And sometimes I'm doing the equivalent of like the subway joke.
You know, like when people would come to New York and they're like, I was on the subway!
And you're like, don't do that.
But when I'm like in Spain, I'm like, you know what?
I'm probably doing the equivalent of a subway joke, but...
They appreciate the research.
And I really do – I am fascinated by other cultures.
And I am fascinated in kind of observing different things and understanding the history.
It's kind of like – I think that visiting other countries is kind of similar to talking to a really drunk, angry guy.
Like, if you're talking to a drunk, angry guy and you're like, I understand you.
I understand that, like, for 400 years, the English didn't let you make cheese.
Like, the drunk, angry guy's like, yeah, thank you for understanding that.
Do you know what I mean?
And that's, you know, they're not asking for it, but it's fun.
It's a county in the northwestern part of the Republic that should be part of Northern Ireland, but it was so Catholic that the British were like, you guys can keep that one.
It's way up there, and it's kind of...
Relatively isolated.
So there's not American tourists.
It's really kind of just people that live there.
And I spent a week and then I did a show in Letterkenny.
And...
And I kind of was like picking on them.
But it was not, you know, not the roasting form, but it was just, you know, because it's all Gale talk.
Some of it is, and by the way, people were kind of, how do you know this?
And some of it, but I bring that up because there was, behind it was this tribalism, kind of like this And obviously the Irish are very different than the English, but there was something about this that was...
You see it a little bit with Southerners that are kind of like, we're going to give you hell kind of thing.
And you see it in England all the time.
Like 11 o'clock, you're like, what happened to Hugh Grant?
It's super authentic, but it's also, like, that culture, and I know that you're the, but, like, the whole, like, oh, you know what would be fun is to go out and drink a bunch of pints, and then we'll get in a fight.
I love kind of justifying, you know, every actor wants to play someone flawed, but I love playing these people that you don't have any sense of doubt why you're doing something in a scene.
Like, you're like, this is all I can do.
And afterwards, I love the moment when you're at craft service and there's somebody that looks at you like the character, they're like, huh.
You know, I mean, I usually, I used to play a lot of nerds, so people would be like dismissive of me and I annoyed that.
I'm like, look, I'm not the character.
But I love it when I'm playing someone who's kind of doing something maniacal and people are like, why would you do that?
Like, I'm just playing a guy that would kidnap somebody.