Aug. 14, 2019 - The Joe Rogan Experience
01:43:47
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| Speaker | Time | Text |
|---|---|---|
| Ladies and gentlemen, one of the greats, Jim Gaffigan. | ||
| How are you, sir? | ||
| Thank you. | ||
| Thank you. | ||
| It's great to be here. | ||
| Great to see you, man. | ||
| I'm excited that you're doing a special on Amazon. | ||
| Yeah. | ||
| I think it's important that there's a bunch of other platforms for all of us to do specials on. | ||
| And when a guy like you goes over to Amazon, legitimizes it, makes it a big deal, it's exciting. | ||
| 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. | ||
| That's the weird part about it, right? | ||
| It's like it's shopping, but it's also like the same as iTunes. | ||
| Yeah, people have asked me, they're like, what if... | ||
| You know, one person asked me, they're like, what if someone doesn't have a Prime membership? | ||
| And I'm like, then they're probably not on the internet. | ||
| Who are you? | ||
| Right? | ||
| They probably can't afford even, you know, high-speed internet. | ||
| So it's like, but I don't know. | ||
| It is going to be interesting. | ||
| I've watched stuff on Prime, but it's like, it's like every time you, you know, I think comedians, we like comedians. | ||
| We like to explore and do things different. | ||
| Even new rooms and stuff like that, we kind of are risk-averse, but there is always the possibility of – like, I don't know. | ||
| I mean, it comes out Friday. | ||
| There is some support, but I don't know – and I know that Amazon is this enormous company, but I don't know. | ||
| I don't know. | ||
| They could – I mean, in the grand scheme of things – My special is really not that big. | ||
| It's not as important as the toothpicks they sell on Amazon. | ||
| So I don't know if they're going to get behind it or not. | ||
| It's so weird that it's an entertainment company and also a massive shopping outlet. | ||
| I mean, it's huge. | ||
| It's two giant things. | ||
| It's huge. | ||
| But they do support, like, Mrs. Maisel. | ||
|
unidentified
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Oh, yeah. | |
| I see that everywhere. | ||
| Yeah. | ||
| So if they have a hit, they will get behind it and make billboards. | ||
| And I see a lot for Fleabag as well. | ||
| I've seen a bunch of ads for that. | ||
| So I think they're really picking up. | ||
| There's support. | ||
| But I haven't seen any support so far. | ||
| How many specials are there that they've done besides yours? | ||
| Yours comes out Friday. | ||
| Mine comes out Friday. | ||
| And then a week later, there's four that come out. | ||
| Alonzo Bowden has one coming out for sure. | ||
| And there's three other people with him. | ||
| And then, I don't know. | ||
| There's also something of... | ||
| But the flow of information isn't as dynamic as you'd imagine. | ||
| Because I'm like a nerd. | ||
| If people follow me on Instagram, they're probably like, yeah, we know you promote. | ||
| So it's like, I'm not shy about saying, I'm coming to Atlantic City! | ||
| And so I'm like, hey, when is this going? | ||
| How can I help? | ||
| And there's a little bit of an attitude of like, we've got it. | ||
| You know what I mean? | ||
| We know all the information there is. | ||
| Or they don't care. | ||
| I'm not sure. | ||
| Yeah, I think they're probably overwhelmed. | ||
| It's probably a new thing. | ||
| Or they just... | ||
| 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. | ||
| Why did you decide to do that? | ||
| Well, some of it was I got an offer that was attractive. | ||
| I knew that – I mean, I love Netflix. | ||
| I have five specials there. | ||
| But I kind of looked at Netflix – I always describe it as it's a swimming pool. | ||
| Swimming pools are great. | ||
| A special – having a special is kind of like a floaty. | ||
| But like Netflix, there were just hundreds of floaties in this – In this pool. | ||
| So how do you know people are going to watch yours? | ||
| You get like a week at Netflix for accessibility. | ||
| And I also thought that it would have a greater impact internationally. | ||
| I don't think it did for me personally. | ||
| And it was something to try differently. | ||
| You know what's weird too? | ||
| Is you never really know what the numbers are. | ||
| No, you don't know the numbers. | ||
| They don't tell you. | ||
| You don't know the numbers. | ||
| And it also... | ||
| Shifts. | ||
| 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. | ||
| So, independently, when you released your last one, did a production company come to you and say, hey, Jim, this is what we wanted? | ||
| Yeah. | ||
| It was Comedy Dynamics, and they were like, we're going to distribute it, we're going to sell it piecemeal, different places. | ||
| And so, I was like, yeah, you know what I wanted on... | ||
| I have Netflix, but not everyone has Netflix. | ||
| And also, the swimming pool metaphor, you can get kind of lost in there. | ||
| So yours was available on Apple TV? It was available on everything? | ||
| It was available on everywhere. | ||
| It was even in theaters. | ||
| Do you get a sense of the numbers from them? | ||
| Oh yeah, definitely. | ||
| So Netflix is the only one that doesn't give you the numbers? | ||
| Yeah. | ||
| Supposedly Amazon will give the numbers. | ||
| Supposedly. | ||
| I think they would. | ||
| You've got to get in a room with them. | ||
| I think that they, you know, it's going to be so interesting. | ||
| Because I have no idea. | ||
| But I also, you know, just as how we consume specials has changed, I think that... | ||
| I think specials serve almost – they're very personal for us, right? | ||
| By the way, your last one was great. | ||
|
unidentified
|
Thanks. | |
| But it's very personal for us, but it also indirectly serves as like an infomercial for our sensibility. | ||
| Yeah, for sure. | ||
| So it's like you want other people to see it so that they can go, yeah, I like this kind of stuff. | ||
| And so the appeal of it being in different places was appealing to me. | ||
| Yeah, I like the idea of it too. | ||
| 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! | ||
| It would transform their lives. | ||
| Oh my god, like, Kenison and all these different people. | ||
| We found out about them because of HBO. Yeah, I think it's going to be interesting. | ||
| I think that, you know, seeing what Disney Plus does and seeing, you know, HBO Max and Apple, but it's... | ||
| I had approached... | ||
| Amazon, back I think with my special Obsessed, I wanted to do it on Amazon. | ||
| They had Prime at that point. | ||
| And I was like, you give me this amount of money and you guys own the special. | ||
| And they're like, at that point they weren't... | ||
| You know, they were a packaged goods company. | ||
| They're like, no, we'll give you six cents for every view. | ||
| And I'm like, no, no, no, you don't understand. | ||
| I'm going to drive people to Amazon.com. | ||
| And they're like, nah, we're not interested. | ||
| But so it'll take some time. | ||
| So, you know, we might think that Apple and Disney will step up immediately for comedy specials, but... | ||
| We don't know. | ||
| We don't know. | ||
| I think in the future there's not going to be anything on live television except sports. | ||
| I really do. | ||
|
unidentified
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Oh, yeah. | |
| Definitely. | ||
| I think TV, like the idea of tuning in at 8 o'clock on Tuesday night, that's the only time to see something, is ridiculous. | ||
| No, appointment television is absurd. | ||
| That's a great way of putting it. | ||
| Yeah. | ||
| Appointment television. | ||
| Yeah, it's just, it's insane. | ||
| Yeah, a release date. | ||
| And that's one of the other great things about Netflix. | ||
| Like, when Stranger Things comes out, you get the whole damn season. | ||
| Yeah. | ||
| Yeah, definitely. | ||
| And so, like, the binging thing is really, it's absurd. | ||
| Like, there's got to be some consequences of that. | ||
| Oh, yeah. | ||
| It's unhealthy. | ||
| We're just not getting enough sleep. | ||
| Now, my friend of mine, she told me that she was up watching Stranger Things till 6 o'clock in the morning. | ||
| She had to get up at 10 to take her kid to school. | ||
| Yeah, it's just... | ||
| And we binge it like there's some reason behind it. | ||
| It's just convenience. | ||
| You just get obsessed. | ||
| I want to find out what's next. | ||
| Oh my god, they left me hanging. | ||
| What's next? | ||
| And you're like, one more. | ||
| Just one more. | ||
| And those suckers that would wait... | ||
| You know, like my family, I don't want to sound too macho, but we watched Jane the Virgin because my teenage daughter was really into it. | ||
| So as a family, we watched Jane the Virgin. | ||
| I don't even know what that is. | ||
| It's a TV show. | ||
| It's amazing. | ||
| I mean, it's one of those things where my family would be watching it and I would come in and I would kind of criticize it. | ||
| And then after like two episodes, I was like, move over. | ||
|
unidentified
|
Yeah. | |
| It's a telenovela. | ||
| It's about Hispanic culture. | ||
| It's great. | ||
| Jane the Virgin? | ||
| What's it on? | ||
| Great performances. | ||
| It was on the CW. Oh, that's hilarious. | ||
| 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. | ||
| Right. | ||
| It's a real network. | ||
| Yeah. | ||
| Remember the WB? Yeah. | ||
| I think the WB was... | ||
| I think the CW is the WB. Something like that, right? | ||
| There was a few of those little fringe networks way back in the day. | ||
| I remember the Wayans Brothers had a TV show on one of them. | ||
| Yeah. | ||
| It's one of those weird networks that was... | ||
| I think it was owned by CBS, but they're like... | ||
| It's just kind of like... | ||
| You know, like it would be teen shows, like teen romance shows. | ||
| And you like the show? | ||
| Jane the Virgin, I liked it. | ||
| I liked it. | ||
| You know, I'm not ashamed to say it. | ||
| Don't be ashamed. | ||
| You know, like if I asked myself six months ago, would I be on Joe Rogan's podcast saying that I like Jane the Virgin? | ||
| I would say, no, of course not. | ||
| Ha ha ha. | ||
| Well, I remember when people used to think that being on one of those networks wouldn't do you any good, one of those little small networks. | ||
| But then TruTV put on Impractical Jokers, and those guys are selling out arenas. | ||
| Amazing. | ||
| That fucking show is so crazy popular. | ||
| It's fascinating watching that show because you try and understand it. | ||
| But I think it's the authenticity of those guys. | ||
| They're pals. | ||
| And it's not manufactured. | ||
| And I think people like that. | ||
| It's very appealing. | ||
| And I think that's also real guys. | ||
| I think there is so much... | ||
| Beautiful people that we consume so much beautiful people that we're shocked when we see a regular looking person. | ||
| We're like, wait a minute. | ||
| That person must be a bad guy. | ||
| I used to have a joke about that. | ||
| They seem like you could hang out with them, too. | ||
| They seem like regular guys that would be fun to hang out with. | ||
| It's like, oh, I want to be with them. | ||
| No, look, when I first heard the premise, I was like, oh, this is... | ||
| But by the way, it's been going on for a while. | ||
| Quite a while. | ||
| And I was doing shows in London, and we have the same agent, and they were doing an arena three nights in a row in London. | ||
| That's crazy. | ||
| Crazy! | ||
| It's amazing. | ||
| Like, who the fuck saw that coming? | ||
| When I heard about it from Ari, Ari Shaffir was telling me that these guys were selling out theaters. | ||
| I was like, really? | ||
| I'm like, that's incredible. | ||
| I go, how big? | ||
| They were like, 5,000 people. | ||
| I was like, what?! | ||
| Yeah. | ||
|
unidentified
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What? | |
| And that was years ago. | ||
| Now they've moved to arenas. | ||
| Yeah, and they just keep going. | ||
| And they have a whole multimedia show, right? | ||
| They show videos and all kinds of crazy shit, and they interact with things. | ||
| And they're also still the same guys. | ||
|
unidentified
|
Yes. | |
| So they were always those guys. | ||
| Yeah. | ||
| It wasn't like some cute boy who's trying to act like he's one of the guys. | ||
| Right, like a record company produced boy band. | ||
| Yeah. | ||
| Yeah. | ||
| No, that's who they are. | ||
| Well, that's probably why it resonates with people. | ||
|
unidentified
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I think so. | |
| Because it is authentic. | ||
| I think authenticity is really important. | ||
| I think that's what people like about... | ||
| I think that's the success of this podcast, is the authenticity, that it's not prepackaged. | ||
| There isn't... | ||
| I mean, people should understand, it's a weird thing. | ||
| I don't know if you want to talk about this or not, so I won't talk about it. | ||
| It's a weird thing to me, and I do it. | ||
| But did you, because I did this back when it was at the Ice House, and it's like... | ||
|
unidentified
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It's amazing. | |
| Yeah, it's pretty crazy. | ||
| It's pretty crazy. | ||
| Yeah, who the fuck saw that coming? | ||
| I didn't see it coming. | ||
| It's a perfect example of doing something on your terms and it working out. | ||
| Yeah, for sure. | ||
| And also, zero promotion of it. | ||
| I never promoted it at all. | ||
| I never did any television shows to promote or took out any ads or did other people's podcasts to let people know about it. | ||
| I just kept doing it. | ||
| I just felt like, let me just keep doing it. | ||
| I enjoy doing it. | ||
| Just keep doing it. | ||
| And it totally 100% built by word of mouth. | ||
| And so articles that are written about it, do you read those or no? | ||
|
unidentified
|
No. | |
| Nothing. | ||
| I don't think it's wise. | ||
| Because also, generally when there are articles written about comedians, there's always like, all right, let's see what this half day of research... | ||
| I remember in the 90s, New York Magazine would be like, the end of stand-up comedy. | ||
| And you'd read the article and you're like, well, I guess, oh, they followed that person. | ||
| They don't even really even do stand-up. | ||
| So there is no point behind it. | ||
| But I'm just kind of a sucker for trying to understand where the zeitgeist is trying to steer things. | ||
| But in the end... | ||
| I think comedy, you know, Seinfeld describes it as like, it all comes down to butts in seats. | ||
| Butts in seats. | ||
| Like, they can kind of promote, you know, like the new best thing, but, you know, those people show up to shows. | ||
| You know, they're not told where to go. | ||
| I think what's also important to note is that the narrative is no longer being controlled by media. | ||
| Like, you can't An article in Newsweek or on a website or some YouTube piece, it doesn't define things anymore. | ||
| The landscape is too big. | ||
| No media outlet has any sort of monopoly on how to define someone or something. | ||
| The people decide now. | ||
| It's really a meritocracy in that way. | ||
| Yeah. | ||
| If you have something that's good, people find out about it and they like it. | ||
| And you can write all your hit pieces that you want. | ||
| They don't work anymore. | ||
| It doesn't work. | ||
| You'll change a few people's minds because they'll buy into it. | ||
| But then if they investigate themselves, they'll go, oh, you're a piece of shit journalist. | ||
| This is a terrible article about something. | ||
| 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. | ||
| So it ends up not being... | ||
| Close to objective. | ||
| Does that make sense? | ||
| Yeah. | ||
| No, it does. | ||
| 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. | ||
| It's absolutely crazy. | ||
| And the rush is to define someone in either very flattering or very unflattering ways. | ||
| That's really where most of the energy goes. | ||
| Most of the stories are either hit pieces or they're fluff pieces that seem to be propped up by a publicist. | ||
| Yeah, there is. | ||
| 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. | ||
| And it wasn't here and there. | ||
| It was a lot of reviews like that. | ||
| 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? | ||
| Yeah. | ||
| It's like one of the first questions. | ||
| They're like, well, it's about an Irish family that lives in the Bronx. | ||
| Like, I don't know what to tell you. | ||
| Yeah. | ||
| You know, this is what the story's about. | ||
| Like, well, where's the diversity? | ||
| Like, you have to insert diversity to meet their criteria. | ||
| Like, you can't just have a... | ||
| You can have a story as long as the person's... | ||
| Like, you can have a story about a Haitian family, and it'd just be all about the Haitian family. | ||
| No one's gonna say, well, what about white guys? | ||
| We need to get some white guys on this show. | ||
| No. | ||
| Because if you inserted the white guys, then it's the white savior story, so you can't be the white guys. | ||
| Yeah. | ||
| I just can't wait until we're done with all this. | ||
| 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. | ||
| That would be amazing. | ||
| And someone's – it's never going to happen. | ||
| You'd make them all smoke pot before you say that. | ||
| It's never going to happen. | ||
| But someone said, why do that when you can give it to a talented black woman? | ||
| I'm like, okay, I'm out. | ||
| We're out. | ||
| We're not talking about that. | ||
| And by the way, here's the thing. | ||
| And I think you'd agree with me. | ||
| I do think there's an imbalance. | ||
|
unidentified
|
Yes. | |
| And we do have to correct it. | ||
| Yes. | ||
| And I do think that, like... | ||
| And it's great that we have the knowledge and the foresight. | ||
| But humans, we're just clumsy. | ||
|
unidentified
|
Yeah. | |
| We're just clumsy, you know, with... | ||
| We're just like, let's just stick this here. | ||
| Creativity is much more complex than that. | ||
| Even any comedian, we could have Carrot Top here. | ||
| There's a nuance on every joke he does. | ||
| People can sit there and be dismissive, but he's like, you know what, I can't do that joke before I do this joke. | ||
|
unidentified
|
Yeah. | |
| Whereas people just think, it's like, no, just stick this in there. | ||
| Stick a speech in there. | ||
| But I almost feel is like when Green Book won, because I saw it after the fact, I was like... | ||
| Because, you know, there's this belief of, oh, you know, if you play a disabled person, you win. | ||
| But it's much more of like that movie Winning was like, oh, yeah, you know, it's the great crime of America and race. | ||
| So it brings that up. | ||
| It also deals with homosexuality and the struggle of that, which is profound. | ||
| I can't even contemplate it. | ||
| But it's like... | ||
| That's why the movie won. | ||
| And it was also, we love Italians. | ||
| America loves Italians. | ||
| Who doesn't love that? | ||
| America loves Italians, they love Boston, and there's certain things that America loves. | ||
| So I was like, oh, that's why it won. | ||
| I'm not saying it's a bad movie. | ||
| I'm not saying Vigio wasn't great. | ||
| I'm just saying that's why it won. | ||
| Yeah. | ||
| And it's weird. | ||
| It is a little weird. | ||
| 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. | ||
| Well, you know, there's also this, too, is that... | ||
| You know, I tend to lean left. | ||
| I'm pretty liberal socially. | ||
| And, you know, when Trump was elected and, like, there was the Women's March and all this stuff... | ||
| There was this, I had this thought process of like, how do I, you know, how can I contribute? | ||
| How can I help make this country better? | ||
| Which sounds grandiose, which it is. | ||
| But the thing is, it's like, I'm not changing anyone's mind. | ||
| I really believe that. | ||
| And if anything, I think at my shows, it's like people are kind of like, huh, a break from it. | ||
| Yes. | ||
| Do you know what I mean? | ||
| We're all thinking about it all the time. | ||
| They're like, all right, there's a tariff, a Chinese tariff. | ||
| What does that mean? | ||
| I don't know what that means. | ||
| Are American farmers destroyed? | ||
| What's going on? | ||
| But when they come to my show, they don't want me to rehash it. | ||
| Yes. | ||
| Yeah, no, I think that's one of the keys to your success, is that you provide a vacation. | ||
| A fun, silly, well-thought-out, comedically brilliant sort of vacation from the nonsense of the day. | ||
| But also pointing out that humans are... | ||
| We're absurd. | ||
| We're stupid. | ||
| Yes. | ||
| We are so stupid. | ||
| Like, we just think... | ||
| Humans think we have it... | ||
| Every generation, we think we have it figured out. | ||
| Yeah. | ||
| That's... | ||
| Like, the sure-edness... | ||
| Of people makes me concerned. | ||
| Like, you know, there were people at a time that were like, here's how we solve the flu is we're going to put these leeches on people. | ||
| Trust me, it's working. | ||
| Like, they were convinced that would work. | ||
| Yeah. | ||
| Yeah, it makes you wonder, like, how we're going to view this generation 100 years from now or 200 years from now. | ||
| Oh, it's going to be fascinating. | ||
| I mean, I've got a 15-year-old who is so... | ||
| My children are... | ||
| They're so fascinating. | ||
| And you live in New York City still. | ||
| I live in New York City. | ||
| Yeah, which is crazy. | ||
| We talked about this a long time ago, that that's a wild place to raise kids. | ||
| Is it? | ||
| I don't know. | ||
| You tell me. | ||
| I feel like there is... | ||
| Um, there is socioeconomic, uh, cultural, more diversity, my kids walking to a subway station. | ||
| Sure. | ||
| Than if we lived in the suburbs. | ||
| For sure. | ||
| 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. | ||
| You know? | ||
| So it's... | ||
| 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, I'm traveling constantly, too. | ||
| But there is... | ||
| Yeah, I just like doing... | ||
| 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. | ||
| What's the thing about the cellar that makes it more difficult? | ||
| Well, you know, some of it is peers and friends. | ||
| Like, I don't like the idea... | ||
| You know, the hierarchy of... | ||
| I always kind of get, you know, a little bit... | ||
| Like, I'm just kind of like, I just want to do stand-up. | ||
| I just want to do it. | ||
| I spent a lot of time hanging out in comedy clubs. | ||
| And some of it is, like, at the cellar, I don't want to bump some of my friends that I started with. | ||
| And I also don't want to get bumped by somebody else. | ||
| It's like, you know... | ||
| I'm not going to abuse doing a set, but I'll go in and I'll do 15 minutes. | ||
| It won't disrupt anyone's night. | ||
| But I also know that at the cellar, there's going to be people that show up. | ||
| Sometimes there's a pack of three or four people that are going to do sets, and everyone's kind of off for that night. | ||
| But also, it's... | ||
| You know, it goes back like 20 years ago. | ||
| I'm a low-energy kind of comedian, and I used to put in avails at the cellar, and it would kind of determine I would get a spot Wednesday at 1am. | ||
| And so I would be bummed for the week. | ||
|
unidentified
|
Yeah. | |
| So I don't want to give my power away in those situations. | ||
| I just want to do stand-up. | ||
| So you'd rather just do good spots? | ||
| I'd rather go to Gotham. | ||
| Gotham's great. | ||
| And look, I love the cellar, but I feel like that's also the layout of the room is far more interactive, whereas I want to try out material. | ||
| Yeah. | ||
| But, I don't know, it's shifted because the cellar is a great club with a great complex. | ||
| I mean, there's three rooms. | ||
| But some of it is, I'm now at the point where I just want to do one set. | ||
| And I also don't want to, like... | ||
| I don't want a friend like Todd Berry looking at me like, you're bumping me? | ||
| Do you know what I mean? | ||
| Do you call in or do you just show up? | ||
| I call in. | ||
| So I'll call, but sometimes I'll decide at like 810. I'll call Gotham and I'll go, is it okay if I come in? | ||
| And they'll say yes. | ||
| It's better if you come in at 840 or 910. Just so that I don't screw anyone up. | ||
| But like at Gotham, Seinfeld always goes there too. | ||
| So it's like, I'm like, I gotta get there before Jerry. | ||
|
unidentified
|
Yeah. | |
| Well, that's the beautiful thing about a big city like New York. | ||
| Particularly about New York, there's so many different options. | ||
| In Los Angeles, we really only have the Comedy Store, the Improv, the Laugh Factory, and then there's a few on the outskirts. | ||
| But New York City has so many more options. | ||
| It's amazing! | ||
| The transformation the comedy store has gone through. | ||
| I would say it's probably one of the most important clubs in the country, beyond a doubt. | ||
| I'm thinking it's up there as the surefire thing. | ||
| If you're an audience member, you go to the store, you're going to see a great show. | ||
| But 15 years ago, I don't know if that was the case. | ||
| No, it wasn't the case in 2008. Yeah, it was pretty bad for a while. | ||
| And who is responsible? | ||
| Because that comes down to management. | ||
| That has a lot to do with it. | ||
| Also the internet. | ||
| A lot of us talking about how great the comedy story is. | ||
| Also getting rid of the old management, firing them. | ||
| They found the old guy was running the place, was stealing money, and they fired him. | ||
| He was a piece of shit anyway. | ||
| There's so many stories where... | ||
| It's like, and then it was revealed they were stealing. | ||
| You're like, what? | ||
| Yeah, they did a sting operation and caught him stealing money. | ||
| Oh. | ||
| Yeah, he was a bad guy, but just running the place poorly, too. | ||
| Yeah. | ||
| And he was the reason why I wasn't there for seven years. | ||
| Yeah. | ||
| Yeah, so I came back and, you know... | ||
| All the talking about the store with comics on podcasts, too, got people so excited about it. | ||
| And then you'd look at the lineup, like on a Tuesday night, it's just a murderer's row. | ||
| And also, those rooms are great. | ||
| The layout of the rooms are great for performing. | ||
| They're not kind of like this... | ||
| I love Zany's in Chicago, but it's not like the stage is three feet higher than the audience. | ||
| It's almost perfectly designed and laid out. | ||
| Yeah, you don't want to be above. | ||
| The original room is probably the best room in the world to figure out if your jokes are any good. | ||
| Because if you have any weird fat in your material or just extra words or fakeness, it just gets exposed in that room. | ||
| Yeah, I love going to different places, and I call it purifying a joke. | ||
| Are you doing spots tonight anywhere? | ||
| No, I'm probably not. | ||
|
unidentified
|
Come on down. | |
| I'm an old man. | ||
| Get the fuck out of here. | ||
| You're in town. | ||
| Are you going there? | ||
|
unidentified
|
Yeah, yeah. | |
| Come down. | ||
| All right, maybe I'll go. | ||
| I'm up at 9.30. | ||
| All right, I'll go. | ||
| I'll hook it up. | ||
| You want me to hook it up? | ||
| I'm going to go and bump you. | ||
| I'll bump you. | ||
| I'll call in for you. | ||
| I'll make you bump me. | ||
| No. | ||
| Yeah. | ||
| I mean, it's just... | ||
| I've been doing all this promotion for this Amazon Prime thing. | ||
| There's so many shows. | ||
| Like, there's shows that I'm like... | ||
| And I've heard of them. | ||
| But I'm like, how many... | ||
| Like, it's getting to the point where people... | ||
| Like, we're doing individual shows for just one person. | ||
| Like, I feel like I'm like... | ||
| I'll do these shows and I'll be like, alright... | ||
| And I don't want to name them, but I'll look at my publicist and I'm like, is there people that listen to this? | ||
| And he's like, yeah, a million people. | ||
| I'm like, really? | ||
| There's so many people, Jim. | ||
| That's what it is. | ||
| It's just, it used to be the... | ||
| But it's strange to do a show... | ||
| Have a great time. | ||
| Really kind of engage in conversation. | ||
| And it drops and no one says anything on Twitter or Instagram or Facebook. | ||
| Well, if you really stop and think about how many television shows there are in terms of shows you can binge watch, it's impossible. | ||
| You would literally lose your entire day, every day of the week, just trying to keep up with the hits. | ||
| There's no way. | ||
| It's impossible. | ||
| And then you have... | ||
| How many people have talk shows? | ||
| There's James Corden, and there's The Tonight Show, and there's Colbert, and Jimmy Kimmel. | ||
| When did you decide to not... | ||
| Because you used to do those shows. | ||
| Yeah. | ||
| Was there... | ||
| It's a time management thing? | ||
| 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 fascinating. | ||
| Here, let me ask you this. | ||
| Okay. | ||
| Give me one of them. | ||
| Let me try that. | ||
| Oh, they're beautiful. | ||
| They're delicious. | ||
| I go original flavor. | ||
| And you used to do the chew, right? | ||
| I used to dip, and then I used to smoke cigarettes. | ||
| My wife has... | ||
| Thank you. | ||
| We have all these old videos of us doing stand-up. | ||
| And she was transferring them to DVDs at the time. | ||
| Now we're going to have to get them off the DVD. And she would find these videos of me doing stand-up smoking on stage. | ||
| Whoa! | ||
| Back in the day, son. | ||
| And she was like, what are you doing? | ||
| And I'm like, yeah, I used to smoke. | ||
| I used to, you know, I had yellow fingers. | ||
| I smoked cigarettes before I got on stage, even recently. | ||
| I smoked one of Chappelle's cigarettes last weekend. | ||
| It gives you a crazy head rush. | ||
| Before you go on stage, I like it. | ||
| I don't want to smoke cigarettes. | ||
| Sorry for the smacking in the microphone, folks. | ||
| It's a terrible thing to smoke cigarettes, but there's a weird rush that you get from the nicotine. | ||
| It's a head rush. | ||
| It's like you feel good. | ||
| It fires up your brain. | ||
| You feel it the first couple times, and then you're chasing it for the rest of your life. | ||
| As you just shovel money into a garbage can. | ||
| Once a week. | ||
| If you smoke a cigarette once a week before you go on stage. | ||
| That's a real... | ||
| Hey, kids out there, just listen to Uncle Joe. | ||
| Just smoke one cigarette a week, and it'll be fun. | ||
| Well, I'm thinking maybe your nicotine gum might be the substitute for that, because what I'm getting is the nicotine, right? | ||
| I mean, that's what the rush is. | ||
| Oh, that's great. | ||
| Maybe I should just start smoking cigars before I go on stage. | ||
| The nicotine gum, it used to curb my hunger. | ||
| It used to curb. | ||
| Nothing does now. | ||
| Nothing at all curbs it. | ||
| 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. | ||
| You know what I mean? | ||
| You seem thinner, though, than I've seen you before. | ||
| I'm not. | ||
| I'm not. | ||
| I'm not at all. | ||
| But it's just, I have low T. I don't know what that even means. | ||
| Like, I see those commercials. | ||
| Low testosterone. | ||
| Yeah, do you take testosterone? | ||
| Yes, I take testosterone. | ||
| You seem like you drink it every morning. | ||
| Have you ever, like... | ||
| But, like... | ||
| I feel like I just need, like, energy. | ||
| Yeah, that'll give you energy. | ||
| Your body's dying. | ||
| It is dying, right? | ||
| Your endocrine system no longer produces the hormones that it needs to stay alive. | ||
| You lost me at an endocrine. | ||
| I mean, when you see an older person, when they have the diminished muscle and their mass is, like, shrinking, that's what's going on. | ||
| Their body doesn't produce the hormones in order to keep the mass going. | ||
| So what you have to do is two things. | ||
| One, you have to lift weights. | ||
| That's one thing. | ||
| And two, you have to supplement your hormones. | ||
| Too hard. | ||
| Too hard? | ||
| No, but some of it is I'm so focused on eating. | ||
| No, I'm so focused on... | ||
| I sometimes listen to my set while I work out. | ||
| It's like when you work out, you have to focus on working out. | ||
| Yeah, but that's a good thing to do. | ||
| I do that when I'm on the elliptical sometimes. | ||
| I listen to comedy. | ||
| 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. | ||
| Yeah. | ||
| For me, the process is it shifts all the time, right? | ||
| So there's sometimes you just give birth to a chunk. | ||
| It just comes out. | ||
|
unidentified
|
Yes. | |
| And you're like, oh my gosh, thank God. | ||
| And sometimes it's just like you're chiseling away at granite. | ||
| And it's just bit by bit underneath. | ||
| But for me, it's doing these longer sets. | ||
| Like doing an hour and ten minutes. | ||
| I will... | ||
| And it's a shift from before. | ||
| It used to be like I needed the sets in the city to build piece by piece. | ||
| But now I'm kind of... | ||
| I'll talk about... | ||
| Something that happened when I was a kid. | ||
| And then I'll polish it over a long period. | ||
| Because in an hour show, I believe you have to do a material every time you do a theater. | ||
| And it has to be new because you want people leaving going, I'm coming back when it comes back. | ||
| But the writing process, it's always moving for me. | ||
| Sometimes it is. | ||
| It's a lot of times like something will bump me and I'll write it down on my phone. | ||
| And then sometimes I'll write around it, or I will just go on stage and talk a little bit about it. | ||
| Are you... | ||
| When you are doing sets in the city, are you ever doing long sets, like an hour? | ||
| Not usually, because it's... | ||
| I mean, my... | ||
| When I'm in New York, you know, having five kids, it's just the commitment for... | ||
| Like, I'm looking at September, and I'm like, oh my gosh. | ||
| Like, the... | ||
| The curriculum nights alone are going to be insane. | ||
| And there's going to be, you know, my daughter's in soccer, and there's going to be all these meetings, and there's just innumerable things. | ||
| School assemblies. | ||
| 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. | ||
| Hipsters? | ||
| Hipsters or more precious audience. | ||
| Precious! | ||
| Do you know what I mean? | ||
| 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. | ||
| So I'll pull back. | ||
| Right, right, right. | ||
| And then I'll go on the road. | ||
| 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. | ||
| Oh, sure. | ||
| The road is so critical for that. | ||
| Yeah. | ||
| You get a sense of how people, especially when you're doing clubs. | ||
|
unidentified
|
Yeah. | |
| I found that the road, when you're doing clubs, you really get a sense of, like, the feel of a city, whether it's Cleveland or Columbus. | ||
| Yeah. | ||
| 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. | ||
| They couldn't fucking imagine. | ||
| I mean, I was surprised. | ||
| I was definitely surprised. | ||
| But that being said... | ||
| I wasn't surprised by the logic behind some of the people that voted for Trump last time that are sheepish to admit it now. | ||
| Yes. | ||
| 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. | ||
| Yeah, I would say that's my takeaway. | ||
| Yeah, people are definitely fatigued. | ||
| I think we have political discourse fatigue. | ||
| It's never-ending. | ||
| Never-ending. | ||
| And how much is your life? | ||
| 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? | ||
| Not that much. | ||
| I did a CBS Sunday commentary on how all conversations lead to Trump. | ||
| It's just every conversation eventually gets to... | ||
| And then Trump did something like that. | ||
| But it is... | ||
| I was also thinking... | ||
| Because we live in this very precarious time and a very divided country on a lot of different levels. | ||
| And there's so much drama and there's environmental disaster impending. | ||
| And again, to my point of like, we finally figured it out. | ||
| This is the most dramatic period. | ||
| But compared to World War II? No. | ||
| This is nothing. | ||
| Nothing. | ||
| This is nothing. | ||
| I was in Central Europe. | ||
|
unidentified
|
What? | |
| 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. | ||
| Yeah, if we catch the wrong leader. | ||
| Yeah! | ||
| Right next to you, that is a World War II helmet. | ||
| 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. | ||
| I mean, it's an enormous size, the size of Paris. | ||
| It's in France. | ||
|
unidentified
|
Really? | |
| Yeah. | ||
| See if you can find that. | ||
| That's amazing. | ||
| To this day, from the 40s. | ||
| 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. | ||
| Well, we were talking about Kyrgyzstan the other day, that to this day, 20% of all marriages begin in kidnapping. | ||
| What? | ||
|
unidentified
|
What? | |
| Yes. | ||
| 20%. | ||
| So one out of five marriages started with the groom kidnapping the bride. | ||
| That's how they had to get married because he raped her. | ||
| So, in order for her to be pure... | ||
| So it's romantic. | ||
| That's unbelievable. | ||
| It's fucking crazy. | ||
| Here it is. | ||
| The red zone in France is so dangerous that a hundred years after World War II, it's still a no-go area. | ||
| There's all sorts of rounds and munitions, and there's all sorts of... | ||
| I mean, there's so many rockets were fired into this area that this shit is still in the soil and everyone. | ||
| Why... | ||
| You know, this also brings up a separate point. | ||
| Why is this surprising? | ||
| Humans also have a really... | ||
| A real short-term memory problem. | ||
| Like, we don't remember things. | ||
| 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. | ||
| And you're like, what? | ||
| Like, that was the 90s. | ||
| Yeah. | ||
| It's just terrifying. | ||
| It's hard to believe, but if you're in the wrong place in history at the wrong time, like right now, if you're in Libya. | ||
| Libya right now. | ||
| Or Syria. | ||
| Yeah. | ||
| Well, Libya's a failed state. | ||
| I mean, Syria's horrible. | ||
| You've got Assad running it, but Libya is no one running it. | ||
| Libya, they're selling slaves on YouTube. | ||
| I mean, you can watch slave auctions in real time right now. | ||
| It's a terrifying, terrifying place. | ||
| And it's because they killed Muammar Gaddafi, and then the rebels took over, and then it became a failed state. | ||
| It's chaos. | ||
| And this is right now in 2019. If you were unfortunate enough to be born in Libya, you are stuck there right now and you're living in hell. | ||
| You're not living in Manhattan in 2019 where it's wonderful. | ||
| Jim Gaffigan can hop on over to Gotham and say hi to Jerry Seinfeld, do a set and have a meatball sub and do whatever the fuck you want. | ||
| No, you're living in a chaos-filled environment where barbarians are running the show. | ||
| And this can happen. | ||
| This can happen. | ||
| And this is one of the reasons why our democracy is so important. | ||
| It's one of the reasons why compassion is so important and kindness and talking to people. | ||
| And it's also important to look at things objectively and label things based on compassion and looking at things in an intelligent, non-biased way. | ||
| So you can really get a sense of what the landscape really is. | ||
| If you're, you know, everybody's a fucking Nazi and everybody's terrible and white privilege this, white privilege that. | ||
| Everyone's a criminal. | ||
| Everyone's bad. | ||
|
unidentified
|
No, no, no. | |
| There's real crime in the world. | ||
| There's real terror and real awful things. | ||
| We have more unity and we have more in common than we promote. | ||
| 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? | ||
| And I'm like, Yeah. | ||
| You know, it's like, it's okay. | ||
| Yeah. | ||
| It's okay. | ||
| He's not a monster. | ||
| Yeah. | ||
| He's not killing, you know, he's not putting children in cages. | ||
| I'm good friends with Steve Hilton. | ||
| He has a show on Fox. | ||
| He interviewed Trump. | ||
| My family and his family go on vacations together. | ||
| Nice guy. | ||
| It's like, why? | ||
| It's this strange thing where I'm like, I can understand how important these beliefs are. | ||
| And I can understand how threatening democracy is. | ||
| And I can understand how we have to face our history and all these things. | ||
| But it's like, the discourse has to... | ||
| Remain? | ||
| Doesn't it? | ||
| Yes. | ||
| We have to be able to talk to each other. | ||
| And I think that's one of the things that kind of died with the Trump election. | ||
| People were like, you're with us or against us. | ||
| You're either for him or for the future and compassion and caring about everyone, or you're a monster. | ||
| And there's no discussion about... | ||
| Finances are the best way to run the economy or international trade. | ||
| No, no, no, no, no. | ||
| You're with the good or the bad. | ||
| You're binary. | ||
| It's one or zero. | ||
| You're black or white. | ||
| You're one or zero. | ||
| And that is the same thing that they criticized about W, saying you're either with us or against us. | ||
| Which, by the way, being a father of daughters, you know, is also a line from Beauty and the Beast. | ||
| Yeah. | ||
|
unidentified
|
Right? | |
| It is. | ||
| And appropriately so, right? | ||
| It's very childlike. | ||
| That perspective is very childlike. | ||
| There's a lot of people that are conservative that are very good people. | ||
| Absolutely! | ||
| 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? | ||
| Like a lot of people like you? | ||
| Like that's a crime? | ||
| Yeah. | ||
| Like that's... | ||
| He's, you know... | ||
| It's like... | ||
| It's so... | ||
| We live in this age... | ||
| Like there used to be... | ||
| And I think it's inhibited some people's success. | ||
| Like Bill Burr, one of the best comedians today. | ||
| And I think people are... | ||
| Sometimes people in the media are like, you know, the wrong people might like his material. | ||
| And you're like, that doesn't... | ||
| Do you know what I'm saying? | ||
| Maybe I'm being paranoid, but I'm like... | ||
| No, I get that from this podcast. | ||
| It's a very strange... | ||
| 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. | ||
| Does that make sense? | ||
| Yes. | ||
| It's a very strange kind of like, wait, you guys are doing what you accuse these guys of doing forever. | ||
| They don't see it that way because they feel like they're right. | ||
| And if you're right, then it doesn't matter. | ||
| And I do think it's well-intended. | ||
| I do think it's well-intended. | ||
| I don't question someone's motives. | ||
| Like, I don't think that, like, I remember, and I'm going to get blowback on this. | ||
| Like, I don't think that W... He had malicious intent. | ||
| I think he was well intended. | ||
| You know, he failed at things, but I think he was well intended. | ||
| I think that's probably a logical perspective, and I think Dick Cheney's probably Satan. | ||
| You think so? | ||
| I think Dick Cheney was running the show straight from hell. | ||
| That's why he had that bunker deep, deep down. | ||
| But I think that bunker existed. | ||
| He was right next to hell. | ||
| It's not like he was like, I need a bunker. | ||
| He had a straight shot, straight to hell. | ||
| That's what it was. | ||
| It was an elevator. | ||
| It was down there. | ||
| That's how it was heated. | ||
| That's why it was so warm. | ||
| Remember when he was in the bunker after 9-11? | ||
| There was like, Dick Cheney was in a bunker. | ||
| How come George Bush is playing golf? | ||
| W is out there with a big target on his forehead. | ||
| He was in D.C. and there was a separation of powers. | ||
| I don't know. | ||
| And then we all saw the Adam McKay movie. | ||
| You're like, how much is that true? | ||
| I know, right? | ||
| How much is that true? | ||
| Imagine the power to... | ||
| Because Dick Cheney Like, I, you know, I also doubt everything. | ||
| I always, you know, like, everything I hear about, I'm kind of like, cut it in half. | ||
| Which makes me kind of still think Trump is absolutely crazy. | ||
| But, like, you know, Dick Cheney, is there, like, is he, and I don't think he cares, but, like, there's no... | ||
| The narrative has been set for him. | ||
| There's no kind of like, you're not going to believe this, but Dick Cheney is one of the funniest storytellers. | ||
| There's no changing the narrative of Dick Cheney. | ||
| Right. | ||
| George W. is painting, and he does a lot of painting. | ||
| His painting is kind of lovely. | ||
| It's cute, sweet stuff. | ||
| It shows you where his mind is at. | ||
| This is where he chooses to spend his time. | ||
| But Katrina, he didn't go there right away. | ||
| Well, he hates black people, according to Kanye West. | ||
| Right. | ||
| But Dick Cheney is a completely different animal. | ||
| Like, he shot his friend in the face, and his friend apologized. | ||
| Yeah, but he didn't do it. | ||
| He obviously didn't do it on purpose. | ||
| He's probably drunk, and then he disappeared for 24 hours. | ||
| Do you know that? | ||
| He didn't immediately turn himself in. | ||
| Oh, really? | ||
| Yeah, yeah, yeah. | ||
| He was most likely drinking. | ||
| They were doing what's called a canned hunt, where they open up these gates, and they let these birds fly out, and they just start blasting them. | ||
| And he shot his friend. | ||
| But it could have been a mistake. | ||
| It was a mistake, but he was probably hammered. | ||
| I'm known as the Dick Cheney apologist. | ||
| Oh, nice. | ||
| So explain us Halliburton. | ||
| 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. | ||
| So explain that as an apologist. | ||
| You know, I would say, one, no-bid contracts happen often. | ||
| That's what I've heard. | ||
| How can you chew another one of those? | ||
| My heart is pounding out of my chest. | ||
| Because I'm a real man. | ||
| I'm more manly than you. | ||
| How many of those you chewed out in a day? | ||
| I'm a real type A. I'm a real, like, I get up. | ||
| I do, what are those bells that you kind of sound? | ||
| Kettle bells. | ||
| Kettle bells. | ||
| You know what? | ||
| I eat a bowl of those for cereal. | ||
| Nice. | ||
| When you're a man like me, that's what I do. | ||
| I put CBD oil on my knees, and then I just lift... | ||
| I lift bulldozers. | ||
| That's what I do for breakfast. | ||
| Wow. | ||
| Then I jog up mountains and just yell. | ||
| And then I just come home and I just eat elk meat. | ||
| But you know, unlike you, I don't cook it. | ||
| I just eat the elk when it's alive. | ||
| You can do it raw. | ||
| Sometimes it's better to cook, though. | ||
| What does elk meat taste like? | ||
| You want some? | ||
| Not really. | ||
| I wish you were around here. | ||
| Not really? | ||
| You don't care? | ||
| If I had a kitchen here and I cooked some, would you eat some? | ||
| I'm surprised. | ||
| We're at this compound. | ||
| You have this huge place. | ||
| You've got a horse track in the back. | ||
| You don't have a kitchen here? | ||
| I'm going to open up a kitchen here. | ||
| Seriously. | ||
| I'm thinking about putting together a restaurant. | ||
| So the elk thing... | ||
| Maybe you've talked about this and I haven't heard the episode. | ||
| But elk meat is that good? | ||
| It's fantastic. | ||
| It's a wild animal. | ||
| But does it taste like deer? | ||
| It tastes better than deer. | ||
| Well, venison, you're like, oh, this is good. | ||
| You know, if I have really strong mustard and I'm not hungry. | ||
| No, man. | ||
| It's just prepared poorly. | ||
| Yeah. | ||
| This is delicious. | ||
| It's all of it is how the meat is taken care of after the animal dies, whether it's cooled quickly and how it's processed. | ||
| That's all it is. | ||
| How it's cleaned, how it's cut up, how it's vacuum sealed and frozen almost immediately after the animal dies. | ||
| How you don't let in the glands, like they have tarsal glands that they can get. | ||
| They have hormones. | ||
| Like a lot of times when you're shooting these animals, it's during the rut. | ||
| So they're breeding, and this is when they get these hormones and these tarsal glands. | ||
| Why don't we eat more elk? | ||
| Because it's a wild animal. | ||
| It's an illegal animal to sell. | ||
| You have to go out and hunt them. | ||
| Yeah, but why doesn't someone just start an elk farm? | ||
| Because it's just... | ||
| Or an elk ranch. | ||
| We look down on those... | ||
| Well, there's a lot of factors there. | ||
| First of all, you can buy elk... | ||
| It's the meat lobby! | ||
| No, no, no. | ||
| You can buy it from New Zealand. | ||
| New Zealand sells a lot of it. | ||
| And I think there's some places where you can buy commercially raised elk in North America. | ||
| I'm not exactly sure if that's the case. | ||
| But it's illegal to sell wild game. | ||
| And there's a difference between an animal that's been penned in and force-fed and just big bales of hay or a wild animal. | ||
| Newspaper. | ||
| Yeah. | ||
| I'm interested in wild animals because I think wild animals are healthier. | ||
| Also, I think the karma of what you're doing is very different. | ||
| You're just going after a wild animal that's in the rut and they wind up killing each other. | ||
| They get killed by mountain lions and wolves and bears. | ||
| And what I'm doing is I'm dipping my toe into the natural world. | ||
| It's a circle of life. | ||
| of life. | ||
| I'm going after them the way a mountain lion would go after them. | ||
| I'm just using a bow and arrow. | ||
| And I'm getting them and I'm bringing them back. | ||
| And then I eat that one animal for a whole year. | ||
| I'll feed my family. | ||
| You know Tom Papa. | ||
| Tom Papa is a giant consumer. | ||
| And then he makes bread out of it. | ||
| Papa makes bread out of it. | ||
| It's like you and Papa, at your restaurant, you have to have Papa do the bread. | ||
| Oh, for sure. | ||
| Yeah, he'll be the bread man. | ||
| His bread's only good for five days, though. | ||
| Doug Benson could sell the weed. | ||
| Anybody could sell the weed today. | ||
| Right, I guess anyone could today. | ||
| But you love elk. | ||
| You wake up and you're like, you know what, I want elk. | ||
| I had it this morning for breakfast. | ||
| Well, who doesn't have elk for breakfast? | ||
| Do you have the elk cereal? | ||
| I had sausage. | ||
| You had elk sausage for breakfast. | ||
| And do you make your own elk sausage? | ||
| No, I get that made. | ||
| I get it made by a butcher that I know. | ||
| And so, do you think that when I come back, because I do this podcast every six years, Do you think when I come back... | ||
| You can do it as often as you want. | ||
| Oh, well, thank you. | ||
| We just didn't have the right phone numbers for each other. | ||
| Do you think that we will... | ||
| That... | ||
| What is the... | ||
| What is the... | ||
| Do you think that elk is the new kale? | ||
| That you are gonna... | ||
| That we're gonna track it back? | ||
| It's too hard to do. | ||
| To go out and get it yourself is very difficult. | ||
| You have to be like really committed to learning how to hunt and then to be fit enough to climb the mountains. | ||
| And then what do you drag it back? | ||
| You have to carry it out in chunks. | ||
| You chop it up and then you carry it out in chunks. | ||
| You quarter it, meaning you take the legs off and you take the back straps. | ||
| You know that there's like grocery stores, right? | ||
| There's not to serve elk. | ||
| And it's a different experience. | ||
| I know what you're saying is just a joke. | ||
| Why wouldn't someone listening to this start an elk ranch? | ||
| I don't think it's legal. | ||
| It's not legal? | ||
| No, it's not legal to sell wild game. | ||
| And there's a reason for that. | ||
| 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. | ||
| Oh, wow. | ||
| It's the same exact thing as mad cow disease. | ||
| It just hasn't jumped over to other animals. | ||
| It jumped over to mice, but it hasn't jumped over to humans. | ||
| But if it did jump over to humans, it would be a gigantic fucking problem. | ||
| And part of that problem, they believe, stems from farms. | ||
| From farms that are raising deer. | ||
| It's very controversial. | ||
| Really? | ||
| And so where do you go to hunt elk? | ||
| Utah's a big one that I go to. | ||
| It might be different from where I hunt elk. | ||
| I go to Utah every year. | ||
| Go to Colorado is a great place to hunt elk. | ||
| Montana is a great place to hunt elk. | ||
| That's a great elk hunting area. | ||
| You just gotta go into the... | ||
| You should come with me. | ||
| Are you kidding? | ||
| You freak out. | ||
| Are you kidding? | ||
| Man, I would... | ||
| Unlike you, I wouldn't quarter it. | ||
| I'd just drag it back. | ||
| Just throw it in your back. | ||
| Because I'm strong enough. | ||
| And I'd put some kettlebells on it. | ||
| Just stick your dick in there. | ||
| Just carry it out like a condom. | ||
| You just sit... | ||
| So they're big animals. | ||
|
unidentified
|
Yeah. | |
| So, like, if they... | ||
| If you miss, will they charge you? | ||
| Elk most of the time won't do that, but a moose certainly would. | ||
| Moose are dangerous. | ||
| Yeah, moose are nasty, right? | ||
| They fuck you up. | ||
| That's an elk right there. | ||
| There you go. | ||
| Yeah, I shot that one in Central California. | ||
| And so how do you get that on an airplane? | ||
| Well, you have to quarter it up, chop it up into portions, freeze it, and then stick it in like a Yeti cooler. | ||
| And then I'll seal the Yeti cooler, and you have to bring it through customs, and then they have to look at it. | ||
| Not customs, but TSA. They have to open it up and check it, inspect it, and make sure it's just frozen. | ||
| Make sure it's not a human. | ||
| Yes. | ||
| Not a human. | ||
| Yeah. | ||
| And then they really wouldn't know if it wasn't human. | ||
| As long as you package it, you could say it's wild pig. | ||
| Idea! | ||
| Holla! | ||
| And so what is that thing there? | ||
| That is from my friend Adam Greentree. | ||
| That is an Asiatic water buffalo that he shot in Australia. | ||
|
unidentified
|
Wow. | |
| Yeah, he's a buddy of mine. | ||
| He gave it to me, so I decided to put it... | ||
| And so... | ||
| How many elk have you shot? | ||
| It takes you a year? | ||
| To eat it? | ||
| No, I can eat one in about six months. | ||
| My family eats a lot of it. | ||
| I give a lot of it to my friends. | ||
| And do people, like, are your daughters like, ugh, elk again? | ||
| Sometimes. | ||
| Yeah, sometimes they get annoyed. | ||
| We eat a lot of meat. | ||
| And a lot of elks do. | ||
| And it's healthier than beef. | ||
| Oh, yeah. | ||
| Why is it healthier? | ||
| It's got more protein per ounce. | ||
| It's got more amino acids. | ||
| It's a darker, richer color. | ||
| Like, if you look at grass-fed beef versus grain-fed beef, one of the things you notice is the grass-fed beef is a darker color. | ||
| The meat's a darker color. | ||
| It's because it's a healthier animal. | ||
| That's what beef is supposed to look like. | ||
| What don't you eat? | ||
| I eat a lot of things. | ||
| Do you eat fast food? | ||
| Occasionally, yeah. | ||
| Occasionally. | ||
| I mean, I'm not rigid. | ||
| Like, I'll eat In-N-Out Burger. | ||
| I love it. | ||
| I'm not that rigid. | ||
| When you're eating In-N-Out Burger, are you imagining that it's an elk burger? | ||
| No. | ||
| No, I'm just enjoying it. | ||
| Do you consider yourself an elk meat advocate? | ||
| Yes. | ||
| I'm an elk meat connoisseur. | ||
| You want to convert people? | ||
| No. | ||
| Why not buy a ranch? | ||
| No, no, no, no. | ||
| I don't want people to buy it like that. | ||
| I'm not even saying that you should go out and hunt. | ||
| I'm not saying that people should do it. | ||
| What I'm saying is if you did do it, you'd have a completely different relationship with your food. | ||
| When I'm eating something, there's a real good feeling that I know that I harvested that thing. | ||
| I was out in the woods. | ||
| I chased it for days. | ||
| I was trying to get the wind right so that the wind is not at my back blowing towards the animal. | ||
| I've got to sneak up on it slowly. | ||
| I have to figure my way to where I can get a clean shot on this animal. | ||
| Then once I kill it, then we have to drag it out of there. | ||
| We have to cut it up and carry it out. | ||
| Do you aim for the head or do you aim for the heart? | ||
| You aim for the heart. | ||
| But if you have a high-powered rifle, there's a lot of people that are chefs that shoot them in the head. | ||
| They think that it's quicker. | ||
| If they die quicker, they taste better. | ||
| But they taste delicious. | ||
| I don't really think there's any need for that. | ||
| There's an idea that if the animal has too much adrenaline in it, like if it's spooked, It'll taint the flavor of the meat. | ||
| What is the universal... | ||
| I hijacked your show, but what is the unifying thing that comedians, UFC fighters, and hunters all have in common? | ||
| It's difficult. | ||
| We're doing difficult things. | ||
| That's the unifying thing. | ||
| It's a difficult pursuit. | ||
| Self-appointed. | ||
| Comedy is an extremely difficult pursuit. | ||
| 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. | ||
| You're not doing flips. | ||
| There's an audacity. | ||
| Yeah, you're not doing flips. | ||
| You don't have a fucking multimedia show. | ||
| There's no pyrotechnics. | ||
| But you're just talking. | ||
| And people will pay money, get a babysitter. | ||
| And you've got to make sure it's right, man, because they'll get fucking angry at you. | ||
| There's a direct correlation between how happy people are when you make them laugh versus how angry they are if you don't make them laugh. | ||
| By the way, I believe that... | ||
| You know, people talk, and my tickets are not high or anything, but I think people care more about their time than they do about the money. | ||
| It's like, because if you're a parent, you're like, this is my one night. | ||
| It better be good. | ||
| It's like when you go to a restaurant and you're like, really? | ||
| This is my entree? | ||
| You know what I mean? | ||
| Granted, I eat out every night. | ||
| But when I used to be healthy and I'd have that burger like once a month, you'd be like, this is my burger? | ||
| And it's bad. | ||
| Now I have like two burgers a day. | ||
| And it's like I'm always happy. | ||
| Well, that's good. | ||
| That's good. | ||
| But the thing they have in common is that they're all difficult things. | ||
| All difficult things. | ||
| Martial arts are incredibly difficult. | ||
| There's no bullshit in martial arts. | ||
| You either hit someone or you don't. | ||
| They either hit you or they don't. | ||
| You either win or you don't. | ||
| It's like it's really cut and dry. | ||
| 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. | ||
|
unidentified
|
It's good. | |
| In your defense, in your offense, and then you execute when you have to. | ||
| Which means when it's time for a fight, you perform. | ||
| You rise to the occasion. | ||
| Or you don't. | ||
| Very similar to going on stage. | ||
| Not with the same consequences, but very similar in terms of rising to the occasion. | ||
| Is it something you have to be... | ||
| Like, stand-up, you have to be doing it. | ||
| Like, it's not... | ||
| You know, Eddie Murphy is amazing. | ||
| But the reason he didn't just pop back into doing stand-up is he understands... | ||
| I took it like I'm friends with him. | ||
| But he understands you have to do it. | ||
| Yes. | ||
| Often to be... | ||
| I mean, that's, by the way, Chris Rock... | ||
| Amazing that he literally took like 10 years off and then got back into the ritual. | ||
| Because it's a commitment. | ||
| There's nothing really that fancy about it. | ||
| But when it comes to UFC, you can't just pick it up. | ||
| But hunting, you can pick it up, right? | ||
| Or no? | ||
| Well, you can pick up some kinds of hunting. | ||
| 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. | ||
| And there are grocery stores. | ||
| There's grocery stores. | ||
|
unidentified
|
There's no grocery stores to serve wild duck than you shot yourself. | |
| Fascinating. | ||
| I think, because sometimes I'll look at... | ||
| 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. | ||
| Separate from, like, the supposed fame. | ||
| How dare you put an alarm on it? | ||
| I know. | ||
| What are you trying to do? | ||
| That means it's time to eat elk. | ||
| Yeah, no, I mean, I think many communities that are, like, important communities have, uh, are important to the people involved. | ||
| They have, like... | ||
| They share a lot of common aspects, whether it's comedians or... | ||
| I mean, I think anything that's difficult, right? | ||
| When you think about comedians, there's not that many of us. | ||
| If you really stop to think about... | ||
| There's 300 million people in this country. | ||
| How many professional comedians? | ||
| Is there even a thousand? | ||
| I mean, how many people are really making a living off of just doing stand-up? | ||
| 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. | ||
| How about Lenny Bruce's era? | ||
| There was like him and Mort Saul and like one other guy. | ||
| Yeah. | ||
| Yeah. | ||
| Insane. | ||
| Insane, yeah. | ||
| Insane. | ||
| And now there's, like, professors of stand-up comedy. | ||
| That's ridiculous. | ||
| They're all ridiculous. | ||
| I interviewed one guy and wrote a book on comedy. | ||
| Oh, yeah, well, that's... | ||
| Ridiculous ideas. | ||
| Generally, I think that... | ||
| I think that stand-up, when people... | ||
| 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. | ||
|
unidentified
|
Yeah. | |
| Yeah. | ||
| And there's also the more you do it and the more frequently you do it, the more you kind of have a feel for it. | ||
| And when you take time off, that's when it's really weird. | ||
| Like for me, I went on vacation recently to Italy and then I went back on stage after like 12 days. | ||
| I was like, what? | ||
| Do I know how to do this? | ||
| It's a weird feeling. | ||
| It's a weird feeling. | ||
| You've got to be immersed in it all the time. | ||
| But I also think it's great to take those little vacations. | ||
| Oh, you get a great perspective on material. | ||
| It's like suddenly you come back and you find the piece to the puzzle to make it work. | ||
| You need, like, little breaks. | ||
| 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. | ||
| Yeah, it is. | ||
| I find it hard. | ||
| I mean, I also, like... | ||
| 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. | ||
| Yes, it's gone. | ||
| Forever. | ||
| I jump up. | ||
| I'll plug my ears and run out of the room if my wife and kids are talking, if I have an idea. | ||
| That's good. | ||
| I used to not. | ||
|
unidentified
|
Of course. | |
| I got an idea, but my wife is awesome about it. | ||
| I'll just go, I have an idea. | ||
| And I just have to say it to her. | ||
| So she doesn't think I'm just playing with my phone while we're at dinner. | ||
| I just go, I got an idea. | ||
| And she'll let me do that. | ||
| But you have to do that. | ||
| If you don't do that, those things slip away. | ||
| They're like a salmon in a river. | ||
| Like, grab it! | ||
| Grab it! | ||
| That's right. | ||
| And we are the bear. | ||
| We are the bear. | ||
| And then the elk is watching. | ||
| And then Joe shoots the elk. | ||
| And the idea dies. | ||
| What does an elk sound like? | ||
| Like that. | ||
|
unidentified
|
Brrrr! | |
| And they're just huge. | ||
| They're like 500 pounds. | ||
| And what do they eat? | ||
| Are they vegetarian? | ||
| Yes. | ||
| Yeah, they're vegetarians. | ||
| And what about a bear? | ||
| Have you ever shot a bear? | ||
| Yes. | ||
| You've been to a brown bear? | ||
| No, black bear. | ||
| They're very good. | ||
| They taste good. | ||
| And you have to shoot them, otherwise they eat everything. | ||
| They eat each other. | ||
| They eat all the elk babies. | ||
| They eat all the deer babies. | ||
| 50% of all elk and deer fawns, or elk calves and deer fawns, are eaten by bears. | ||
| 50%. | ||
| Yeah, they devastate populations. | ||
| But it's a balance of life, you know? | ||
| It's the circle of life. | ||
| Yes, but it's a balance. | ||
| It's like you have to, there has to be some control of predators. | ||
| Yeah, it's so interesting. | ||
| So interesting. | ||
| It's a wild world, and I've been involved in it since like 2012. That's when I really got into it. | ||
| And so when you were growing up, did you hunt when you were a kid? | ||
| I did a lot of fishing. | ||
| Yeah. | ||
| And where did you grow up? | ||
| Well, I was born in New Jersey, but I lived in a lot of places. | ||
| I lived in San Francisco for a while from age 7 to 11. I lived in Florida from 11 to 13, and then Boston from 13 to 24, then New York. | ||
| Is it nature or nurture? | ||
| Are you, because of you, because of life experience, or were you born like this? | ||
| I think there's a little bit of both, for sure. | ||
| And also, some of it is... | ||
| You know, you've been on this self... | ||
| You know, I feel like characterizing this is an insult, but it's not. | ||
| But you are somebody who's like, I'm going to self-improve myself. | ||
| Yeah, I try to do that all the time. | ||
| Mentally, physically, everything. | ||
| Elking. | ||
| But I think you can always do better, right? | ||
| And so how do you find out If you can do better. | ||
| Was that your mentality? | ||
| Was that your mentality in your early 20s? | ||
| Yeah, I think it came from martial arts. | ||
| If you don't try to get better, you wind up getting fucked up. | ||
| It's dangerous. | ||
| You get hurt. | ||
| I grew up from high school. | ||
| From the time I was 15 until I was 21, all I did was travel the country and fight. | ||
| I competed all throughout. | ||
| With Mr. Miyagi. | ||
| No, he wasn't around back then. | ||
| That's really what I did. | ||
| That's all I did. | ||
| And so the mentality had to be constantly looking to improve. | ||
| Figuring out what you're doing wrong, figuring out how to do better, and being brutally honest about your strengths and weaknesses. | ||
| We'll be right back. | ||
| It's a weird transition from that in the stand-up comedy. | ||
| But I think there's some parallels. | ||
| There's some parallels because bombing on stage is one of... | ||
| I've lost fights, but bombing on stage might feel worse. | ||
| It might be the worst feeling you could ever feel, other than physical pain. | ||
| Yeah, you know, there is something about, I always think it's weird when people will say, I could never do that. | ||
| And in some ways, I think comedians, we forget, because there are, particularly at the beginning, there are dark days. | ||
| There are levels of humiliation that most normal people would go, don't ever do this again. | ||
| But comedians are such lunatics that they're like, that's fine! | ||
| That's fine! | ||
| And by the way, what they don't realize is there's some of us that break through and we kind of figure it out. | ||
| But there are some people that try stand-up, fail miserably, have the perseverance, and never get better. | ||
| That's true. | ||
| It's brutal. | ||
| There's a certain mindset that never improves. | ||
| And I don't know what that is. | ||
| I don't know if it's a genetic thing, if it's a lack of brain horsepower. | ||
| There's certain people that just never get it. | ||
| They never get it. | ||
| And they try and they don't. | ||
| And they never figure their way through. | ||
| 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. | ||
| Like, do you know what I'm saying? | ||
| Yeah, you have to, maybe if you're like a real absurdist and like it's obvious you're lying about everything and that's part of the joke. | ||
| Oh, yeah, yeah. | ||
| Other than that, yeah, if you just make up a story. | ||
| And by the way, I also think that in 10 years it might be all lies. | ||
|
unidentified
|
Mm-hmm. | |
| But now, in this Kardashian kind of reality show era, people want to see a little bit behind. | ||
| I mean, I think that whether it's... | ||
| Burt or Segura, there's these stories that people relish in their lives, in seeing their lives, and sharing the experience. | ||
| And that's something that wasn't necessarily prevalent. | ||
| Or maybe I'm just talking down my ass. | ||
| No, I think you're right. | ||
| I mean, I think we didn't really know much about comics back in the day. | ||
| We just know about their act. | ||
| I mean, Pryor did this 40 years ago. | ||
| But he was an anomaly. | ||
| He was, you know... | ||
| So unique. | ||
| And wouldn't it be amazing to see Pryor back then on a podcast? | ||
| Like see Pryor and Gene Wilder sitting down just shooting the shit for hours. | ||
| It was incredible. | ||
| Unbelievable. | ||
| 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 was someone special? | ||
| Do you remember when he was doing that special in Long Beach and there was a guy who walked up right to the stage with a camera? | ||
| He's like, get the fuck out of here, man. | ||
| Go sit down. | ||
| And he left that in there. | ||
| And by the way, people have to understand that That wasn't, you know, half those people were not, they were there to see Patti LaBelle. | ||
| Yeah. | ||
| Like, that's really amazing. | ||
| Yeah. | ||
| Like, that's super talent. | ||
| 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. | ||
|
unidentified
|
Yeah. | |
| Yeah. | ||
| It's absurd. | ||
| Well, Chappelle's also constantly working, man. | ||
| 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. | ||
| He goes up and does 40 minutes. | ||
| Just... | ||
|
unidentified
|
Free. | |
| Just does it. | ||
| But he's just doing that all the time. | ||
| It's not all for money. | ||
| It's all for the craft. | ||
| It's all for performing. | ||
| Working out the material just travels around and does these things. | ||
| And just shows up. | ||
| And DC does like 18 shows at the Warner. | ||
| Just shows up. | ||
| Like over two and a half weeks. | ||
| Just is always on top of it. | ||
| And that is why it's not just his obvious talent and his brilliance, but also his work ethic. | ||
| All those things combined. | ||
| There's not one without the other. | ||
| You don't just get the guy who takes six months off and he's just brilliant always. | ||
| And you wake him up and he's got the best set ever. | ||
| No, it's like he's constantly grinding. | ||
| Constantly. | ||
| Yeah. | ||
| And I think with this art form that we do, it requires diligence. | ||
| It requires maintenance. | ||
| It is totally diligent. | ||
| It is. | ||
| Do you write on paper? | ||
| Do you write on a laptop? | ||
| I do. | ||
| 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. | ||
| So do you mostly just write down notes and then work those notes out on stage? | ||
| Yeah, some of it, it's... | ||
| When I was in Ireland, and I went to Donegal, which I love. | ||
| What is Donegal? | ||
| 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. | ||
| You know, like they speak Gaelic. | ||
| That's so weird. | ||
| What does that sound like? | ||
| It sounds nothing like English. | ||
| It's... | ||
| It's really weird, because it's, you know... | ||
| Does it have some English sounds in it? | ||
| Not really. | ||
| Well, there'll be an English word that they'll just... | ||
| I think they add a sheen to the end of an English word. | ||
| They're like, oh, you have to go to the airport, a sheen. | ||
| And you're like... | ||
| What? | ||
| It's kind of like the Scottish. | ||
| I can barely understand when they're speaking English. | ||
| But I loved it. | ||
| Northern Ireland's very interesting in that regard. | ||
| I was in Belfast and listening to people that were drunk talk. | ||
| Oh, yeah. | ||
| You might as well have been on another planet. | ||
| Well, by the way, the British Isles, including the Republic of Ireland... | ||
| There is something so tribal there. | ||
| Like there's something really interesting as an American that, you know, we have this cute notion of like, I'm Irish, I drink too much. | ||
| Whereas like the Irish and the English and the Scottish and the Welsh, there is something that It kind of comes out at 11 o'clock at night. | ||
| You'll see a different side. | ||
| I was at this house party in Donegal, and the next day I ran into the guy, and there was probably 10 adults there. | ||
| He's like, yeah, Jim, we drank 29 glasses, 29 bottles of wine. | ||
| I'm like, what? | ||
| 29? | ||
| And I know that I maybe drank one of them. | ||
| I don't think all the adults drink. | ||
| By the way, in Ireland, not everyone drinks. | ||
| It's just the people that do drink really do it. | ||
| I think someone told me the percentage of Irish that drink is smaller than the rest of Europe, but the percentage that do drink. | ||
| I can't even remember what I was going to say. | ||
| But it's just... | ||
| I could talk about Ireland forever because it's so fast. | ||
| Oh, but around 11 o'clock at night... | ||
| There's something that happens. | ||
| And by the way, this guy was not drunk. | ||
| But I was at this cocktail party, this dinner party, and the kids are... | ||
| Everyone has five kids. | ||
| So there's like five kids. | ||
| There's 400 kids in the backyard. | ||
| And this guy's just railing into me. | ||
| He's like, you know, the media's already decided that it's Kamala Harris. | ||
| How can you decide... | ||
| And I'm like, wait a minute. | ||
| I'm like, first of all, what are you talking about? | ||
| And he just consumes... | ||
| He's doing all this research. | ||
| And this guy, you know... | ||
| But he's convinced. | ||
| He goes, it's Kamala Harris. | ||
| The media big brothers have decided it's Kamala Harris. | ||
| And I'm like, whoa. | ||
| And it's just fascinating. | ||
| How do they know? | ||
| We don't know a fucking goddamn thing about their people. | ||
| 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 just like a different... | ||
| The niceties. | ||
| You get to see who they really are. | ||
| Yeah. | ||
| With a couple of pints in them, too. | ||
| 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. | ||
| Like, to me, that sounds horrible. | ||
| But you would like that, wouldn't you? | ||
| No, I'm not interested in bar fights. | ||
| I think it's a terrible idea. | ||
| It's how people die. | ||
| People get crippled. | ||
| But people do that all the time. | ||
| I saw Andy Dick got knocked unconscious. | ||
| Did you see that? | ||
| Oh, man. | ||
| Yeah, I just saw that. | ||
| He got really fucked up. | ||
| I'll send it to you. | ||
| I hope he's alright. | ||
| He's definitely not alright. | ||
| He's a frail little fella. | ||
| You gotta get out of here? | ||
| I do. | ||
| Oh, there's a car waiting for you. | ||
| I was wondering what's going on. | ||
| I have a meeting. | ||
| What do you have? | ||
| What's going on? | ||
| You're a fucking mover and a shaker. | ||
| You're a player out here in Hollywood. | ||
| No, I'm not at all. | ||
| But I have this meeting for a TV show. | ||
| It's a producer meeting, but it is... | ||
| Last question. | ||
| I love acting. | ||
| Is it hard for you to balance? | ||
| Because I know you've done a lot of acting gigs, but I know you love stand-up. | ||
| Is it hard for you to find the time balance? | ||
| It's different because I love stand-up. | ||
| I am a stand-up. | ||
| It's something that I'll have to do. | ||
| I'm sure it's the same with you. | ||
| It's like, you're going to do it until you die. | ||
| Yes, I think so. | ||
| Like when people are like, I can't believe Seinfeld went back to stand-up. | ||
| I'm like, of course he did! | ||
| He's a comedian! | ||
| But the acting is something that I love, but I don't view it as an income source. | ||
| You view it as a life. | ||
| I view it as, it's something that, and by the way, you're a good actor. | ||
| Thank you. | ||
| I love it. | ||
| I love playing a character. | ||
| I love playing a bad guy. | ||
| Yeah, that seems fun. | ||
| 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. | ||
| I'm not going to kidnap you. | ||
| I enjoy that kind of stuff, but I do too many things as it is, so I've kind of sworn off all acting. | ||
| Really? | ||
| Yeah, I abandoned it a couple years ago. | ||
| What if it was the perfect role? | ||
| I mean, it's highly inefficient, but I just think it's so fun. | ||
| I sent you that link to the movie, and I want you to watch it, because I think if you watch it, you're going to go, oh, I get it. | ||
| Oh, I do get it. | ||
| I get it. | ||
| I just can't do it. | ||
| But it's like, that was like, I remember that was like three weeks and weekends I had shows. | ||
| It was really inefficient. | ||
| It was all night shoots. | ||
| It was utter insanity. | ||
| But you're happy with the result. | ||
| But that's one of those where it worked. | ||
| Well, I think also it's more experience in life in general that I think enhances your stand-up. | ||
| And I think it's difficult for us to look at it that way. | ||
| But I think the more different things you do, the more different experiences that you have, the more your perspective gets enhanced. | ||
| Yeah. | ||
| And there's moments that are almost parallel that... | ||
| You know, obviously, as a comedian, we love the laughs and we love kind of creating, changing someone's mood. | ||
| And similar to, you know, alleviating the tension in stand-up and acting... | ||
| Like sitting in that tension and just kind of twisting a knife in the audience. | ||
| It's kind of exhilarating. | ||
| And something unique that you're only going to get in acting. | ||
| Yes. | ||
| Yeah. | ||
| Jim Gaffigan, you're a bad motherfucker. | ||
| Please tell everybody when your new special drops. | ||
| Friday. | ||
| This Friday? | ||
| I think Friday the 16th. | ||
| What is today? | ||
| Wednesday? | ||
|
unidentified
|
Wednesday. | |
| Yes. | ||
| You have two days, folks. | ||
| Two days. | ||
| Two days. | ||
| But they can add it to their watch list. | ||
| But next time you go to Amazon to buy your paper towels or your socks, just check it out. | ||
| Check it out, bitches. | ||
| Please. | ||
| Thank you, sir. | ||
| Thank you, buddy. | ||
| My pleasure. | ||
|
unidentified
|
Thank you. | |
| Thanks for Nicotine Gum, too. | ||
| Now I'm addicted. |
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