March 8, 2024 - The Joe Rogan Experience
02:27:38
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| Speaker | Time | Text |
|---|---|---|
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unidentified
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Joe Rogan Podcast, check it out! | |
| The Joe Rogan Experience Stream by day, Joe Rogan Podcast by night, all day! | ||
| Let's go, shiver! | ||
| Most people don't know about shimmy. | ||
| They don't know about your alter ego. | ||
| No. | ||
| Well, yeah, you were the one who brought it out of me. | ||
| We were, right? | ||
| Well, we would do shows. | ||
| We would do shows in New York, and you would go full shimmy. | ||
|
unidentified
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I'd be on the side of the stage yelling out, shimmy! | |
| Well, when we first started, by the way, we did the Joe Rogan experience 30 years ago. | ||
|
unidentified
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Yeah. | |
| Just hanging out. | ||
| Exactly. | ||
| Just playing pool. | ||
| Yeah. | ||
| I remember Sussman brought you into town. | ||
| You started at Knicks? | ||
| Was it Knicks? | ||
| I started at Stitches in Boston. | ||
| Stitches. | ||
| And then I was like two years in when I met you. | ||
| And then I think we met at Eastside, which was awesome. | ||
| Great club. | ||
|
unidentified
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What a great club. | |
| I was just there. | ||
| Shout out to Richie Manervini. | ||
| Yes, my man. | ||
| It was the greatest. | ||
| The greatest place to go. | ||
| I remember it would be a line around the block, two shows like on a Wednesday night. | ||
| It was insane comedy then. | ||
| The golden age of comedy at the time. | ||
| 1990? | ||
| Yes. | ||
| Oh my God, it was incredible back then. | ||
| 91-ish? | ||
| I started at 89. I think I met you in, what is it, 91? | ||
| Ninety-one maybe? | ||
| Ninety? | ||
|
unidentified
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Ninety-one? | |
| Somewhere in there. | ||
| And I was, you know, I was following everybody. | ||
| That was my thing. | ||
| Like, I was being the stand-up comedian with the, you know, the jacket sleeves pushed up and the bolo tie. | ||
| You know what I'm talking about? | ||
| I was just that straight thing. | ||
| And you came into town and we were like, who is this dude? | ||
| Like, you just didn't care about anything. | ||
| And it was like, you've always remained the same. | ||
| And it was just incredible to watch. | ||
| We were like, whoa, he just doesn't care. | ||
| And that's what you were, you would work with me on that. | ||
| You would be like, brother, you can't be like you're handing out a platter of food for these people. | ||
| Like, do what you want to do. | ||
| And I was like, I just got to get good. | ||
| Yeah, I got to wrap my head around that. | ||
| You're right. | ||
| You know, I would just try to make the audience so happy. | ||
| You're like, stop it. | ||
| Stop it. | ||
| And you gotta let go. | ||
| And you'd get me going crazy. | ||
| I'd get all fired up there. | ||
| I'd be like yelling at people. | ||
| They'd be like, whoa! | ||
| It's like, why? | ||
| Maybe we bring it back a little bit. | ||
| But it was different, man. | ||
| It really was. | ||
| It really taught me to, most of all, to be comfortable in front of an audience and not care about them. | ||
| I literally battle with it, to this day, that anxiety of, oh gosh, I get nervous and I start overthinking things. | ||
| So, but it really helped me to say, like, just do what you do. | ||
| And it's almost like the, because the audience is like a dog, right? | ||
| They sense fear. | ||
| 100%. | ||
| Yeah. | ||
| They're animals. | ||
| Just like we are. | ||
| We're all animals. | ||
| That's right. | ||
| And it's like, they know when, you know, and if you're comfortable, even if you're faking it, they'll go with you, you do a joke, and you're confident. | ||
| They'll laugh just because they think it's funny. | ||
| They look around and everybody's like, oh, it must be funny because he's just got confidence. | ||
| And you had that confidence always, man. | ||
| You were always insanely intense and just never looked back. | ||
| Way to go, man. | ||
| Way to go for you, too. | ||
| You just always needed a hype man. | ||
| You just need someone to let you go. | ||
| Like, give him the green light. | ||
| Give him the green light! | ||
| It's so funny. | ||
| You're right. | ||
| You're right. | ||
| Yeah, you just needed a hype man. | ||
| You were the one who did it for me in Montreal, too. | ||
| Yeah. | ||
|
unidentified
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Yeah. | |
| Do you remember that? | ||
| By the way, do you remember the beer we would drink? | ||
| There were two kinds of this beer. | ||
| I can't remember this. | ||
| Canadian beer. | ||
| I've been racking my brain to think about it. | ||
| There was like a gold version of it and like an amber. | ||
| And it was just the greatest stuff. | ||
| And we'd get fired up up there and I loved it, man. | ||
| I loved going to that Montreal Comedy Festival. | ||
| Oh, it was the best. | ||
| Back when it was... | ||
| I think it's gone under. | ||
| I think they just announced they're going bankrupt. | ||
| Oh, really? | ||
| Yeah, unfortunately. | ||
| See, well, she'd tell people what it was. | ||
| So what it was during our time, when we were young, was the Montreal Comedy Festival was where young comedians would go up and you could kind of get a deal. | ||
| And that's where you got the deal to do the King Queens. | ||
| Well, I got the deal to do NBC. Right. | ||
| And that turned in. | ||
| Once that failed, that went into CBS. But once you get in, the thing about, people should know, like in the 90s, there was this thing that was happening where everybody looked at a comedian like, this could be the next Roseanne. | ||
| This could be the next Tim Allen. | ||
| This could be the next Seinfeld. | ||
| So every time they looked at you, they're like, what do you got? | ||
| What do you got for me? | ||
| And the agents would try to put it together as a sitcom. | ||
| Yes. | ||
| And they had this showcase called the Montreal Comedy Festival, the Just for Laughs Comedy Festival. | ||
| And it was... | ||
| The most insane thing. | ||
| You would go there, and it would change your life. | ||
| You could have one set, one 15-minute set, and all of a sudden, you got a half a million dollars. | ||
| A hundred percent. | ||
| You have one set that pops, and people talking about, there's a buzz, and it's like, you're in. | ||
| You're set. | ||
| And they have bidding wars. | ||
| Yes. | ||
| So, like, CBS, Fox, they would all be throwing in, and, you know, there's guys that walk, do you remember Chicken? | ||
| Chicken was the crazy guy? | ||
|
unidentified
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Yes! | |
| Yes! | ||
| Chicken got the deal that killed the deal. | ||
| Yes, yes. | ||
| He got like $800,000 or something. | ||
| It was some crazy money or I don't know what it was. | ||
| Some nutty amount of money. | ||
| But he had no act, right? | ||
| It was after that they thought he was... | ||
| He just tricked everybody. | ||
| He did. | ||
| And I don't know how he did it and I wonder if he had a hype man if you could have kept tricking people. | ||
| Yeah. | ||
| Maybe he just went off the rails with anxiety when success starts. | ||
| Because that's one of the things that does happen. | ||
| And I've talked about it. | ||
| I think everybody admits it. | ||
| When it first starts happening, you think it's going to go away. | ||
| You get super anxiety ridden. | ||
| You feel like an imposter. | ||
| And you'd show up on the set and you're like, are they kicking me out? | ||
| I'm still here? | ||
| My bud, I'm telling you, I've... | ||
| I still deal with that. | ||
| I'm not even kidding. | ||
| You obviously don't, and you haven't. | ||
| I do, though. | ||
| Do you really? | ||
| Yeah, I do. | ||
| I just ignore it. | ||
| I tell it to shut the fuck up. | ||
| Well, that's what you got to do, I guess. | ||
| And that's what I don't do enough, because I start thinking, and I start overthinking both sides. | ||
| I'm like, oh, gosh, what if this happens, or this, that? | ||
| This means something. | ||
| To this day. | ||
| Yeah. | ||
| Like, if I'm doing a theater, and it's my people, and I know that they're coming to pay to see me, I'm pretty confident. | ||
| I feel like I'm going to do well. | ||
| But if I do a club that they don't know me... | ||
| Oh, yeah, yeah, yeah. | ||
| Like, I did a corporate gig, like, a month ago, like, in Miami. | ||
| And I was like, you know, I was like, oh, boy. | ||
| Because corporate gigs, you know, they can go either way, and it's... | ||
| They can be horrible. | ||
| Well, I get there. | ||
| It's in Miami. | ||
| Really good-looking people. | ||
| It's in a lobby of a hotel. | ||
| I thought this was in a theater. | ||
| I'm there. | ||
| And now I'm getting worried. | ||
| I'm like, how much? | ||
| And they're like, you've got to do an hour. | ||
| And then I find out nobody there wants to see me. | ||
| The woman who was the CEO of this company, it was her birthday, and she liked me. | ||
| So she brought me in for all her friends to see. | ||
| Dude, I'm sitting in the lobby, and I'm finding all this information out as I'm sitting there, and I started... | ||
| I'm not kidding. | ||
| I've never had a panic attack. | ||
| I start going, what do you mean? | ||
| Nobody else knows I'm here, or this or that, or they go, no, no, no. | ||
| They don't know. | ||
| This is a company. | ||
| And I'm looking in the room. | ||
| It's in the lobby. | ||
| I can see through a little glass window, and they're drinking. | ||
| They're talking at tables. | ||
| We're set up for comedy, too. | ||
| Just round tables, booths not even facing you. | ||
| And I see a postage stamp of a stage that I got to stand on. | ||
| And I'm like, oh my gosh. | ||
| So I start hyperventilating. | ||
| So I start going, I can't do this. | ||
| I'm talking to Skylar, my assistant buddy. | ||
| He's helping me out here. | ||
| And I'm like, hey, just tell them we can't do it. | ||
| He's like, what are you talking about? | ||
| I go, just tell them. | ||
| We're going to give them the money back. | ||
| We're just not going to do it. | ||
| We don't need to do this. | ||
| I don't want to do it. | ||
| This is not going to go well. | ||
| I started really panicking. | ||
| And then they started going up. | ||
| She's up on stage now introducing me. | ||
| And I go, oh my gosh, we're going. | ||
| Oh my gosh. | ||
| So I start freaking out. | ||
| I've been doing comedy for 30 years. | ||
| I've been doing stand-up. | ||
| I go, I don't need this. | ||
| I'm ready to call sussy and go, I don't want to do this anymore. | ||
| I don't want to do it. | ||
| I get up there and go, I go, just get him with that first joke. | ||
| If you do, you settle it. | ||
| Because if you don't, you know if they don't buy you on that first joke, you're gone. | ||
| You're fucked. | ||
| You're gone for an hour. | ||
| For an hour, you're gone. | ||
| Oh, gosh. | ||
| And they're not even listening. | ||
| They're loud when they bring me up. | ||
| And when I came up, it wasn't even like they all turned and went nuts. | ||
| But I got them. | ||
| I don't know what I said. | ||
| I just said one joke about the lady thanking me, you know, thanking for bringing me up. | ||
| And I just won them over in one little sweet way. | ||
| And they turned and they clapped and they laughed at one thing. | ||
| And then I went into another joke very gingerly, just kind of going this, that. | ||
| And they laughed at that. | ||
| And I go, okay. | ||
| I just settled in. | ||
| I go, I got them. | ||
| And they were great. | ||
| They were great. | ||
| They were really great. | ||
| And I was sweating the whole time. | ||
| I really feeling the sweat. | ||
| You know what I'm saying? | ||
| It was rough. | ||
| But... | ||
| That's so nerve-wracking. | ||
| I'm glad it worked out great. | ||
| I hate it. | ||
| But I ran into Sandler when I missed you at the airport. | ||
| I ran into Sandler. | ||
| He was just telling me about the fucking worst corporate gig that he just had to do. | ||
| Yeah, I called him about it. | ||
| He had the same thing. | ||
| So it's nice to see somebody like that has it too. | ||
| Yeah, a guy like him can still eat dick. | ||
| I talked to Billy Joel, and he says, literally he was like, I've gone through those. | ||
| I'm like, you? | ||
| But when you're playing music, it's different, man. | ||
| Yeah, but they'll throw that Saudi money at you. | ||
| He threw crazy money at them, and he did a corporate gig, or whatever it was, and he says they weren't even listening. | ||
| They turned away, and it's like just you and the band, and you just go, let's go, boys. | ||
| And they play. | ||
| Dana White had a 40th birthday party, and Stone Temple Pilots played. | ||
| And it was insane. | ||
| These dudes played like it was a packed arena. | ||
| Where? | ||
| It was at a fucking conference room in a hotel somewhere. | ||
| They didn't care. | ||
| They didn't give a fuck. | ||
| They had a beautiful stage set up. | ||
| The stage was set up nice. | ||
| But like, you know, all of a sudden they were like, hey, everybody. | ||
| Stone Temple Pilots! | ||
| And then they fucking... | ||
| I was so impressed by his ability to perform. | ||
| I mean, it took a while for people to even filter to the dance floor in front of them and watch the show. | ||
| This dude did it like there was 50,000 people out there. | ||
| It was incredible. | ||
| I mean, he didn't back off at all. | ||
| He who cares less has more power. | ||
| It's literally like, that's it. | ||
| I'm going around with a tray of, like, you guys think this is funny? | ||
| He's like, I don't care. | ||
| He didn't give a fuck. | ||
| And everybody jumps in. | ||
| Full commitment. | ||
| You know, when someone just fully commits to something like that, it's very inspiring. | ||
| And you'll never forget that. | ||
| Because if you never see anybody fully commit, that's why. | ||
| You never see great comics, ever, that exist where there's no other great comics. | ||
| The best comic in the world never comes out of Tallahassee. | ||
| Out of nowhere, no scene. | ||
| We all need to see other people do something special. | ||
| And if you're lucky, you live in New York, or you live in LA, or now you live in Texas, and you get to see these killers all the time. | ||
| You'd know where the watermark is. | ||
| Right. | ||
| Until you see a guy jump in front of a fucking 40th birthday party who's a platinum selling artist in this insane band that's iconic and perform like they're performing in front of an arena. | ||
|
unidentified
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Oh my gosh. | |
| It was incredible. | ||
| It was incredible. | ||
| The show was amazing. | ||
| Wow. | ||
| It was so good. | ||
| But it was like, that fucking guy worked for his money. | ||
| He didn't have like, I'll give him a 7 tonight. | ||
| I'm going to give him an 8. Every night to 10. Based on the area we were playing. | ||
| Guns blazing. | ||
| That's the way you gotta be, man. | ||
| I gotta do it. | ||
| You need a hype man. | ||
| I need a hype man. | ||
| You're two different guys. | ||
| I am. | ||
| You know me. | ||
| You know me. | ||
| If I'm left to my own devices, I go into a little hole. | ||
| I do. | ||
| It's my whole life. | ||
| Everything. | ||
| Sports. | ||
| Everything. | ||
| But this is the thing. | ||
| I'm playing my first arena coming up, and I'm freaking out. | ||
| I've never done that before. | ||
| Are you doing it in the round? | ||
| No. | ||
| That's the way to do it. | ||
| You know why? | ||
| A little late for that. | ||
| That's okay. | ||
| You'll still have a great time. | ||
| They're still great. | ||
| The arenas are great. | ||
| They're fun. | ||
| It's a wild experience. | ||
| But the round is the best because it's actually intimate in the strangest way. | ||
| Because everybody's facing everybody. | ||
| So all the people see each other and they're all in it together. | ||
| I love that. | ||
| I love that idea. | ||
| But does the stage, does it turn? | ||
| No, you walk around. | ||
| I used to do the one, you know, the Westbury Music Fair. | ||
| Oh, it spins for you. | ||
| It would spin for you, and you wouldn't even know where the hell you are. | ||
| And then you have to walk off. | ||
| It's the awkward walk-off. | ||
| You don't know where the stairs are. | ||
| You don't know where they are. | ||
| It moved, and everybody shifted, and you don't know who you're looking at. | ||
| You have to find some distinctive person in the audience that sits near the stage. | ||
| That big guy is my marker right there. | ||
| The one in Phoenix spins around, too. | ||
| What's that? | ||
| The Celebrity Theater? | ||
| You can turn it on or off. | ||
|
unidentified
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Really? | |
| Yeah. | ||
| That's a good one, too. | ||
| Because it's a comedy club, but it's in the round. | ||
|
unidentified
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Right. | |
| It's like a 2000-seat comedy club in the round. | ||
| That's what it's like. | ||
| I would feel guilty, like... | ||
| Half the crowd is looking, you know, I'd be thinking now, I got another thing to think about. | ||
| They've seen my ass for, you know, the last 40 minutes. | ||
| I gotta spend, you know, and do you set up a joke over here and deliver the punchline there, or how do you break it up? | ||
| Well, you have giant screens. | ||
| So the thing about the arena is they have massive screens. | ||
| So if for some reason, like, you know, We did these ones in Ohio, and Chappelle came down, and it was very interesting to watch, because they didn't know he was supposed to be there. | ||
| And it was my show, and Tony didn't know whether he was gonna bring Dave up or me, because Dave hadn't gotten there yet. | ||
| Oh, wow. | ||
| And so it's like, Tony's on stage. | ||
| And he's got, like, five minutes before he should go on stage. | ||
| And all of a sudden, Dave rolls up. | ||
| Posse, fucking limo. | ||
| Yeah, this is a guy who doesn't overthink things. | ||
| He don't need the hype man. | ||
| He just strolled in. | ||
| Yeah. | ||
|
unidentified
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And he just came to say hi. | |
| And he's always like, should I go up? | ||
| I go, what do you mean, should you go up? | ||
| I go, go up. | ||
| Let's go. | ||
| He goes, when? | ||
| I go, you'll be up in five minutes. | ||
| He goes, well, let's have a drink. | ||
| So we had a drink. | ||
| And then we're sitting in the green room, and I go, dude, he's got about one minute to go. | ||
| I go, I'll walk out there with you. | ||
| Because he needs to know that it's not me, that he's bringing up Dave. | ||
| So he starts bringing me up. | ||
| This is one of my best friends, one of my favorite people. | ||
| And then I'm like flashing the light, and he sees Dave. | ||
| And the crowd slowly starts to realize it's Dave. | ||
| Oh my gosh. | ||
| When they see me and Dave walk to the stage. | ||
| And by the time he says, Ohio's own Dave Chappelle. | ||
| It is one full minute of a standing ovation. | ||
| One full minute. | ||
| So he takes this victory lap around the stage for like one, I mean, a full minute, man. | ||
| It was, I filmed it. | ||
| I put it up on my Instagram. | ||
| It's insane. | ||
| It's inspiring. | ||
| I mean, Tony, we're just looking at each other and looking around going, wow. | ||
| It just felt special. | ||
| It felt like special that you could be there. | ||
| Like, wow. | ||
| And then he goes, OH! And he puts the mic out. | ||
|
unidentified
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It was insane. | |
| It was insane. | ||
| It was so fucking cool. | ||
| Because he's from Ohio. | ||
| He lives in Yellow Springs, which is right outside of Dayton. | ||
| So it's like... | ||
| For him to go there like that, but to be in the round. | ||
| See, the round is everybody sees everybody. | ||
| It's not just you facing this crowd, and then you're in the crowd, and they're there. | ||
| In the round, it seems like everyone's all in this together. | ||
| It's intimate in a special way. | ||
|
unidentified
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It's so much better. | |
| Yeah, and the screens are giant, so you just walk around. | ||
| But when Dave was facing that way, I'd see his face on the screen. | ||
| It's not bad. | ||
| It's still awesome, because you're there. | ||
| And everybody just kind of walks around. | ||
| You just get used to walking around. | ||
| Nobody really stands still in points in one direction in an arena in the round. | ||
| That would be rude. | ||
| Well, the screens help. | ||
| Oh, it's massive. | ||
| They're everywhere. | ||
| They're giant. | ||
| They're 50 feet wide. | ||
| They're fucking everywhere. | ||
| It makes it easy. | ||
| It's an experience. | ||
| I would love to be in there. | ||
| I think I'm in Denver in Salt Lake City where I'm worried about this my first arenas. | ||
| You're going to have fun. | ||
| It's going to be fun. | ||
| This is Dave. | ||
| Here it is. | ||
| is listen to this it's like a fight I mean, you literally can't even hear him bring up Dave Chappelle. | ||
| Look at this! | ||
|
unidentified
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look at this that's insane No. | |
| No. | ||
| It's like, that's the sickest thing I've ever seen. | ||
| It was like, I felt like we were seeing the Beatles. | ||
| I felt like it was like Hendrix got on stage. | ||
| Well done for you, bringing him up before you, I mean, that's insane. | ||
| It was awesome. | ||
| That's incredible. | ||
| It was so fun. | ||
| But that's the thing. | ||
| But I do that all the time. | ||
| You know, when I'm at the club, I'll have five, six guys that are going on in front of me. | ||
| They're all headliners. | ||
| I'm going on stage an hour and a half into the show. | ||
| I would, again, my theaters, I'd be comfortable. | ||
| Your club, I would be afraid. | ||
| I'd be afraid because you've got such heavy hitters and I come up and I'm talking about weird little observational stuff and it's like, whoa. | ||
| It would get in my head. | ||
| It would. | ||
| No, there's got a lot of weird observational comedians killed there. | ||
| It's a fun place. | ||
| Like, Duncan kills there. | ||
| And, you know, it's all just... | ||
| It's all great. | ||
| It's all a bunch of different... | ||
| But for me, it's like, to have a... | ||
| I want the audience to see the best possible show they could see. | ||
| So they're going to see Ron White, they're going to see Shane Gillis, and Tony Hinchcliffe, and Brian Simpson. | ||
| That's insane. | ||
| And all these monsters that come into town. | ||
| Like, in any given week, it's Chris DiStefano, or fucking Dave Smith. | ||
| It's like, there's so many killers. | ||
| How often during the week are you there, and how often are guys working out their stuff there? | ||
| Well, it's open seven nights a week. | ||
| Seven nights a week. | ||
| Seven nights a week, two shows each night in each room. | ||
| Except for Mondays and Sundays, which are open mic nights. | ||
| So open mic night, there's a show in the small room, there's only one show, but then there's at least one show in the main room that's a regular show, like regular comedians. | ||
| Wow, that's incredible. | ||
| Yeah, and it's two shows a night in each room, so four shows a night. | ||
| How big are each room? | ||
| One's 250 and one's about 110 to 120. Do you feel a difference? | ||
| Oh, yeah, yeah, yeah. | ||
| The little one's super intimate. | ||
| The little one is like, if you remember the belly room at the Comedy Store, it's like the belly room and the original room had a baby, and that's the little one. | ||
| Wow. | ||
| It's like medium-sized little. | ||
| And then the big room is like the original room and the main room at the Comedy Store had a baby. | ||
| That's what it's like. | ||
| And when you're trying out stuff, people going up there with notepads and stuff like that? | ||
| Yeah, yeah, Christina Pazitsky does it all the time. | ||
| She goes up with a notepad. | ||
| A lot of guys go up with notepads. | ||
| Yeah, it's like if you've got some new shit you're working on, Segura, he goes up with notepads. | ||
| If you have new shit. | ||
| Right. | ||
| Because you want to be able to remember. | ||
| You don't want to fuck up the bit. | ||
| And the audience kind of appreciates it. | ||
| It's like, oh, this is so new. | ||
| They feel that it's... | ||
| They have to look at it. | ||
| Yeah, it's not polished. | ||
| And then Brian Simpson hosts this show called Bottom of the Barrel. | ||
| And that's a really fun show where you go up there and you have no material. | ||
| And you just reach into this whiskey barrel. | ||
| And there's a bunch of different premises that the audience members have written down. | ||
| And you pull it out, you open it up. | ||
| And you do a bit on that? | ||
| Yeah, you just start talking shit. | ||
|
unidentified
|
Yeah. | |
| But the audience knows that's what you're doing. | ||
| So because they know what you're doing, it's really fun. | ||
| They're not expecting polished material. | ||
| Everybody knows what the show is. | ||
| The show is fucking around. | ||
| And maybe... | ||
| If I was to go there and do my act, I would pretend like I pulled that out of the whiskey bottle first, the barrel, and then... | ||
| Did you ever notice? | ||
|
unidentified
|
Oh, man. | |
| Yeah. | ||
| But you can, like, if you have a bit on a subject and you just tell them, I actually have a bit on the subject, and then you can do it. | ||
| Right. | ||
| You know, and there's also, like, sometimes there's, like, there's the other night, there's something that I've been writing that I've never done on stage before, and just by sheer coincidence, the same subject was something that I pulled out of the piece of paper. | ||
| Are you kidding? | ||
| Yeah. | ||
| So it was like, oh, it was robot fuck dolls. | ||
| Right. | ||
| Which is, like... | ||
| I have a whole chunk on that. | ||
| Now I'm going to throw it away because you're working on it. | ||
| I don't want to... | ||
| But it was one of those moments where I was like, oh, like last night, I spent two hours writing stuff on this. | ||
|
unidentified
|
Right. | |
| So let's just run with it here, see what happens. | ||
| Have you ever had a... | ||
| Because they must go nuts when they see you, right? | ||
| Yeah. | ||
| And then... | ||
| Because back on Long Island, I'll work out at a little club like Governor's. | ||
| I don't know if you remember that. | ||
| Oh, yeah. | ||
| Governor's in Levittown. | ||
| Yeah. | ||
| And I'll go out there and I'm hometown boy and I go up there and they go nuts with... | ||
| For like a minute or something, not like that, but like they go crazy, it's fun to see you, and then within two minutes, if I don't, like they're ordering sausage and rolls and it's like they're talking and it's like putting weight on the bar. | ||
| I'm like, whoa. | ||
| Yeah, well New York audiences too, they don't have much patience for bullshit. | ||
| It's a good place to start comedy. | ||
| New York and Boston, both. | ||
| Good place to start comedy because people don't have any patience for bullshit. | ||
| Yeah, we're happy to see you, but come with the jokes. | ||
| Exactly. | ||
| Let's go. | ||
| Come on. | ||
| I'm here to laugh. | ||
| I do a lot of writing... | ||
| While I have a tour, like if I have a tour in the theaters, you know, where I'll try to, if I have a set theme set, I'll try to add some stuff in there for the next one. | ||
| Have you ever done that? | ||
| Do you ever? | ||
| Yeah. | ||
| Yeah. | ||
| When you're doing a lot of shows, it's great. | ||
| Yeah. | ||
| Because you kind of get a sense of where you can stick stuff in. | ||
| You always have a safety net of, I can go here if it's going nowhere. | ||
| Yeah. | ||
| Because that's my problem. | ||
| That's what I do, too. | ||
| I'll write a huge chunk on something. | ||
| And won't know when to bail on it if it's not going. | ||
| It's dependent on this thing. | ||
| I gotta follow through with it now. | ||
| And if they're not in, they don't buy in right away. | ||
| I'm like, wow, I got three more minutes of this stuff. | ||
| Oftentimes, I realize it's because I didn't buy in. | ||
| Right. | ||
| That's what it is mostly with me. | ||
| If I'm in during a bit like, oh, I didn't want to be talking about this. | ||
| I wish I didn't bring this one up. | ||
| Like, if I ever get to that place... | ||
| You just have to fight off that thought. | ||
| There's this thought that comes into your mind like, oh, why did I bring this up? | ||
| I don't want to do this bit. | ||
| But you can't say, you know what, fuck that bit. | ||
| Because then the audience will be like, what? | ||
| Yes, yes. | ||
| So you just have to never let yourself get to the mindset where you're like, I don't want to do this. | ||
| You've got to remember, there was something, whatever the subject is, there was something about that subject that when you initially started writing a joke about it, it was resonating with you. | ||
| And you were like, what the fuck is this? | ||
|
unidentified
|
Right. | |
| But if you hear it too many times, it's like anything else. | ||
| You get tired of it. | ||
| It loses its luster. | ||
| But that's just a mental weakness. | ||
| You just have to realize, get your head wrapped around that you can't allow yourself to think that way. | ||
| And surely this thought originally was valid because that's why you're so excited about it. | ||
| That's why you wrote a bit about it. | ||
| The audience doesn't know that you've said it a hundred times over the last year or more. | ||
| They just want to hear it. | ||
| Right. | ||
| So they want to hear it from fresh eyes. | ||
| So you have to put yourself in fresh eyes. | ||
|
unidentified
|
Right. | |
| You have to be able to do that. | ||
| And that's the trick. | ||
| And it's not like you're faking it either. | ||
| You have to actually really be thinking about it like you think about it. | ||
| If you want it to work at the best, you know, like when a bit is really sharp. | ||
| Yeah. | ||
| You have to be thinking about it as you're like... | ||
| Enthusiastically, as you could be actually engaged with each part of it while it's happening. | ||
| Well, when I write a new bit, and if I write a big chunk and it's too much, I'll go up with too much stuff, and I didn't rehearse it, because words are so efficient. | ||
| You'd say one word, or you're repeating a word, it stumbles you up, and then it kind of blows it for this, the next part of the bit. | ||
| So it's like... | ||
| I gotta work more at really rehearsing my bits. | ||
| Just really getting through how I'm gonna speak. | ||
| I stumble all the time. | ||
| Well, the problem is then you start thinking about it. | ||
| And with new bits, they're just not etched into your brain yet. | ||
| So as you go up with them, they're like little Bambi walking on ice. | ||
| It's not steady. | ||
| But that's what small shows are good for. | ||
| That's what Fuckin' Around is good for. | ||
| And that's what also is like, that's when it's really important that you're inspired by whatever this idea is. | ||
| If I'm inspired by the idea, I can always talk about it. | ||
| Right. | ||
| Like if there's a thing that I can get behind where I'll go, you explain this to me. | ||
| And then if I'm in that mindset, I can make it happen. | ||
| But I just can never let myself not be interested in what I'm talking about. | ||
| That's a problem that people have and that I've had. | ||
| But you have to recognize that it's like throwing a toaster in a bathtub. | ||
| Well, what I'm trying to do now is because I used to write just separate jokes. | ||
| Joke, joke, joke, joke here. | ||
| And every time I would bring up a new subject, it was like the audience is starting from scratch again to try to catch up. | ||
| And it's exhausting to try to understand. | ||
| So if I try to put it in a story or like a theme to my set, at least they kind of know what's happening before. | ||
| So they know, oh, you tend to do these type of things. | ||
| And then you talk about something like that. | ||
| They go with you. | ||
| It's like you're not starting a, you know, it's easy to, what is it, push a moving car? | ||
| Momentum. | ||
| Momentum, exactly. | ||
| And that's been working better for me because, you know, everything was like just isolated bits of jokes that I would put, you know, and I'd go, I'd just put them in anywhere, put a lazy connective tissue to it, you know, and it would be like, it would work, you get to laugh, but it's like there's no, you know, building. | ||
|
unidentified
|
Yeah. | |
| That's why I always admired guys like Stephen Wright who do those non-sequiturs. | ||
| I'm like, how do you do that? | ||
| And how do you write? | ||
| God, that's going to be so hard to write. | ||
| Who's the guy who died? | ||
| Mitch Hedberg? | ||
| Yes. | ||
| Same thing. | ||
| Yeah, same thing. | ||
| Non-sequiturs. | ||
| Amazing. | ||
| And you were with him. | ||
| And that's what made it even funnier. | ||
|
unidentified
|
God, who does that now? | |
| Are there any non-sequitur guys that just go joke? | ||
| I guess Jimmy Carr's kind of non-sequitur. | ||
| But some guys, they're just one bit to the next. | ||
| One subject to the next. | ||
| And with Mitch Hedberg, it was always super ridiculous. | ||
| And Stephen Wright, same thing. | ||
| Everything was really ridiculous. | ||
| And that became something that actually elevated it, right? | ||
| Yeah. | ||
| They weren't storytellers. | ||
| Right. | ||
| Yeah, it was part of the fun. | ||
| So out of it, yeah. | ||
| Yeah, this guy was like... | ||
| Out of nowhere. | ||
| Somebody asked me, do I want a frozen banana? | ||
| I said, no, but I want a regular banana later, so yes. | ||
| He's the best. | ||
| What a fucking great joke. | ||
| He's the best. | ||
| Oh, he was amazing, man. | ||
| That was a guy, like, he just didn't want to kick heroin. | ||
| They were trying to get him to kick heroin. | ||
| He's like, uh-uh, I like it. | ||
| Is that what it was? | ||
| He liked it. | ||
| He just wasn't going to kick it. | ||
| He was hospitalized while we were on The Man Show, and Doug Stanhope and Mitch were very close. | ||
| And I admired him deeply as a comedian. | ||
| He was a great comic man. | ||
| And that was when he was hospitalized with gangrene. | ||
| Because he was shooting it, allegedly. | ||
| Heroin is a scary one because it seems to touch this part of people that makes them very creative. | ||
| It resonates with people. | ||
| So much music that's great is made on heroin. | ||
| But God, what a curse. | ||
| What a curse. | ||
| When you watch someone who gets caught in the opiate web, it's so terrifying. | ||
| It's so sad to see. | ||
| Yeah. | ||
| And when you have someone who's just like this... | ||
| I mean, imagine the kind of bits that Mitch Hedberg could have come up with over all these decades after that. | ||
| What a talent, man. | ||
| Yeah, and he was all non sequitur. | ||
| It was all one bit leads into the next bit, Double Tree Hotel. | ||
| I love it. | ||
| I love it. | ||
|
unidentified
|
Yeah. | |
| I love that humor, man. | ||
| He was amazing. | ||
| Yeah, he was. | ||
| He was. | ||
| It's just, you know... | ||
| That guy had a hard time in the beginning because people didn't know what he was doing. | ||
| So he would go on after these high-energy music acts. | ||
| Yeah. | ||
| Guys would sing songs and shit, and they'd have a dirty rap, and they'd bring up Mitch Edberg. | ||
| Just destroy it, yeah. | ||
| And it'd be different like that. | ||
| It'd be deaf. | ||
| And you're in the middle of Ohio or wherever. | ||
| So they're not used to that, and they want the song. | ||
| They don't know who you are. | ||
| You're just the headliner. | ||
| Oh, he's on Evening at the Improv? | ||
| Okay. | ||
| And then they go to see you. | ||
| They really didn't know. | ||
| They just said, oh, look, MTV half-hour comedy hour. | ||
| It must be good. | ||
| And then they go to the local comedy club because it's a thing to do on a Friday night. | ||
| But when they don't know you... | ||
| Like, that's one thing... | ||
| That is, you know, made it a little bit easier is when people are coming to see you and they know you as opposed to who's this next guy? | ||
| It's kind of like just make me laugh. | ||
| Way, way, way easier. | ||
| But also comes with a trap because the laugh at stuff that's not that good. | ||
| Right. | ||
| Like, we've all seen guys who only perform for their crowds only, like, in big places. | ||
| Like, they only do theaters, only do their crowds only. | ||
| Like, that act can get soft. | ||
| It can get soft and still work. | ||
| Right. | ||
| Because they're not being tested. | ||
| They're not performing with other comics all the time. | ||
| Well, you see a lot of these guys now that are developing an act because they did something on, like, Instagram or whatever. | ||
| They developed these audiences that, you know, they get popular, and then they put together an act. | ||
| They go, and the clubs are like, well, let's put this guy up, you know. | ||
| And they sell out like crazy because, you know, they got a big following. | ||
| But it's not like working your stand-up, man. | ||
| It's a different... | ||
| Well, there's also a lot of guys who do crowd control. | ||
| They do crowd work stuff. | ||
| It's like just fucking around with the crowd and that's most of these clips. | ||
| You've seen a lot of guys who put up clips of cloud work because you don't have to burn your material. | ||
| Just talking to the crowd, just talk to them. | ||
| It's fine. | ||
| That can go bad. | ||
| It can go bad, but if you do it enough and you get some funny moments, like Andrew Schultz has a lot of great moments. | ||
| He's really good at it. | ||
| And you take those clips, and that way you're putting shit up, but you're not burning any of your jokes. | ||
| The problem is some of those guys can only do that. | ||
| Schultz is a great comic. | ||
| He can do great bits. | ||
| He can do great... | ||
| I mean, he can do anything. | ||
| But some of these guys are only good at talking to the audience. | ||
| And then when they have to do, did you ever notice? | ||
| Everybody's like, whoa. | ||
|
unidentified
|
What? | |
| The audience can feel the shift when I go back to my own material, like, oh, you wrote this. | ||
| Yo, what is this wack-ass bullshit that you've been thinking about all day? | ||
| You know, you're better off responding. | ||
| Like, there's certain guys that, like, their thing is really just talking to the crowd, and that's a different thing. | ||
| It's a great thing, it's really great when someone's funny at it, but it's also a different thing than the actual jokes. | ||
| I fear that. | ||
| Like, I don't like doing that. | ||
| Like, so I've built my act with the speed of it that it, like, no one has the chance to get in and ask a question or heckle or whatever. | ||
| You know, you build this shell around you so, like, there's just not enough time. | ||
| You can't even get it in. | ||
| So if someone says something, it's like, you're off them quick, you know? | ||
| Yeah, exactly. | ||
| Because I don't want to have to depend on doing that, going, what? | ||
| And stopping and then trying to get back to the bit that you were, you know, doing. | ||
| Yeah. | ||
| Yeah, you don't need that. | ||
| Some people like it. | ||
| Some people like to interact with the crowd. | ||
| It's also extra juice. | ||
| The audience realizes it's happening live. | ||
| It's real, it is. | ||
| This is crazy. | ||
| And then if you get good one-liners in the moment. | ||
| It's a great tool to have. | ||
| I wish I could depend on more. | ||
| Do you talk to the crowd at all? | ||
| I do. | ||
| Occasionally you have to. | ||
| And then at the Comedy Store you had to. | ||
| The Comedy Store you had to. | ||
| The Comedy Store for the longest time had zero crowd control. | ||
| They do a good job now of policing the room, but back then it was comics that were the door people. | ||
| It was comics that seeded people. | ||
| It was the comics that took the money at the cash register. | ||
| It was comics working there, and they were all like... | ||
| They didn't want to do that job, so they were the worst bouncers, and nobody ever quieted the audience. | ||
| It was just, you need to learn how to do it in the fire. | ||
| But you toughen up that way. | ||
| Like, you build a... | ||
| You understand how to go with the flow. | ||
| Right. | ||
| But some people don't do that. | ||
| And they did not like the Comedy Store for that reason. | ||
| They just go up there and they like to have a slow pace and do their bits and build. | ||
| That's me. | ||
| That's more me. | ||
| I was always afraid of the Comedy Store. | ||
| It's just when you go up. | ||
| Someone like Adam Egott, who's brilliant at scheduling and really understands talent and where people go, you just want to put them in the right place. | ||
| You don't want to put them after a music act. | ||
| That's the death. | ||
| That is absolute death. | ||
| The death is the guy who has the funny songs. | ||
| You're not following that. | ||
| You just see the guitar in the back and the guy's... | ||
|
unidentified
|
No! | |
| Tuning it up, and you're like, oh no. | ||
| When is he on? | ||
| And he's like, he's on next. | ||
| Then you're up. | ||
| Then, you know, it's like, no. | ||
| No, the guy with the guitar always ruined the show. | ||
|
unidentified
|
They always killed. | |
| They would kill, and you couldn't follow them. | ||
| Yep. | ||
| Yeah. | ||
| Musical acts, raps. | ||
| Anybody could do a rap. | ||
| Remember Red Johnny and the Round Guy? | ||
| Oh, yeah. | ||
| Those guys would do that rap. | ||
| You're done. | ||
| The show was over, bitch. | ||
| You see them go. | ||
| I'm getting in my car. | ||
| I'm leaving. | ||
| I'll see you later. | ||
| I go, there's no need for me to be here. | ||
| It's crazy how a song, or a funny song, it tops everything. | ||
| Yeah. | ||
| Who was that guy that used to be on Dr. Demento? | ||
| There was that guy that used to have dirty songs back in the day, and he was famous. | ||
| He would tour around with dirty songs. | ||
| John Valby? | ||
| Yes. | ||
| Thank you. | ||
|
unidentified
|
Yes. | |
| That guy. | ||
| Remember that guy? | ||
| Dr. Dirty. | ||
| Dr. Dirty. | ||
| Yeah. | ||
| That's right. | ||
| He would light up a room. | ||
| Light up a room. | ||
| Yeah. | ||
| You're not going on after him. | ||
| No. | ||
| It's over. | ||
| And everybody knew who he was. | ||
| And you would hear his songs on, like, Dr. Demento. | ||
| Remember, like, Late Night on the Radio? | ||
|
unidentified
|
Yeah. | |
| You would hear his songs? | ||
| Yeah. | ||
| He would tour and do just dirty blowjob songs, and everybody would go... | ||
| That guy had a business, man. | ||
| And I'm going up there talking about puppies afterwards. | ||
| Hey, you guys ever... | ||
| You ever lose your keys? | ||
| And you're searching. | ||
| This guy's talking about getting a blowjob while you're taking a shit. | ||
| But he had that following of people that would just come to see just those songs. | ||
| So they would hear the same songs over and over again. | ||
| Loved it. | ||
| That's another thing. | ||
| Dice had that. | ||
| Dice could always do the rhymes. | ||
| And the audience wanted to hear those rhymes. | ||
| What's in the bow, bitch? | ||
| Oh! | ||
| You don't have to write as much. | ||
| It's great, right? | ||
| But you're going to get bored. | ||
| You ever see that Kinnison song about the Beach Boys? | ||
| Kinnison had a bit about the Beach Boys, about imagine them 35 years later singing the song. | ||
| Same fucking song, not wanting to be there anymore, that it's just not the same experience. | ||
| That's tough. | ||
| Yeah, you want to be able to do new stuff. | ||
| The new stuff is scary, but it's fun. | ||
| It's so exciting. | ||
| I mean, I've found, like, it's... | ||
| I never really worked my act. | ||
| Like, when I started doing the show and getting involved with that, my stand-up, the writing and all that, I would still go to, like, Vegas with Ray to do it on a weekend, but I wasn't working my stuff. | ||
| I wasn't a comedian. | ||
| You know what I'm saying? | ||
| Like, you've got to really... | ||
| And I felt that. | ||
| You're delivering the same act year after year, kind of changing here a little bit here and there, and then you're going out and doing it, and it was bothering me so much. | ||
| I hated my act. | ||
| I couldn't stand doing it anymore and didn't have time to write that much. | ||
| So a few years back, I just stopped and said, I love stand-up so much. | ||
| I just want to start and really get into it. | ||
|
unidentified
|
How much time did you take off of it? | |
| I wasn't really off. | ||
| I would keep it going, but just doing shows. | ||
| No writing. | ||
| I really wasn't writing. | ||
| For years. | ||
| Just doing bits. | ||
| Yeah. | ||
| I mean, if something funny hit me, I would write it down, but not working it, not writing. | ||
| It's so hard when you're doing a television show. | ||
| When I was doing news radio, I fell into a real spot over a period of at least a year where I wasn't writing at all. | ||
| I didn't do any new jokes. | ||
| I had the same tired-ass jokes. | ||
| You were... | ||
| I remember jumping in your Supra and heading to the comedy store. | ||
| You would go up a lot. | ||
| You would still do things there, no? | ||
| Yeah, but maybe that was a different time. | ||
| That was when I snapped out of it. | ||
| Oh, okay. | ||
| So there was a period when I first moved there in, like, 94, where we were working, like, 16 hours a day. | ||
| And... | ||
| I was tired all the time. | ||
| And I would just show up at the club and do my set and then go. | ||
| And I was just doing it because I was still a comic. | ||
| That's what I felt like I was doing. | ||
| In my head I was always like, they're going to realize I'm not an actor. | ||
| I'm going to get fired. | ||
| This is the last TV show I ever worked. | ||
| I almost got fired from the first show I ever got fired. | ||
| Where I was the star of the show. | ||
| Hardball? | ||
| Yeah, I almost got fired from that. | ||
| I remember that one. | ||
| Because I was getting in an argument with the producer. | ||
| They hired some new producer, and he wrote these terrible lines. | ||
| I was like, this is insane. | ||
| This is so bad, it's insane. | ||
| And they were going to fire me. | ||
| You didn't stomach it, man. | ||
| I was like, this is crazy. | ||
| Well, the thing is, the guys who wrote the original show were brilliant. | ||
| They wrote for Married with Children. | ||
| They wrote for The Simpsons. | ||
| Right. | ||
| And Jeff Martin and Kevin Curran. | ||
| And when they had their show, the pilot was their show. | ||
| Like, Jim Brewer was the mascot. | ||
| I remember that. | ||
| It was fun. | ||
| Yeah. | ||
| Mike Starr from Goodfellas was in it. | ||
| I mean, it was Bruce Greenwood, the guy that went on to be in the Star Trek movies. | ||
| These guys have been in everything. | ||
| He was in Hardball. | ||
| I remember. | ||
| I go to your tapings, man. | ||
| It was so much fun. | ||
| They were going to fire me because I was like, this is terrible. | ||
| So they hired a new producer. | ||
| The new producer came in and took over and turned it into like the sloppiest, most obvious, terrible sitcom. | ||
| Like that prototypical sitcom where you watch and you go, ugh. | ||
| He's got to get out of the room. | ||
| The jokes are so goddamn obvious. | ||
| And they wound up firing him. | ||
| But it was between me and him. | ||
| And so it literally got down to this thing where they're calling my agent saying, this kid is ruining his career. | ||
| Oh, that's hilarious. | ||
| And I was like, oh no, I'm ruining my career. | ||
| So I always thought that eventually they were going to figure out that I'm not built for this. | ||
| This is not my thing. | ||
| And so when I would show up on the set of news radio, it was like... | ||
| At any moment in time, they're going to figure out that I'm not supposed to be here. | ||
| Not only because you didn't want to, though. | ||
| I thought you were funny as hell in that stuff. | ||
| You just didn't like it. | ||
| Insecure, didn't have any experience about actors, didn't know how to hang around with them. | ||
| I was so used to comics. | ||
| Right. | ||
| So for me it was like fighters and then comics. | ||
|
unidentified
|
Right. | |
| So just crazy people. | ||
|
unidentified
|
Yeah. | |
| I was just only around crazy people. | ||
| So when I was around normal people or people that were like really sensitive, like really, really sensitive, like sensitive on purpose, like where they're trying to be offended by things. | ||
| That's sitcom people and, you know, when you get into that. | ||
|
unidentified
|
Oh, it was exhausting. | |
| That's hilarious. | ||
| It was exhausting. | ||
| And you'd always hear about tyrants. | ||
| You'd always hear about, like, the Brett Butlers and the people that would scream and throw coffee in the face of the writers. | ||
| Newsradio, was that bad? | ||
| Like, those guys were... | ||
| Oh, there was none of that there. | ||
| Right. | ||
| That was cool. | ||
| No, there was a party. | ||
| The writers were great. | ||
| It was a totally different kind of experience. | ||
| Right. | ||
| But what was my point? | ||
| My point was that... | ||
| What was my point? | ||
| You were saying that... | ||
| Thought I was going to get fired. | ||
| Yeah, it wasn't for you. | ||
| You thought they were going to find you out. | ||
| Oh, so I had to just do stand-up just to prove that I was still a comic. | ||
| Because I remember at one point in time, the producer of news radio said to me, he was like, why are you still doing stand-up? | ||
| You're an actor now. | ||
| I was like, oh no. | ||
| Don't ever take that away from you. | ||
| I was like, oh no, I gotta get out of here. | ||
|
unidentified
|
I was literally thinking like, oh, this is like a trap. | |
| They're changing you. | ||
| This is a trap. | ||
| And then... | ||
| I had one really bad set one night in front of one of the producers and one of the writers. | ||
| I fucking ate shit and went up at the store, like, late at night at, like, 1 a.m. | ||
| in the main room and just had a terrible set. | ||
| Just bombed. | ||
| And then I really got to work after that. | ||
| Then I realized, like, oh, I've been slacking off. | ||
| That's what I felt, man. | ||
| I've been slacking off because I've been working 16-hour days and I used it as an excuse to not write. | ||
| And then from then on, like, everything got way better. | ||
| Like, Way better. | ||
| My stand-up, I dialed it in much more. | ||
| How do you write? | ||
| Are you the guy sitting down? | ||
| I sit down in front of a computer and I just write. | ||
| I don't write like this is exactly how I'm going to say it. | ||
| I just spill my thoughts out. | ||
| Because I feel like it takes me a lot longer to... | ||
| Write the words than it does for me to think about things. | ||
| So the more time that I'm actually just writing the words, it's extra time thinking about the things. | ||
| Do you speak it into a computer? | ||
| Do you talk it? | ||
| No, I just type. | ||
| Really? | ||
| Yeah, I type. | ||
| And I just, whatever the subject is, I'll, like, there's this one subject that I'm doing right now where I've written it Written about the subject four times. | ||
| So I start a whole new Microsoft Word file four times and just completely revisit it. | ||
| Just one more time. | ||
| What program are you using? | ||
| Just Word. | ||
| I just use Microsoft Word and I go into focus mode. | ||
| Have you seen Focus Mode? | ||
| Yeah, it blocks everything else out. | ||
| Yeah, I used to use Right Room. | ||
| I'll still use Right Room. | ||
| I did Scrivener. | ||
| I used Scrivener. | ||
| Yeah. | ||
| But I'll find one thing about it, and then I'll go, I don't like this, that, it sets my bits up this way, or I can't do this, or I can't transfer that, and then I'll spend the whole day looking up for apps, for the perfect app, and I'm not writing. | ||
| Yeah, you're distracting yourself. | ||
| Of course, of course. | ||
| Yeah, I try to avoid that. | ||
| But Scrivener, what I do at Scrivener is I make each individual bit. | ||
| Once I have it kind of boiled down, then I put it in the columns. | ||
| So the way Scrivener's set up, you know, whatever the subject is. | ||
| I love Scrivener. | ||
| The only thing it didn't do, it didn't transfer to my phone or the other, you know, like when I'm at a gig and I want to look it up quick, you have to go to like a Dropbox or like that, you know, and it was like, it was annoying. | ||
| I go, I can't, I need it right away. | ||
| Yeah, that's where notes on iPhone is the best. | ||
| The best? | ||
| The problem with notes, you ready for this? | ||
| I got them all. | ||
| You can't Categorize, it either goes alphabetical, so if you have your bits, I like seeing my bits on the side, where I go, okay, I'm working on this, and be able to move them anywhere you can. | ||
| Right. | ||
| Because it'll fall into that, that kind of screws me up. | ||
| That's true, that you can't keep it in order. | ||
| That's the only thing about it. | ||
| Then I'm off that one, then I'm looking for five more hours, I'm looking for other apps. | ||
| Right, because if you have a folder in your notes, and then you open up that folder and edit any one of those things, any one of those subjects, it'll move to the top. | ||
| Yes. | ||
| Because that's the newest one now. | ||
| Yeah. | ||
| Yeah. | ||
| Yeah, that should be an option. | ||
| Somebody should make a... | ||
| Just stand up for one of those things. | ||
| I would love it. | ||
| Yeah, but most comics don't use them. | ||
| Most comics just write things down. | ||
| Like, you ever see Mark Norman's stack? | ||
| No. | ||
| It's crazy. | ||
| He's got a stack, like a fucking phone book, like that thick of index cards and napkins that he keeps in his pocket. | ||
| And he's so crazy. | ||
| Like, you try to read it, it's literally like an insane person. | ||
| Yeah. | ||
| Because his handwriting's illegible. | ||
| Yeah. | ||
| And there's no order to them. | ||
| There's just stacks. | ||
| I mean, he might... | ||
| How many did he have in his pocket? | ||
| 150? | ||
|
unidentified
|
Easy. | |
| Easy. | ||
| Way more than that. | ||
|
unidentified
|
Easy. | |
| 200? | ||
| 200 index cards? | ||
| Where do you... | ||
| In his pocket? | ||
| How do you go... | ||
| Here's what I'm going to do tonight. | ||
| Card 167 to one... | ||
| No, it's a... | ||
| How do you do it? | ||
| It's a window into the madness that is the brilliance of his comedy. | ||
| It's just all... | ||
| I remember Richard Lewis would throw out... | ||
| I mean, there'd be a piano up there, and he threw out a scroll of... | ||
| It was just legal pads of paper and crazy stuff all over. | ||
| Set it all up, and it's like... | ||
| He was a little nuts. | ||
| He was nuts with that. | ||
| Yeah. | ||
| That was also part of his thing, right? | ||
| There's Norman's, look at Norman's stack. | ||
| Look at that. | ||
| Look at that! | ||
| What?! | ||
| Yeah! | ||
| I can't believe you carry this around with you. | ||
|
unidentified
|
90% of that. | |
| Bro, you're gonna get a bad back. | ||
| I'm worried about his back. | ||
| You can get a bad back from that. | ||
| It's like sitting on a fat wallet. | ||
| Exactly. | ||
| Taxi cab drivers, if they have too much shit in their wallet, you'll have a little bit of a lean. | ||
| You'll get a bulge in your back. | ||
| I could never do it. | ||
| I don't even know. | ||
| I need to have it organized. | ||
| Yeah, you were always an organized guy, even back in the day. | ||
| I have to be. | ||
| I admire that. | ||
| I think that's a very important thing that some comics feel like they don't have to do. | ||
| And you don't have to do it. | ||
| Some of the greats don't write anything down. | ||
| Don't get me wrong. | ||
| But I feel like when I write, if I just physically write, there's jokes that I will get that I won't get if I don't physically write. | ||
| And not a few of them, like a lot of them, like some of my best bits ever, came from sitting down and writing. | ||
| Do you find if you write the bit out, physically write it out, that you will remember it better, too? | ||
| By hand. | ||
| Yeah. | ||
| If you write it by hand, you remember it better. | ||
| That's proven. | ||
| So if I do an arena, I got this from you, by the way. | ||
|
unidentified
|
What? | |
| I got this from you. | ||
|
unidentified
|
All right. | |
| Because I'm not doing it anymore. | ||
| No, no, no. | ||
| I need to do it. | ||
| No, this is what I got from you. | ||
| Because I didn't have a rider, because I'm lazy. | ||
| So when I would go do theaters, they would just use Kevin James Rider. | ||
| So when I would... | ||
|
unidentified
|
Get at it! | |
| Because we were the same manager. | ||
| Yes, we were the same manager. | ||
| I was like, what's shimmy eating? | ||
|
unidentified
|
Right. | |
| Oh, did you see that? | ||
| Yeah, it was like all normal stuff. | ||
| And like whatever, like maybe I added whiskey to it or whatever it was. | ||
| But one thing you had was index cards. | ||
| Yeah. | ||
| And Sharpies. | ||
| I was like, oh, that's a great idea. | ||
| So every time I do an arena now, I set up index cards, and I will get there an hour early and write out all my bits. | ||
| Write out all the key points of the bits, all the things I want to talk about, and set that there. | ||
| And then next bit, set that there. | ||
| And so I have this coffee table, and I've got all these index cards. | ||
| Do you want to do a prompter or something like that? | ||
| You don't want to do a prompter? | ||
| No, no, no. | ||
| I don't need that. | ||
| I'm fine. | ||
| Once I write it all out, I've been doing it every night. | ||
| I know. | ||
| Every night. | ||
| It's like, I just like to do that as an extra little detail. | ||
| Just an extra little, just really dotting all your I's and crossing all your T's so I feel good when I get up there. | ||
| I don't know if I'm losing my memory or whatever, but it's like, I need bullet points up there. | ||
| Let me get you some of this. | ||
| Do you take any nootropics? | ||
| I take nothing. | ||
| Okay, this is what you're going to get. | ||
| I'm going to give you this. | ||
| Just take this one and I'll get you some more. | ||
| I'll send you some more. | ||
| That's Alpha Brain. | ||
| I'm really feeling it. | ||
| That's the black label Alpha Brain. | ||
| That is the top of the food chain Alpha Brain, the strongest one. | ||
| Am I going to see unicorns? | ||
| No, no, no, no, no, no. | ||
| It helps memory. | ||
| It's really good for memory, and it's really good for focus. | ||
| It gives you a little extra juice mentally. | ||
| Now, if you're a moron, you're not going to notice it. | ||
|
unidentified
|
Like, I try fucking shit, bullshit, snake oil. | |
| Trust me, as someone who makes a living using his brain, there are certain things that you can take that are not bad for you, that are just nutrients that enhance brain function. | ||
| You know what another one is? | ||
| Creatine. | ||
| Creatine. | ||
| Creatine's okay. | ||
| It's okay to do that? | ||
| Oh, yeah, yeah, yeah. | ||
| Creatine's very safe. | ||
| Creatine's one of the safest supplements. | ||
| It's also... | ||
| What does that do, though? | ||
| It adds water to your body. | ||
| Your body has more water. | ||
| And that's one of the functions of it. | ||
| And it's one of the reasons why it makes your muscles look bigger. | ||
| It makes you stronger. | ||
| It really does work. | ||
| As a fitness supplement, if you're training and lifting weights, creatine is one of the very best things you can take. | ||
| Creatine, I would say beta-alanine. | ||
| That's another one. | ||
| I gotta give you this thing that Weidman gave me, these herbal pills, completely natural. | ||
| He gave me, we were playing golf in, I forget, Atlanta or whatever it was, with DC. Cormier was there. | ||
| It was just the three of us went out and I was, you know, I get up in the morning, my back is killing me, my everything, my joints are hurting. | ||
| I... I get to the course. | ||
| You're walking around hills up and down all day. | ||
| I'm like, I'm going to be so gone on this thing. | ||
| And Weibin says, take a couple of these pills you use. | ||
| They're completely herbal. | ||
| What is it? | ||
| It's ashwagandha. | ||
| I don't know. | ||
| Oh, ashwagandha. | ||
| Okay. | ||
| The key with this stuff is, I said, because he gave it to me, and he says, just do me a favor. | ||
| Mark right now where you feel, how you feel, how you're doing. | ||
| I go, I feel horrible. | ||
| My knees are killing me. | ||
| My ankle, everything. | ||
| I feel everything. | ||
| My back, you're swinging a golf club. | ||
| It's brutal. | ||
| So he goes, and just take three and tell me how you feel in a few hours or whatever it was. | ||
| And I forgot about it. | ||
| And around the ninth hole, I swear, around the turn, it's a couple hours later, I'm going, I feel amazing. | ||
| Like all the joints, you know, like the jujitsu finger thing when you first come back and it's like that pain. | ||
| I had all that joint pain, and it was gone. | ||
| I was literally pummeling with DC. I'm like, come on, let's go, man. | ||
| I feel amazing. | ||
| I go, it's the pills. | ||
| I go, this is insane. | ||
| I go, can you give me... | ||
| And DC tried them, too. | ||
| And DC said, I haven't wrestled in a long time. | ||
| He goes, he tried them. | ||
| He goes, I love... | ||
| I know nothing. | ||
| I go, I'm trying to figure out if this is a placebo effect or what it was. | ||
| He gave them to me again. | ||
| Same thing. | ||
| Felt amazing. | ||
| Does Weidman have those on his Instagram? | ||
| Can we find out what that stuff is? | ||
| Literally, I don't go into business with anyone. | ||
| I want in on this thing, whatever it is. | ||
| Dude, I have some. | ||
| Do me some? | ||
| Yes, just try it. | ||
| Just mark how you feel if you have any pain. | ||
| Because if you go, ah, I felt nothing. | ||
| It might be the case. | ||
| But these things, I did it a few times, and they ran out of them. | ||
| He couldn't get them, and then he got them again. | ||
| Everybody has given to them. | ||
| How long before they make that illegal? | ||
|
unidentified
|
Whatever it is. | |
| I know. | ||
|
unidentified
|
They just made BPC-157 on Eagle. | |
| I'm telling you, I'm out of shape now. | ||
| It is literally the only thing that gets me up, and I'm like, whoa, I could work out. | ||
| I could do it. | ||
| Really? | ||
| I took them. | ||
| Again. | ||
| I want to know what's in there. | ||
| Yeah, I'll find out from him. | ||
| It's all natural stuff, but the thing about it is... | ||
| Speed's natural, too, you know. | ||
| I don't know. | ||
| It's all coming from Earth. | ||
| I know. | ||
| Everything's natural. | ||
| The key, what they said in these things, the guy throws out... | ||
| Because even if you get ashwagandha, the active ingredient in it will... | ||
| Once it's gone, people sell it anyway, and it's like dust. | ||
| It's like crap in there. | ||
| He throws out like 70% of the stuff he said. | ||
| And I was like, I don't know. | ||
| I don't care what it is. | ||
| I just want to give it to my family because I want to feel better. | ||
| I'm just an older guy. | ||
| You've got to help me with that work. | ||
| I'm telling you. | ||
| I am literally right now, I feel like I am on the cusp of either being that athletic guy, go back into where I get in shape like crazy, or I'm wearing cardigan sweaters and literally, you know, Grandpa? | ||
| Well, just get a trainer. | ||
| I'm doing a documentary right now. | ||
| Yeah. | ||
| And I started it in January. | ||
| I'm assembling the best guys like Dolce is gonna help me out with this thing. | ||
| He's awesome. | ||
| We already did one. | ||
| We already did a documentary. | ||
| I did it on, it was called Cheat Day, where I thought you could work out like six days a week and just have one day to eat what you want and just do it that way. | ||
| And I had Dolce come in and be in it with me and work me out and do it. | ||
| And he kept going, you're not going to be able to do this. | ||
| And I go, why? | ||
| Because your one day is going to destroy everything. | ||
| And he said, and I remember this, he goes, you can't outwork a bad diet. | ||
| And he was right. | ||
| It was like, I would crush it so hard. | ||
| Like, people don't know what I can eat. | ||
| You know what I'm saying? | ||
| When people go, I'm a foodie. | ||
| It's like, you have no idea. | ||
| I have no idea how much I can crush food. | ||
| And that one day would just destroy it for the rest. | ||
| Yeah, the food thing is, you can't outrun a bad diet. | ||
| You can't. | ||
| You can't. | ||
| It's the best phrase. | ||
| It's real. | ||
| That's where it all comes from. | ||
| It all comes from food and we're all addicted to food. | ||
| And it's the craziest thing if you're addicted to food because you have to eat it. | ||
| It's not like heroin. | ||
| If you're addicted to heroin, like, oh, I've got a heroin problem and I'm going to take a little bit of heroin. | ||
| No, you're going to go full bore again. | ||
| You're going to be fucked. | ||
| It's one of the very few things where you're addicted to it and you've got to not be addicted to it anymore, but yet you still need to eat it. | ||
|
unidentified
|
What? | |
| That's crazy. | ||
| That's a crazy conundrum. | ||
| And most people's minds can't really process that. | ||
| That's right. | ||
| And I can't, I just, I can't, because he's given me the diets to ultra, you know, just do this, this, and this, and this. | ||
| You know, it's formula. | ||
| It's very simple. | ||
| I mean, by the way, does every, who would need some, another grown man to tell you what to eat? | ||
| You know by now. | ||
| You know, seriously, you know. | ||
| And same thing with working out. | ||
| You don't know. | ||
| Move your body. | ||
| Whatever it is, you know what to do. | ||
| You may not know the intricate stuff of like split squats and this and that, work this thing. | ||
| But general health, you know I got to move my body more, eat better foods, less processed foods. | ||
| We know it. | ||
| But yet, man, I can't. | ||
| That's what this documentary I'm doing about. | ||
| It's like, why? | ||
| I have access to the greatest guys. | ||
| Why can't I still do it? | ||
| It's like... | ||
| And part of it is I need the Goggins, you know. | ||
| Yeah, you need a hype man. | ||
| You do. | ||
| You need someone around you who's also doing it. | ||
| Well, that's it. | ||
| It's community. | ||
| I don't have that. | ||
| It's like when I'm with Dolce, if we're on a movie together, he's got me in shape. | ||
| He's giving me the meals. | ||
| When I'm my own captain, I'm homeboy. | ||
| I'm gone. | ||
| I'm just gone. | ||
| You know, one thing that you can try. | ||
| That I guarantee will help you lose weight is the carnivore diet because if you do it, the one thing that you're gonna not eat is any carbohydrates. | ||
| You're only going to eat meat. | ||
| And if you cut out all bread, all pasta, all sugar, all bullshit. | ||
| I'm not saying this is a great diet. | ||
| I'm not saying this is the way to live. | ||
| I'm saying this is the best way for me to eat. | ||
| I've done every other kind of diet. | ||
| This one works the best for me. | ||
| And it's the one that keeps me lean. | ||
| Because when you're eating just protein, your body hits a satiety level. | ||
| If you're just eating steak, just steak, your body will hit a level and you go, "This is all I need," and then you won't want to eat more. | ||
| But if I'm in that same mind space and there's steak there but it's next to mashed potatoes with gravy, a bowl of pasta, ice cream, then I'm going to keep going and I'm going to get another 7,000 calories. | ||
| I'm going to keep going. | ||
| But if I just eat the steak, then my body starts processing ketones. | ||
| I start, instead of using carbohydrates, I'm only eating protein and fats. | ||
| Your body goes into like a ketogenic state. | ||
| You think better. | ||
| It gives you an extra gear with thinking. | ||
| The ketogenic thing is, I mean, that for me has worked. | ||
| It's, because Dolce will hate me for saying, like, he's like, you know, when they say blueberry, you know, carbs, he's like, carbs are fine for you, like the right carbs. | ||
| There's nothing wrong with carbs. | ||
| It's a fuel for your body. | ||
| But what I'm saying is, if you're trying to lose weight, one of the best ways to regulate your appetite is a carnivore diet. | ||
| Because you don't overeat with it. | ||
| But I think it's deeper than that for me. | ||
| I think it's like anything will work. | ||
| I fasted that way. | ||
| I've done everything. | ||
| It all works for a while, but why am I this size now? | ||
| Every time I'm like, You know, just recently, I started to stop comparing myself to other people and trying to, like, just say, get better than yourself yesterday. | ||
| Literally, that concept for me works. | ||
| It's like, when I'm in there, because he'll give me workouts, Dolce, to do, too, and I can't do it. | ||
| I don't do them. | ||
| I can't do the reps. | ||
| Four sets of 16th. | ||
| I get so bored by myself, like, I start doing my own stuff. | ||
| I'll do eclectic stuff. | ||
| Great stuff on a treadmill. | ||
| All movement stuff. | ||
| Like, I love it. | ||
| Just throwing punches, doing things. | ||
| But I walk around... | ||
| And then, there's no way to measure it though, because the next day I'm not doing that. | ||
| So it's like, I'm the guy who walks up to the bag, hits the bag a couple times, then walks, oh, look at this thing. | ||
| I have every piece of equipment in my gym. | ||
| I do. | ||
| If you saw my gym, You go, the rock live here? | ||
| You know, it's like, literally, it's like, they see me and they're like, what are you doing? | ||
| It's like, I buy everything because I buy into it. | ||
| I'm like, because it's a little piece of hope. | ||
| Yeah. | ||
| That's what it is. | ||
| Right, right. | ||
| A treadmill is a little piece of hope. | ||
| It's a hope, a new thing. | ||
| Like, I got the Jacob's Ladder. | ||
| I go, oh, it's great. | ||
| It's jujitsu. | ||
| You're grabbing a ring just as great. | ||
| Functional. | ||
| Yeah, it's collecting dust is what it's doing. | ||
| It really... | ||
| Because I don't use it. | ||
| So I need something... | ||
| That's what this thing is. | ||
| What can get me... | ||
| Because I am like most people, I'm telling you. | ||
| You don't need a lot of stuff. | ||
| But you need something to engage yourself every day. | ||
| There's got to be a bridge between what the Goggins way and people who do nothing. | ||
| You've got to get that... | ||
| I saw you were doing this with the other comedians, which I love. | ||
| It's like where you go, I just want them to walk. | ||
| Or just get them down there. | ||
| That is so important, man. | ||
| Because if you can get... | ||
| Into that groove, you do feel better. | ||
| Like, that's what blows my mind. | ||
| I've gotten in shape a couple times, and I'm like, I don't need to eat any more crap. | ||
| I love the working, I love the way I feel. | ||
| And then it slides right back. | ||
| What happens? | ||
| It's one of the things about you that makes you really funny, is you're indulgent. | ||
| You're a wild dude who's like trying to stay buttoned up. | ||
| It's like part of what's really funny about you. | ||
| And that indulgence, it goes into other things. | ||
| And for you, it's food. | ||
| Luckily, it's not gambling or something really crazy. | ||
| Right. | ||
| But I quit things, too. | ||
| I feel like I have the same almost intensity that you have, but I'm not a finisher. | ||
|
unidentified
|
We started jujitsu. | |
| Did we start at the same time? | ||
| Yeah, basically at the same time. | ||
| Beverly Hills jujitsu. | ||
| You were the one who brought me down there. | ||
| Yeah. | ||
| I'm a blue belt. | ||
| And barely, 30 years. | ||
| Do you know what I'm saying? | ||
| It's like because I start, stop, I don't finish. | ||
| You know what I'm saying? | ||
| And that's in my head. | ||
| I'm like, if I would have done what Joe did, man, look where I could have been. | ||
| And I'm trying to... | ||
| And then I start comparing. | ||
| You can do it now. | ||
| You do it now. | ||
| And if I play that game, I'm done. | ||
| Because I can never catch up to other people. | ||
| Well, a lot of it's like learned behavior patterns. | ||
| You just get stuck in. | ||
| And if you're unlucky, you can get a bad behavior pattern and are constantly quitting things. | ||
| Right. | ||
| But if you're lucky... | ||
| I got very lucky that when I was 15, I got obsessed with martial arts. | ||
| Right. | ||
| Because that was the first thing I ever did in my life where I didn't think I was a loser anymore. | ||
| I was like, I realized that if you work really hard at something and you're completely obsessed with something, It could transform your life. | ||
| So my life from the time I was 15 to the time I was 18, I was a different human. | ||
| From 14, 15, I was insecure. | ||
| I'd get bad social anxiety. | ||
| We moved around a lot. | ||
| I'd get picked on a lot. | ||
| And I went from that to... | ||
| Being completely confident, being just a different human being. | ||
| I was fighting all the time. | ||
| To me, the fear of conflict was pretty much gone, because I was just engaging in conflict all over the country. | ||
| Flying around my whole high school, all my time. | ||
| So I got in my head that the way to feel better and to get life to improve is to just fucking dig in and keep going and don't ever quit. | ||
| Don't fucking quit. | ||
| That's so great. | ||
| But I got lucky that that's something that I fell into when I was 15. I often think about, you know, there was one day, dude, one day when I was coming home from a baseball game where I walked up the stairs We were getting ready to ride the T, which is like the Boston subway system. | ||
| And we were getting ready to ride the T, but the line after the baseball game was like really long. | ||
| There were so many people that were on the T. So we, just for a goof, walked up the stairs to see this Taekwondo school. | ||
| And as we were walking up the stairs, this guy John Lee, who was a national champion at the time, is preparing for the World Cup. | ||
| And he was like 28 years old. | ||
| He was in his prime. | ||
| And he was kicking this bag. | ||
| And as I was going up the stairs, I was hearing whomp! | ||
| And then the sound of a chain, like whomp! | ||
| And I went up and watched this guy kick the bag, and I was like, what the fuck is that? | ||
|
unidentified
|
Yeah. | |
| And I was like, I want to learn how to do that. | ||
| And I was there the next day. | ||
| I signed up. | ||
| I had enough money to pay for the class. | ||
| I signed up, and I was there every day. | ||
| From then on, I was there every day. | ||
| I mean, every day. | ||
| I worked out every day of the week. | ||
| I worked out Sunday. | ||
| I worked out every day. | ||
| I never took time off. | ||
| I was there for hours every day. | ||
| I'd just eat food, go there, and I'd be starving by the time I left, and then head home and go back again. | ||
| You're blessed, brother, because you have something. | ||
| That most people don't have that. | ||
| They don't have that. | ||
| Everybody has the intensity in the beginning. | ||
| When they see something, they're like, I want to do this. | ||
| I want to say, I do it. | ||
| I get all pumped up. | ||
| I'm like, this is it. | ||
| This is all I want to do. | ||
| And then it's like, you don't want to suffer. | ||
| You don't want to put the work in. | ||
| That's the difference between we both love jujitsu. | ||
| Well... | ||
| To love something, you gotta know it. | ||
| You have to know it, right? | ||
| You can't love something you don't know. | ||
| Well, I love it, but you know what I don't love? | ||
| Obviously, I don't love the mornings, getting the cold gi on. | ||
| You know, there's things about getting in with a... | ||
| You know what I'm saying? | ||
| Getting on the mats. | ||
| They're sweaty. | ||
| They've been there since like... | ||
| 5 o'clock in the morning. | ||
| I've got to travel to do it. | ||
| It's going to hurt. | ||
| These guys are coming after me. | ||
| It's like you're in there and I'm nervous. | ||
| So I stop. | ||
| I get back into it. | ||
| I'll let it go for a while. | ||
| You do. | ||
| You go through that. | ||
| And you become... | ||
| You overcome those little things. | ||
| And it's like that's how you grow. | ||
| It's like I get right up to the edge of it and then I'm like... | ||
| I just... | ||
| So I don't love it as much as you. | ||
| It's like you have to... | ||
| You have to... | ||
| You commit. | ||
| You have to suffer. | ||
| You have to suffer. | ||
| That's the only way you're going to show your love for anything is you got to suffer for it. | ||
| There's got to be that. | ||
| You've got to overcome that. | ||
| Otherwise... | ||
| You don't. | ||
| You die. | ||
| Everybody has two people inside of them. | ||
| Everybody has the person inside of them that wants to go to sleep, the person inside of them that wants to quit. | ||
| That guy's winning, by the way. | ||
| That's the guy who you see before you right now. | ||
| And the other guy that's like, no, this is what you need to do. | ||
| But the problem is, with a lot of people, that other guy that's like, no, that's what you need to do, that person's really timid. | ||
| And that person, they just, well, maybe it'd be better if we just went for a run. | ||
| Like, shut the fuck up. | ||
| I'm gonna eat chips. | ||
| And that timid version of you is what you need to cultivate into being, like, the boss. | ||
| That's the boss. | ||
| So I have a boss. | ||
| My boss is that voice. | ||
| I let that voice win every time. | ||
| I love it. | ||
| That voice says, shut the fuck up and get in the cold water, pussy. | ||
| That's dying to yourself, man. | ||
| That's literally saying, I'm not going to go where I'm comfortable. | ||
| I'd much rather do this. | ||
| I'm sure you'd... | ||
| You know, much rather do something than jump in a cold plunge every, you know, get a cup of coffee and go hang out and talk, you know. | ||
| You do that, and that's something I need to do more and more. | ||
| Like, we all do. | ||
| It's like, it's the only way you're gonna embrace it and get better at things. | ||
| I'm trying, literally with flying, like I used to, I drive everywhere these gigs, and it was getting so much that I'm like, I'm afraid of flying, but I'm like, I gotta just die to myself. | ||
| Just do this. | ||
| Have faith. | ||
| You're gonna be fine. | ||
| Just do it. | ||
| And each time you do it, you're like, all right, we did it. | ||
| And you have a bad fight, and you're like, I'm not doing that yet. | ||
| But it's like, you know what I'm saying. | ||
| You just gotta give the boss some strength. | ||
| Yes. | ||
| And the boss has to win a bunch of battles. | ||
| And when the boss wins a bunch of battles, and he wins them every day, then eventually the boss becomes a louder voice. | ||
| And then you get it to the point where the boss gets to tell you what to do and you don't deviate. | ||
| And even though you have all those feelings, every time I lift the lid on the cold plunge, I'm like, let's not do this. | ||
| Every time. | ||
| But the boss is like, shut the fuck up. | ||
| The boss gets mad if those voices pop up. | ||
| So I'll make you do an extra minute, bitch. | ||
| Get the fuck in there. | ||
| I love it. | ||
| And there's two pieces of advice I always give comics, or just young men in general. | ||
| Aspire to be the person you pretend to be when you're trying to get laid Just be that person. | ||
| Instead of pretending to be that person, become that person. | ||
| Become a person that you would admire. | ||
| It's possible to do. | ||
| If you can pretend to be that person, you can actually be that person. | ||
| Aspire to be that person. | ||
| And then the second one is, live your life like a documentary crew is following you around. | ||
| Live your life like as if you wanted the whole world to go, wow, that guy's really killing it. | ||
| Like, I love the way that guy handles things. | ||
| And then... | ||
| You're gonna fail. | ||
| You're gonna fuck up. | ||
| You're a human. | ||
| Everyone's gonna fall into a, like, God, what a loser I am. | ||
| Just go back with the same ethic. | ||
| Get back into it with the same mindset. | ||
| Live your life like a documentary crew is following you around everywhere. | ||
| How would you want to be seen? | ||
| Well, be that person. | ||
| Actually be that person. | ||
| Become that person. | ||
| You can become that person. | ||
| It's funny. | ||
| We're doing that now. | ||
| We started in January, and I think I might have went up four pounds. | ||
| I don't even know. | ||
| It's like, you know, because I go down, and then it's like, but you're right. | ||
| You're right. | ||
| And I'm going to show it all, you know, because that's what it is. | ||
| It's the struggle. | ||
| It's the process. | ||
| Dude, you just need a hype man. | ||
| If we were neighbors. | ||
| Oh, buddy. | ||
| By the way, I love Austin. | ||
| I'm coming here. | ||
| I would be here every day. | ||
| Come move here. | ||
| Fucking move here. | ||
| Move here. | ||
| The club's always available. | ||
| You'll have fun. | ||
| Great place to work out. | ||
| Come here to my gym. | ||
| We can work out together. | ||
| We've got a beautiful gym here. | ||
| Dude, I think I'm just going to rip my kids out of school. | ||
| We're going. | ||
| Let's just do it. | ||
| It's great here, man. | ||
| It really is great here. | ||
| The people are so friendly. | ||
| The way they treat freedom here is like a religion. | ||
| Freedom is a different thing in Texas. | ||
| They are not interested in controlling what you buy and where you go and what you do on your land. | ||
| You can own a zebra. | ||
| They don't give a fuck. | ||
| There's more wild tigers, or there's more tigers, actual tigers, in captivity, in private collections in Texas, than there are of all of the wild of the world. | ||
| That's insane. | ||
| Well, you just sold me. | ||
|
unidentified
|
People who have tigers! | |
| I need zebras and tigers. | ||
| I drove by a place the other day that had giraffes. | ||
| People who have giraffes. | ||
| That's incredible. | ||
| You can have whatever the fuck you want. | ||
| If it's your land, they just leave you alone. | ||
| They're like, this is your land. | ||
| You do whatever you want. | ||
| You know? | ||
| And the comedy here, they love it. | ||
| It's booming! | ||
| I got my beard trimmed at a place just yesterday, and they were talking about the mothership. | ||
| They go, and it's great. | ||
| It's a whole different vibe here, and everybody's great. | ||
| And I'm like, really? | ||
| And he was like, oh, yeah. | ||
| Well, this is the first time in our lives where a scene emerged. | ||
| There was kind of a little bit of a scene here in Austin. | ||
| There was a few clubs, a few comics, some good comics came out of Austin, for sure. | ||
| But there was no real scene where a bunch of assassins lived in town. | ||
| And now there's like Shane Gillis lives here. | ||
| Duncan Trussell lives here. | ||
| Tom Segura lives here. | ||
| Christina Pazitsky lives here. | ||
| Tony Hinchcliffe lives here. | ||
| David Lucas lives here. | ||
| It's like, holy shit, Brian Simpson lives here. | ||
| Tim Dillon lives here. | ||
| He's got a house. | ||
| He's got multiple houses. | ||
| He lives everywhere. | ||
| But there's so many killers here. | ||
| It's just every night you go to that club and it's just packed with great comedy. | ||
| You know what it is? | ||
| I'm telling you. | ||
| It's community. | ||
| I don't have that. | ||
| I have it in little bursts when I'm with people on a movie set or whatever it is, but it's like I don't have that in my everyday life. | ||
| I need that. | ||
| I really think that's a big thing. | ||
| Because I need the hype man. | ||
| But I need to be in that group where you just start doing it. | ||
| I did one training camp with Weidman and those guys earlier on. | ||
| With Aljo and these guys. | ||
| And, you know, I just jumped in with them. | ||
| And it's like, I was with them for, I don't know, a few weeks, three weeks, you know, and then I had to go out. | ||
| But it was like, you developed this brotherhood. | ||
| Yes, it was so much fun. | ||
| It was, you know, going through everything, you're eating together, you're running sprints together. | ||
| And I was like, whoa, this is really, really cool. | ||
| Well, that's one of the great things about fight teams, especially like Cerro Longo. | ||
| It's like, those guys are so tight. | ||
| They're all friends. | ||
| They're great, always. | ||
| Such a tight group. | ||
| They're all friends, and they've got so many killers there, too. | ||
| Jesus Christ. | ||
| Aljo, Merab, Chris Wyman. | ||
| Merab, this is the funniest thing ever. | ||
| I came my first day on the camp, whatever, and they were sparring in the octagon, and I had my headgear on, and everybody's pairing off with everybody. | ||
| You know, Wyman goes, you know, and Longo's setting it up. | ||
| Just, you guys go with it, you guys, everybody, and switch it around, this and that. | ||
| And I was, like, worried. | ||
| I go, Chris, I don't want to go in. | ||
| You know, just get in there. | ||
| Get in there. | ||
| Just mix it up. | ||
| And I'm going, I'm not even a fighter. | ||
| I can't do this. | ||
| You know, whatever. | ||
| I got in there. | ||
| Everybody else. | ||
| Aljo knows me. | ||
| You know, these guys know me. | ||
| Marab thinks I'm a fat, old fighter. | ||
| Like, he thinks he doesn't know anything. | ||
| I get the headgear on. | ||
| He doesn't recognize me as an actor. | ||
| And he starts dancing around. | ||
| I'm going, whoa. | ||
| I know right away. | ||
| He doesn't know I'm an outside guy. | ||
| He thinks I'm a guy in a cam. | ||
| And he just starts going crazy. | ||
| And I go, oh my god! | ||
| And I'm throwing punches. | ||
| And this guy's moving around like crazy on me. | ||
| And I'm like, I'm looking for Weidman. | ||
| And it was amazing. | ||
| He was the sweetest guy ever. | ||
| But I got lit up by him in two seconds. | ||
| I take it off. | ||
| I go, I'm an actor, man. | ||
| That guy does not get tired. | ||
| Nothing. | ||
| He's wild to watch. | ||
| Do you see him with Henry Cejudo? | ||
| He's got Henry Cejudo picked up over his shoulders. | ||
| And he's talking. | ||
| And he walks him over towards Mark Zuckerberg. | ||
| That's it. | ||
| It's Henry Cejudo. | ||
| That's an Olympic gold medalist. | ||
| And you're carrying him around like he's a kid in a schoolyard who fucked up. | ||
| It's a different... | ||
| Oh man, he's an animal. | ||
| Merab is an animal. | ||
| And the sweetest guy. | ||
| The best. | ||
| Yeah, he was really cool. | ||
|
unidentified
|
The best. | |
| I love that dude. | ||
| And everybody loves him. | ||
| The response he gets from the audience, people love him. | ||
| His last speech was so ridiculous. | ||
| When he wins, he just gets so fired up. | ||
| He's amazing. | ||
| They fucking love Merab, man. | ||
| Look at that. | ||
| Look at him. | ||
| That's Henry Cejudo, dude. | ||
|
unidentified
|
That is crazy. | |
| You have to understand how crazy it is that he's carrying around that guy on his back. | ||
| With a smile. | ||
| Two division UFC champion. | ||
| He won the flyweight medal, the flyweight belt, and he won the bantamweight belt. | ||
| And Marab is literally toying with him. | ||
| He's smiling and carrying him. | ||
| I mean, that is so wild to see. | ||
| That was one of the most shocking things. | ||
| I mean, I've seen a lot of shocking things of people getting knocked out. | ||
| I've seen a lot of things. | ||
| But to see someone treat Henry Cejudo like that, carry him around like that, laughing with a smile on his face, it was like... | ||
| Now I can say I sparred with that guy. | ||
| There you go. | ||
| But yeah, that camaraderie, we needed as comics. | ||
| That's why we opened up the club. | ||
| We opened up the club because we realized that one of the functions that the Comedy Store had for all of us, it was home base. | ||
| We had a home base, and it was a great old club with this amazing history, and we were proud to be a part of it. | ||
| And so we'd all get together, and we were proud. | ||
| We were Comedy Store comics. | ||
| It was fun. | ||
| You'd go out on the road, and you'd come back home, and you'd see family. | ||
| Yeah, and some of the best shows that we would have all year would be like Tuesday night, Wednesday night shows at the store. | ||
| We'd go there, and it was just so fun. | ||
| And everybody's just so happy to be around each other, other comedians, just have fun and talk about jokes and talk about stand-up. | ||
| And then when we came out here, I was like, well, there's no home base. | ||
| There's no home base. | ||
| We did the Vulcan, but it's not set up good for a green room. | ||
| I was like, we need a real home base. | ||
| And then I started looking. | ||
| I started looking right away. | ||
| And the first place I bought was a cult theater. | ||
| It was owned by a cult. | ||
| That fell apart. | ||
| And then we got this opportunity to get that place on 6th Street. | ||
| And I was like, alright, this is it. | ||
| And then we just started building. | ||
| And it's better than I ever could have hoped. | ||
| It's a real community now. | ||
| You go into that green room and there's like fucking 20 dudes in there just talking. | ||
| Laughing, having fun. | ||
| Soder's there and Lewis is there. | ||
| It's like people from the road, guys from New York, guys from LA, people are coming in and out of town every week. | ||
| It's fun, man. | ||
| I miss that, man, because I have it when Sandler goes on tour and he'll bring me out and I go with him and it's just so much fun. | ||
| It's so much fun, man. | ||
| That's what we're missing. | ||
| If you're the guy who just does the theaters and you're with your family all week and then you have your opening act and you go on the road, it's not the same experience. | ||
| It's not. | ||
| I've been that for years. | ||
| That's the guy I am. | ||
| I miss it, man. | ||
| I really do. | ||
| Come to Texas, Jimmy. | ||
| I know. | ||
| Come on, buddy. | ||
| I got you. | ||
| You gotta... | ||
| Once I take this... | ||
| It's a good place to live. | ||
| Alpha brain, man. | ||
| It's gonna change everything. | ||
| I wanna take those Weidman pills. | ||
| Do we find out what the fuck they are? | ||
| I'm gonna bring them in to you. | ||
| I have some. | ||
| Just try them. | ||
| And be... | ||
| I'm ready. | ||
| You're gonna be honest. | ||
| I'm gonna try them right away. | ||
| I can't wait to try them. | ||
| In my mind, I've already tried it. | ||
|
unidentified
|
It had me wrestling in D.C. That's ridiculous. | |
| Wrestling in D.C. and playing golf. | ||
| That was the fun one. | ||
| I go in to pummel him just messing around while he's holding a golf club, and you just feel, you're like, oh my gosh. | ||
| He's a bear. | ||
| Oh my gosh. | ||
| Two-division champion, man. | ||
| You're almost like you're playing with him, but you get scared. | ||
| It was like I was with Boss. | ||
| You introduced me to Boss. | ||
| You got me to Boss. | ||
| When I met Boss, I remember I first had... | ||
| It was just the King and Queen started, and I was like, we could have this guy come and train us. | ||
| This guy that we used to watch, you know... | ||
| Yeah. | ||
| What was it on... | ||
| Pancrase. | ||
| And he had the high boots and stuff like that. | ||
| And then I was like, whoa, man, we can get this guy to our dressing room, and we can work out with him. | ||
| I had a little space on the set where we would train, and I brought him in that first day, and he couldn't even speak English. | ||
| It was me and Rock, and I think my brother was there. | ||
| And I'm talking to him and trying to keep the conversation going, and he's just sitting here. | ||
| He doesn't even know what's going on, really, just looking at me. | ||
| And then those guys left the room And I felt like I was in the room with, like, a leopard. | ||
| You know, like, where you go, where you're feeding, as long as you're feeding a conversation stuff, it's okay, keeps eating it, and then it looks at you again. | ||
| He was just looking at me, and I ran out of conversation. | ||
| I ran out of conversation. | ||
| I'm like, alright, so, uh... | ||
| And he's just looking at me, and I'm like, this is a different human in front of me, you know? | ||
| Especially back then. | ||
| Oh, gosh. | ||
| Things could go bad. | ||
| Yeah. | ||
| Boston was a scary dude. | ||
| Dude. | ||
| In his fighting days. | ||
| He was the first guy that the UFC hired that I got excited about. | ||
| Right. | ||
| Because he was a guy that I knew who he was, because I had seen him fight in Pancrase, and He was one of the very first high-level strikers that made it into MMA, that Dutch kickboxing style. | ||
| Oh, yeah. | ||
| In Pancrase, you'd have to hit with the palms. | ||
| And Boss figured out that instead of bitch-slapping people, you just spear them with your palm like a punch. | ||
| Spear them? | ||
| And he would say he would hit this part of the wrist, as opposed to even the palm. | ||
| He hit the bone. | ||
| His bone. | ||
| And he would just work the bag. | ||
| Yeah, he worked the bag with his palms. | ||
| To develop that power. | ||
| And he had this crazy ability to pull his hand back. | ||
| Like, his hand, like, my hand doesn't really go much back further than that, but Boss' hand goes way back, like this. | ||
|
unidentified
|
Yeah. | |
| But he's got these freaky long fingers. | ||
| Crazy hands. | ||
| Weird. | ||
| He's a weird... | ||
| He's a real freak. | ||
| Every injury I have... | ||
| To this day, from turf to intimate, came from him. | ||
| He's the greatest guy in the world, by the way, once we got to know each other. | ||
| Oh, he's awesome. | ||
| He's one of my best friends. | ||
| We threw mats in my garage in Sino, I remember, and he would come over and train me, and we would start on our knees and stuff like that, and I remember one time, we would just start on our knees, and we were locked up, and I remember I out-muscled him, and I pulled him to the side, and then two seconds later, he reversed me, and I was like, whoa, but I got him right there. | ||
| That was pretty sick. | ||
| And the next go we had it. | ||
| He pushed, he goes, you don't have it. | ||
| He rolled me back and I heard a pop. | ||
| And I thought it was my knee, but it was my toe, my big toe. | ||
| Oh no, turf toe. | ||
| Fur, still here. | ||
| Really? | ||
| Yeah, yeah. | ||
| Never got rid of it. | ||
| These pills help! | ||
| These pills help that. | ||
| These pills should be the back of a wagon. | ||
| This is for everything. | ||
| Diarrhea, gonorrhea. | ||
| I just want to make sure. | ||
| You're going to be like, dude, they do nothing. | ||
| I bet they do something. | ||
| I guarantee if you're having that kind of experience with them, they do something. | ||
| I just wish I knew what they were. | ||
| So does the audience. | ||
| Well, I'll find it out for you. | ||
| I don't want to do it now when we don't have it. | ||
| Why don't you go grab them? | ||
| Go grab them and bring them in here. | ||
| I want to know what they are. | ||
| How are you going to know? | ||
| Will you look at it and know what they are? | ||
| Yeah. | ||
| Well, is it just the pill by themselves? | ||
| It's a pill by themselves. | ||
| Oh, there's no bottle? | ||
| No, no, no. | ||
| It's sketchy. | ||
| No, no, no. | ||
| It's not sketchy. | ||
| This shit just got sketchy. | ||
| I promise you it's not sketchy. | ||
| No, no, no. | ||
| Because it was a company. | ||
| I'm telling you. | ||
| We will figure it out. | ||
| Okay. | ||
| You're going to love this stuff. | ||
|
unidentified
|
Yeah. | |
| I don't know about all this. | ||
| No, I think you will. | ||
| You and I will sit down with this stuff, and I'm telling you, we're going to save the world with this stuff. | ||
| If an old man is telling you this, I am, you know, I'm telling you. | ||
| It's the one thing that's like, whoa. | ||
| Dude, we're both old now. | ||
| Isn't that wild? | ||
| Remember when we were kids? | ||
| Never thought you were going to be an old man. | ||
| Never. | ||
| Never. | ||
| How am I going to be an old man? | ||
| How is that possible? | ||
| I'm a young guy. | ||
| I'm always a young guy. | ||
|
unidentified
|
Still a young guy. | |
| That's exactly it. | ||
| Also, you never got beaten down by life. | ||
| Because you have a great job. | ||
| If you have a job that sucks, you can get beaten down by life. | ||
| But if you have a job like we have, we enjoy our job. | ||
| It is what we do for work, but it's also what we enjoy. | ||
| And it is work, but it's fun. | ||
| It's great. | ||
| The stress in work is different. | ||
| But they say you're only as happy as your least happy kid, right? | ||
| Oh, that's true. | ||
| So it's like when you've got that going on, it always bounces it out where you're like, man, the greatest life here ever. | ||
| And then it's like, oh my gosh, I've got to deal with this. | ||
| Yeah, and it's not easy for kids. | ||
| No. | ||
| Especially today with social media and just the weirdness of the world. | ||
| I mean, if you're a fucking kid today, you're a 15-year-old kid and you're in high school and you see what the president is, you're like, what? | ||
| That's the guy running the world? | ||
| What is happening? | ||
| How crazy is this? | ||
| And then you've just gone through COVID, so everyone's confused. | ||
| What happened? | ||
| Why was that locked up for two years? | ||
| What happened? | ||
| Now here you are, you're about to make it out there in the world, and you're on social media all the time. | ||
| It's a tough ride for kids today. | ||
| It is a very, very, very tough ride with new challenges that we never had to experience. | ||
| Dude, my oldest daughter is on the spectrum, and so we started seeing this anxiety and this disconnection, and it was She developed, you know, these tics, you know, I mean, like really bad, where she started like hitting herself, you know, like couldn't, uncontrollable. | ||
| She's a big, strong girl, you know. | ||
| She was about, I think, 16, 15 at the time. | ||
| And, you know, I remember, I mean, it was so scary for me that I had to lay on her at night and hold her down. | ||
| And I, you know, I'm pretty sure she was hitting so hard and she's apologizing. | ||
| She's like, "I'm sorry that, you know, like, I'm doing it." And I'm like, "What are you kidding me?" - It was just, it broke my heart. | ||
| So we brought her to the hospital. | ||
| We went to the hospital to find out what, we didn't even know what this was. | ||
| And you know, where it was coming from. | ||
| So they got her to calm down and she was still ticking and stuff. | ||
| And I talked to the neurologist, is that what it is? | ||
| I guess, I don't know, the doctor, you know, and I go, what is this? | ||
| What can we do? | ||
| And he said, he basically said, she's developed these ticks. | ||
| It's like, You know, this is something you're just going to have to learn to deal with. | ||
| You know, you're going to have a child like this and you have to prepare yourself that you and your wife are going to have to, you know, deal with this for the rest of your life this way. | ||
| And I was like, there's got to be a different way. | ||
| He's like, there's no way of really... | ||
| We don't know, you know. | ||
| And I just... | ||
| I went... | ||
| Oh man, it crushed me. | ||
| So it was like me and my wife were like, what do we do? | ||
| And my wife read this book. | ||
| She was just doing all this crazy research and she found this book, Disconnected Kids. | ||
| And it was by Dr. Robert Melillo. | ||
| So, you know, I got involved with him. | ||
| I called him and he literally took my daughter. | ||
| He goes, I know what this is. | ||
| He goes, it's okay. | ||
| He says, I can work with her. | ||
| And we were just out of, like, we were lost. | ||
| We didn't know what to do. | ||
| I mean, violent. | ||
| You know, it was like, oof. | ||
| So we took it to this doctor, and within two weeks, no drugs, anything, two weeks, ticks were gone. | ||
| And he said, they're going to still be there. | ||
| They're going to come up every once in a while. | ||
| But he fixed her, man. | ||
| And I'm like, whoa. | ||
| It blew my mind, man. | ||
| It's like, so I was like, I just want to give other parents hope. | ||
| And I knew another guy who had a daughter who's severely autistic. | ||
| And, you know, she was nonverbal and, you know, violent too. | ||
| And he said, he goes, and he worked with them. | ||
| And she's getting so much better now in speaking. | ||
| And it's an amazing thing this guy does. | ||
|
unidentified
|
He's great. | |
| How is he doing it? | ||
| What is he doing? | ||
| I don't know at all. | ||
| You know, he works with the brainwaves and, again, not a doctor, but there's no, you know, medication in there involved, which was very important, because that's what they were recommending to the hospital, just put her on some medication. | ||
| And turn her into a zombie. | ||
| Exactly. | ||
| I can't do that. | ||
| And she's so much better. | ||
| She still has the tics every once in a while, you know? | ||
| But she's great. | ||
| She's connected. | ||
| He gets her connected. | ||
| He does all these, like, brain things, and he works with the, you know, and how it all ties into the motor, you know, whatever that is. | ||
| It's so fascinating. | ||
| It is. | ||
| And he's another guy who's like, I really... | ||
| Is this it? | ||
| I've been told via your assistant this is what it is. | ||
| Okay. | ||
| There's no name for it, apparently. | ||
| No name for it? | ||
| Yeah. | ||
| What do you mean there's no name? | ||
| What do you mean there's no name? | ||
| Okay, so it has ashwagandha, shatavari, kavach seed, fenugreek seed, papali, guaduchi, shijalit, oh, shalajit. | ||
| Shalajit. | ||
| I've heard of that stuff before. | ||
| I've heard of Shalajit. | ||
| Gokshura and Santhi. | ||
| Oh boy. | ||
| Boy, that's a mouthful, isn't it? | ||
| I think it's not that the ingredients are that unique. | ||
| I think it's the fact that the way they do it is, I don't know, that he says he doesn't use... | ||
| Anything that's been... | ||
| He throws out a majority of it. | ||
| That's why it's hard to come by. | ||
| And it's active ingredients for everything. | ||
| They could sell you all this stuff. | ||
| But if you don't get it from the right place, it's just not going to do anything. | ||
| Whatever it is, I give it to you. | ||
| Really? | ||
| Okay. | ||
| I'm interested. | ||
| I've never tried ashwagandha. | ||
|
unidentified
|
Here's something that has the same ingredients. | |
| I'm not saying this is it. | ||
| This just has the same ingredients. | ||
| Influence 650 herbal supplements. | ||
| Healthy skeletal muscular response. | ||
| Maintain healthy skeletal muscular system. | ||
| Okay. | ||
| Interesting. | ||
|
unidentified
|
Give it a shot. | |
| Send me that. | ||
| Send me that, Jamie. | ||
| That has the same ingredients? | ||
| I mean, I literally copied and pasted and Googled. | ||
|
unidentified
|
They're showing the same thing, same dosage. | |
| That looked like a bullshit low-res image company. | ||
| That's right. | ||
| Try it. | ||
| Okay. | ||
| I know nothing. | ||
| I'm going to try it. | ||
| Thank you. | ||
| I'm excited. | ||
| And I'm excited to try this. | ||
| You give it to everybody? | ||
| I need this. | ||
| Anybody who's like... | ||
| I just... | ||
| For me. | ||
| I want it for me. | ||
| Yeah. | ||
| And I know I'm not gonna, you know, if it does, I sense to be it. | ||
| Like, I'm like, if it's not working, it's not working. | ||
|
unidentified
|
Actually, here you go. | |
| It's on Dolce's website. | ||
| If it works for me. | ||
| Oh, Dolce has it. | ||
| Yes. | ||
| Okay. | ||
| That might be it. | ||
| It must be it. | ||
|
unidentified
|
It must be it, yeah. | |
| If it's on his website, that's it. | ||
| Infla650. | ||
| Okay. | ||
| But, uh... | ||
| Yeah, it works. | ||
| Herbs work. | ||
| There's a lot of them that work. | ||
| Yeah. | ||
| Some of them are really good. | ||
| That's what's interesting about pharmaceutical drugs is the vast majority of them are sourced originally from plants. | ||
| A lot of them from the Amazon. | ||
| They've come up with a bunch of different pharmaceutical drugs just based on compounds they found in the Amazon. | ||
| I don't even know. | ||
| Yeah. | ||
| I know nothing about this stuff. | ||
| So when you started doing this documentary, what was the purpose? | ||
| To find out the process, because it's like, I'm going to do a movie right now. | ||
| Every time I try to get in shape, it's always like, I always have to get in shape. | ||
| It's almost like a fighter who fights and then gets so out of shape again, it's like, well, that's it. | ||
| I mean, I shot a movie... | ||
| Two years ago, where I play an exorcist priest, like, and I wanted it to be, like, it was really crazy horror, like, legit story. | ||
| So I wanted to be, look a little different, be, you know, write in the part and just have a different character. | ||
| So I got down to 230. I really worked hard, you know, like, that's low for me. | ||
| And shot it and thought we were done with it. | ||
| And I got to pick up a couple scenes. | ||
| I'm 280. No! | ||
| Dude, I'm gonna have to look like either right in that this priest got stung by a bee and it just swelled up or I got to get in shape for it. | ||
| So I got to get in shape for it. | ||
| I got to get back down to that again. | ||
| How much time did you have? | ||
| I have as much as I, you know, we'll shoot it when I'm ready, but it's like, it's waiting there to do a couple scenes where- 50 pounds? | ||
| How long does it take for you to lose 50 pounds? | ||
| I could lose it really quick. | ||
| I could fast and lose it. | ||
| Seriously, I can lose it and... | ||
| I could lose it quick. | ||
| Like how many weeks? | ||
| For 50? | ||
| I could do it in a month. | ||
|
unidentified
|
What? | |
| That sounds so insane. | ||
| Less than a month. | ||
| Really? | ||
| 50 pounds? | ||
| That's amazing. | ||
| I can do it fast. | ||
| Fasting, just not, you know, but that's eating nothing. | ||
| You must feel like shit, though. | ||
| No. | ||
| No? | ||
| No. | ||
| When I fasted, I didn't, you know. | ||
| How many days have you fasted in a row? | ||
| You don't want to know. | ||
| How many days? | ||
| 41 and a half. | ||
| What? | ||
| 41 and a half. | ||
| You went 41 days with no food? | ||
| Water. | ||
| And a little salt in the water, like electrolytes. | ||
| And I lost. | ||
|
unidentified
|
Wow. | |
| Yeah. | ||
| See, when I lock on, I can do something. | ||
| Oh, I know that. | ||
| But that's a crazy lock on. | ||
| 41 days. | ||
| How much did you lose? | ||
| I was fasting for... | ||
| It was mental. | ||
| It was like I felt so bad for my daughter. | ||
| I said, I'm going to do this for you. | ||
| It was something that I could do and apply it to. | ||
| And it was so emotionally tied into me. | ||
| And I started fasting. | ||
| And I go, I didn't say I'm going to do 40 days. | ||
| I just said, I'm going to do whatever I can. | ||
| I'm going to start fasting right now. | ||
| And I was praying for her. | ||
| I was worried. | ||
| And I did like four or five days, and I was getting through it, but I was wanting to get off it then. | ||
| I was like, well, I've got to start to eat because I'm really hungry. | ||
| And I went and I talked to my daughter. | ||
| I go, how are you feeling? | ||
| She goes, I've been feeling good. | ||
| She goes, have you been fasting for me? | ||
| And I go, yeah. | ||
| And she goes, thank you so much. | ||
| And I literally went, okay, I've got to keep going. | ||
| I couldn't stop then, so I just kept going day at a time. | ||
| But it's amazing how your body, you don't need it. | ||
| As long as you have fat on you like that. | ||
| I lost, I think, like 60 pounds. | ||
| Wow. | ||
| Yeah. | ||
| Yeah, there's that guy that was in the 1960s, right, Jamie? | ||
| That one dude, he fasted for 360-something days. | ||
| He was really big, right? | ||
| Yeah. | ||
| Yeah, you can do it. | ||
| All he did was just take IV vitamins. | ||
| Yeah. | ||
| Just water and vitamins. | ||
| I didn't even take vitamins. | ||
| Like, you don't need anything, you know. | ||
|
unidentified
|
Wow. | |
| And I felt... | ||
| You took no vitamins. | ||
| Nothing. | ||
|
unidentified
|
Wow. | |
| It cleansed everything out of me. | ||
| I'm not saying it's the way to go for everybody. | ||
| I don't know. | ||
| There's definitely some health benefits to fasting, especially short-term fasting. | ||
| But if you're big and you can do it, why not? | ||
| That's it. | ||
| It's like, well, how are you going to survive? | ||
| Your body eats fat. | ||
| That's it. | ||
| That's what it was doing. | ||
| And you probably had good energy. | ||
| I was pretty good for a while, and then you'd have these dips, and you'd feel like, wow, I feel miserable. | ||
| I'm off. | ||
| I'm done. | ||
| And then you fight through it, and the next day you wake up, you're like, I'm okay. | ||
| It's like, keep going. | ||
| Just keep going. | ||
| Your body just says, all right, this is what we're dealing with. | ||
| We're eating fat. | ||
| I literally wrapped up the 41 and a half days at You're Gonna Crack Up. | ||
| I went to Pizza University, which is a university to learn how to make pizzas. | ||
| And I didn't even eat. | ||
| I forgot I had booked it. | ||
| And I'm like, oh my gosh. | ||
| And I go, I'm not gonna kill it while I'm there. | ||
| It was a three-day course where you get like a little diploma. | ||
| I wanted to know how to make the dough and everything like that. | ||
| And I went, oh no, this falls within my diet. | ||
| I just wanted to make it past 40 days. | ||
| And I went down there, and I did the whole thing, and I never ate a bite. | ||
| Wow. | ||
| Yeah, so it was crazy. | ||
| But then you blow back up to this. | ||
| So it's like, that's what the documentary's about. | ||
| The documentary's about the process and finding something where you can help People with their health. | ||
| It is what you were talking about. | ||
| It's just get up and do something. | ||
| Walk. | ||
| Do it a little bit more each day is the key. | ||
| You don't even notice it's happening and all of a sudden you're this active. | ||
| A big part of the key is having other people to deal with. | ||
| That's one of the great things about, like you were saying, training with Weidman and those guys. | ||
| It's like you're in a group where everybody else is working hard too, and it's contagious. | ||
| You get caught up in the momentum, and it's great, and everybody comes out of there feeling better, and you all went through something together. | ||
| Yes. | ||
| That's it. | ||
| That helps. | ||
| It's very hard to do it by yourself. | ||
| It's very hard to do it by yourself. | ||
| It not only helps, it's like we need it. | ||
| I think we're built for that. | ||
| We're made for that community. | ||
| Yep. | ||
| Yep. | ||
| 100%. | ||
| 100%. | ||
| When you don't have it, it's hard. | ||
| Yeah, it's not a good life if you don't have it. | ||
| It's just not. | ||
| You don't want to be by yourself. | ||
|
unidentified
|
Right. | |
| You know, like, you always hear about those, like, Howard Hughes-type characters. | ||
| They're by themselves. | ||
| They're scared of germs. | ||
| They're fucking hiding from everybody. | ||
| Oh, your world gets smaller and smaller and smaller. | ||
| Yeah, the bigger you get, the world gets smaller. | ||
| And it's not good. | ||
| Not good for you. | ||
| No. | ||
| Yeah, you could lose your marbles. | ||
| I'm coming. | ||
| I think I'm coming. | ||
|
unidentified
|
I think you should come. | |
| My wife's hearing this, she's gonna hear this for the first time, but I think this is it, yeah. | ||
| It's a great place to live. | ||
| I look here in Florida and, you know... | ||
|
unidentified
|
Yeah. | |
| This is a great place to live. | ||
| It's fantastic. | ||
| Again, I've never spent time here in Austin. | ||
| I was here for a few days writing and... | ||
| I felt immediately at home. | ||
| Like, the moment I moved here. | ||
| I was like, this is where I was supposed to be. | ||
| Like, it made sense. | ||
| Made sense. | ||
| It's like, of course, Texas. | ||
| I thought you'd never leave LA, too. | ||
| I'm so glad you did. | ||
| That was so cool. | ||
| Well, I had been wanting to leave for a while. | ||
| You know, I tried Colorado for a little bit. | ||
| You moved out even from LA, further out in the stick, right? | ||
| In the hills. | ||
| Yeah, I was out in the hills. | ||
| Yeah. | ||
| I was always trying to be... | ||
| Look, I bought my first house. | ||
| I bought my first house out in the hills on, like, four acres. | ||
| Right. | ||
| Because I was like, I don't want to be around people. | ||
| Right. | ||
| I want quiet. | ||
|
unidentified
|
Right. | |
| I want animals. | ||
| I want to look out my window and see a hawk fly by. | ||
| That's what I want to see. | ||
| That's what I like. | ||
| You got that here. | ||
| Yeah, but that's what I like. | ||
| I don't want to be overwhelmed by people. | ||
| I don't think that's healthy for you. | ||
| And with me, LA just got sketchy during COVID. The George Floyd riots, I was like, this is sketchy. | ||
| I was watching a bunch of looting. | ||
| I saw these kids break into a clothes store. | ||
| I was like, God damn it. | ||
| This is sketchy. | ||
| These cops can't do anything. | ||
| They're overwhelmed. | ||
| And then there's all this defund the police shit going on. | ||
| And everywhere I would go, I would go like, you'd see tents. | ||
| And I was like, this is a society that's fallen apart. | ||
| And if you don't get out now, you're going to get stuck in something unrecognizable. | ||
| This is not what you signed up for. | ||
| When I lived in LA in the 90s, LA was great. | ||
| It was great. | ||
| Kind of a lot of traffic, but other than that, it was cool. | ||
| Great place to live. | ||
| All these comedians and artists and fun. | ||
| Sunny out all the time. | ||
|
unidentified
|
Yay! | |
| We're in the right spot. | ||
| But after COVID, after the George Floyd riots, I was like, uh-uh. | ||
| I'm getting the fuck out of here. | ||
| And then it's just the lockdowns and all the ridiculousness and hypocrisy and just realizing you have to pay attention to how fucking stupid the mayor is. | ||
| I never paid attention to the mayor. | ||
| I didn't give a fuck who the mayor was. | ||
| And then when COVID comes along, I'm like, oh, that guy's a real problem. | ||
| Like, these people can become real problems. | ||
| They can tell you you have to close your family business. | ||
| We've had a business for 30 years, and this fucking dipshit, who shouldn't be managing a fucking Taco Bell, is managing the entire city's economy. | ||
| Like, oh my god. | ||
| And then they went after him, too, which is even great. | ||
| Like, Black Lives Matter was protesting in front of his house, like, 30 days in a row. | ||
| That's what you get, bitch! | ||
| That's what you get. | ||
| It just turns on itself. | ||
| Yeah. | ||
| And then you brought it here and you planted these seeds and look what's growing, man. | ||
| It's just so amazing. | ||
| Luckily, a lot of other comics decided to move out here. | ||
| That was the big one. | ||
| Ron White was the king. | ||
| He was always here. | ||
| Ron White was here before COVID. He knew. | ||
| Ron White, I remember calling Ron White up. | ||
| I go, why are you living in Austin? | ||
| He goes, He goes, I'll still come to the comic store, but I fucking love it. | ||
| He goes, I love Texas. | ||
| I love being here. | ||
| I love living in Austin. | ||
| It's a good city. | ||
| I was like, damn, it sounds like a good fucking city. | ||
| And so when the pandemic came around and we were looking for places to live, we had some friends that were coming to look in Austin. | ||
| I was like, let's look in Austin. | ||
| And we came and we saw this house on the lake. | ||
| I was like, let's go. | ||
| My buddy, I have my buddy, Scott Voss, he lived in New York like most of his life, in the city, and then he just abruptly moved to New Brunfels, you know, New Brunfels, and he's always like a bow hunter and all this stuff, and he loved that stuff. | ||
| It's for bosses. | ||
| Boss is, they're great friends. | ||
| Yeah, Boss is out here too now. | ||
| Yeah, I know, I know. | ||
| I know the whole thing. | ||
| Yeah, he's, they're amazing. | ||
| And he loves it. | ||
| I'm always like, how is it, you know, like, are you, you know, missing New York? | ||
| And he's like, not a stitch. | ||
| You know, it's like. | ||
| You can always visit New York. | ||
|
unidentified
|
Yeah. | |
| I love New York. | ||
| I do too. | ||
| I love to go back and visit. | ||
| I love to visit and eat. | ||
| Yeah. | ||
| Well, I'm on the island, so it's not in the craziness. | ||
| Right. | ||
|
unidentified
|
The island is a different state. | |
| Yes, it really is. | ||
| It's a different state. | ||
| 100%. | ||
| It really is. | ||
| Yep. | ||
| It's a different state. | ||
| It's not New York City. | ||
| No. | ||
|
unidentified
|
No. | |
| It's very right wing. | ||
| Yeah, it's different. | ||
| Yeah, it's much more families. | ||
| Yeah, much more normal. | ||
| Which is what I need. | ||
| Well, I used to love working on the island. | ||
| That was my favorite place to work. | ||
| Governors. | ||
| Yes. | ||
| Chuckles. | ||
| Do you remember Chuckles? | ||
| Yes. | ||
| Is that Mineola? | ||
| It was in Mineola. | ||
| That's right. | ||
| Eastside was great. | ||
| That was a sad day when Eastside died. | ||
| Closed. | ||
| And then they opened another one, Richie, and it just got away from him. | ||
| It was just not a great... | ||
| He took on a massive store, a massive warehouse and started rebuilding it and just got in over his head with stuff. | ||
| The boom was slowing down a little bit and it just got tough. | ||
| Yeah, Long Island has always been a good place for comedy. | ||
| There's always real good comics coming out of Long Island. | ||
| There's always like a Long Island attitude. | ||
| Like you get guys who come into the city from Long Island. | ||
| I was always afraid of that. | ||
| That was another move like, oh my God, making that move to the city. | ||
| People are like, you're going to go to the city? | ||
| I'm like, I'm not going to the city yet. | ||
| I'm not ready. | ||
| I'm not ready. | ||
| I was so scared the first time I performed in the city. | ||
| I was so scared. | ||
| Where'd you go? | ||
| Boston Comedy Club? | ||
| No, Catch a Rising Star. | ||
| Yes, me too. | ||
| Luis Ferranda. | ||
| Yes. | ||
| Yes. | ||
| I was so terrified. | ||
| Wow. | ||
| I thought I was going to bomb. | ||
| I was so nervous. | ||
| I've never been more nervous for a show in my life. | ||
| Because all the greats went through there, you know? | ||
| I remember I watched a video that was online of Richard Pryor. | ||
|
unidentified
|
Wow. | |
| Guess back then I must have watched a tape because this is we're talking about like the early 90s It must have been a tape but I watched a VHS tape of Richard Pryor on stage at catch and I was like oh my god I'm gonna perform in the same place and I knew Richard Belzer had performed there I knew it was just a legendary club. | ||
| I couldn't believe I was there I couldn't believe I was allowed to be on the stage Me too, man. | ||
| Yeah, but when it went okay, it went good. | ||
| I was like, okay. | ||
| And then the next show I did The City, I was like, loose. | ||
| I was like, this is just a crowd. | ||
| These are just people. | ||
| That's it. | ||
| And then I just got loose. | ||
| But the allure of The City was always like, you can't trick them. | ||
| They're going to be the smart people. | ||
| You can trick all those losers that come to see you at a bar in the middle of Massachusetts, but if you're going to go to New York fucking city, you better have your act together. | ||
| Your act has to be tight. | ||
| Stand Up New York, the comic strip. | ||
| The comic strip, remember? | ||
| Eddie Murphy was there. | ||
| Yeah, that was a tough one. | ||
| I'm like, oh my gosh, Eddie was here. | ||
|
unidentified
|
Yeah. | |
| And you see that Chris Rock and these guys, and I'm like, whoa. | ||
| Yeah. | ||
| Well, the clubs in New York, there were so many of them. | ||
| Boston Comedy Club. | ||
| Yeah. | ||
| Dangerfields. | ||
| Dangerfields. | ||
| I played in front of probably three people, right? | ||
| One o'clock in the morning at Dangerfields. | ||
| Yeah. | ||
| I was there once at Dangerfields, and my spot was at 9.30, and I got there at 9 o'clock, and everyone was by the bar. | ||
| I'm like, what's going on? | ||
| There's no crowd. | ||
| And while we were there, two people showed up. | ||
| And remember Bobby? | ||
| Oh, he put the show on? | ||
| Yeah, he was crazy, Bobby. | ||
|
unidentified
|
Welcome to Danger Foods! | |
| You started the show. | ||
| And then the show started. | ||
| Yes. | ||
| And we all did stand-up for two people. | ||
| I love it. | ||
| They were held hostage. | ||
| How could they leave? | ||
| We're going to get out of here. | ||
| This sucks. | ||
| Like, what? | ||
| There's five more guys coming. | ||
| There was something about back then that I miss so much. | ||
| I guess it's the community again, but that whole drive to the newness of being in these clubs. | ||
| The comedy cellar, you know? | ||
| Also, we didn't know if we were going to make it. | ||
| That's it. | ||
| Back then, you were like, am I going to be a real professional, or is this just bullshit? | ||
| Should I think about getting a job job? | ||
| Right. | ||
| I quit my last job way early. | ||
| Did you? | ||
| Yeah, I was working at a place called Granger in the warehouse, just pulling orders. | ||
| It was like an industrial equipment company, and I hated it. | ||
| It was so hot, and I'm miserable. | ||
| And I'm doing an improv class, and a couple dates I have here and there, and I was like, I think I'm going to turn into comedy. | ||
| I think I can make a living of this stuff. | ||
| And it's like, pulled out way too. | ||
| Living at home, my folks, and it's like, I might have pulled out a little early. | ||
| But, you know. | ||
| But that's the way you do it, though. | ||
| You'll find jobs and things to do to make money while you're struggling. | ||
| Right. | ||
| But if you have a net, you'll fall. | ||
| Right. | ||
| You're right. | ||
| You have to be 100% all in. | ||
| Because in the beginning, like in the first days when you and I knew each other, we were just like kind of opening acts. | ||
| Right. | ||
| Which is like, you're not really making much money. | ||
| Right. | ||
| Maybe you could headline some little scrub room in the middle of nowhere. | ||
| Right. | ||
| Make a couple hundred bucks that night, drive to Connecticut. | ||
| You know, so it was precarious. | ||
| Like, who knows what's going to happen? | ||
| I could fall apart. | ||
| We all knew guys who fell apart. | ||
| It was... | ||
| Guys who are like headliners who are big comics and they just fell apart. | ||
| They fell apart. | ||
| They couldn't handle it for whatever reason. | ||
| It's weird. | ||
| Fear of success or just like whatever it is. | ||
| They just didn't know how to go to the next level or... | ||
| I think for them it's a lot of that they didn't have community. | ||
| I think back then even more so than it's a problem now. | ||
| It was way more of a problem back then. | ||
| Because everybody was in competition with each other. | ||
| Nobody looked at other people like other people that are just like me that are out there doing great and so that's awesome for everybody. | ||
| Back then, like, if you and I were friends and there was a Tonight Show host spot available And they were going to talk to you and they were going to talk to me. | ||
| We couldn't be friends anymore. | ||
| Right. | ||
| The people would turn on each other. | ||
| They would backstab each other. | ||
| Like the famous David Letterman and Jay Leno things. | ||
| Right. | ||
| Leno's hiding in the closet. | ||
| Closet? | ||
| Yeah. | ||
| They were in competition with each other. | ||
|
unidentified
|
It was everything. | |
| Did you have a group of guys in Boston around you when you first started? | ||
| Or no, was it just you? | ||
| Me and Fitzsimmons were always tight. | ||
| Right. | ||
| And we started out literally a week apart from each other in open mics. | ||
| And then Chris McGuire. | ||
| I was always tight with Chris. | ||
| And there was a few guys from that era that I stayed friends with that we did a lot of road gigs together. | ||
| And we were tight. | ||
| And that was real fun. | ||
| Mostly Fitzsimmons. | ||
| Because Fitzsimmons, he was a good buddy. | ||
| And we did a lot of gigs together when we were starting out. | ||
| We'd drive to Rhode Island for free. | ||
| And just do open mics in Rhode Island. | ||
| I drove to Allen, Pennsylvania for, I mean, like 20 bucks or something. | ||
| I remember, like, I go, This has cost me more than tolls. | ||
| I was like, but I'm lent. | ||
| Yeah, but that's the only way to do it. | ||
| You have to put in those hours and that time. | ||
| And if you're with someone else who's also doing it, it makes it way easier. | ||
| So yeah, it made it easier for sure to be friends with Fitzsimmons because we were both doing the same thing at the same time. | ||
| But there wasn't a group like we had in L.A. In LA, that was a different thing. | ||
| That was a real brother and sisterhood. | ||
| Everybody was so tight. | ||
| And everybody was so supportive. | ||
| Because it coincided with the internet. | ||
| When the internet came along, then instead of everybody being competition with each other for a sitcom or a TV show, now everybody was on each other's podcasts. | ||
| So now it was only beneficial. | ||
| It was like if I could go do Schultz's podcast, that would make my Netflix special get more people to watch it. | ||
| If I could go do this, it would do that. | ||
| If I could do all these different things, it would actually promote stuff and it would make it bigger and better. | ||
| And then it was like everybody's podcast grew because they were on other people's podcasts. | ||
| And no one suffered. | ||
| There was no negative. | ||
| Like of all the people that I ever had on my podcast that went on to do podcasts and tour and do arenas, it only helped me. | ||
| It only helps. | ||
| It never hurt. | ||
| It only helps. | ||
| It helps them. | ||
| It helps me. | ||
| It helps the audience. | ||
| It helps everybody. | ||
| Helping them is insane. | ||
| I mean, look at the careers you've built from this. | ||
| I just expose people to talented people that already existed, and that benefits me. | ||
| Absolutely, 100%, but it's like you're given this platform and it does, it grows because then they're able to do it and bring up other people and you know... | ||
| And then other people are seeing that and they're applying that in their own lives. | ||
| Yeah, it definitely wasn't okay. | ||
| Back in the day, I felt like I had my brother Gary and Rock and you know, Adam Ferrara and Richie, we had this tight group that we would look out for each other. | ||
| Those guys, you know, we would try to do that, but other than that, it was back It was like they were just trying to get in the way and don't tell this guy about this audition. | ||
| I hated that. | ||
| I hated that. | ||
| Well, that's why I loved hanging out with you and Ferrara. | ||
| You could find good dudes and you all hang together and all enjoy each other's success. | ||
| And do shows together, too. | ||
| That was the most fun thing. | ||
| The best, man. | ||
| Wasn't that the best? | ||
| It was the best! | ||
| Oh, I loved it so much. | ||
| We had so many fun gigs. | ||
| It was such a good time. | ||
| And just to be on the sideline, because you're one of those guys that if I'm laughing hard in the room, you go crazy. | ||
| Oh, you get me nuts. | ||
| You build me up. | ||
| You are. | ||
| You are the hype man, because you'd fire me up. | ||
| Well, I always knew you at your best. | ||
| Right. | ||
| I always knew who you were, like if we were just at a bar and you just start going off about something and we're crying, laughing, you had this ability to get fucking furious about something in the most hilarious way and I was like, you gotta bring Shimmy out. | ||
| I know. | ||
| You gotta bring Shimmy out on that stage. | ||
| You were one of the few guys. | ||
| I'm telling you, you and Sandler are guys that believe in me more than I believe in me. | ||
| You know what I'm saying? | ||
| Really. | ||
| I mean, it's amazing. | ||
| Well, sometimes your special quality is to be comfortable around your friends, and then that's where you show your full potential. | ||
| Right. | ||
| And then it's up to your friends to say, you've got to just carry that with you on the stage, because that's you. | ||
| Like the bit that you do about pulling up to the curb, and the lock cancels out when the girl grabs the head. | ||
| That's a full shimmy bit. | ||
| Yes. | ||
| You built it with me. | ||
| You were like, you gotta go nuts. | ||
| And I was like, more and more and adding in. | ||
| I literally jumped in the audience because you got me. | ||
| When we were up at Montreal, you were like, you gotta go shimmy. | ||
| And I went nuts. | ||
| I jumped on some guy in the crowd. | ||
| I've never done that before. | ||
| Ever. | ||
| I freaked. | ||
| This was like, you know, but that got me my deal. | ||
| That's literally being, you know. | ||
| Yeah, it was awesome. | ||
| It was awesome. | ||
| But that's you at your best. | ||
| But sometimes, like, that's, you know, sometimes people need a coach. | ||
| Right. | ||
| As long as you need a hype man. | ||
| My friends do that all the time. | ||
| We do it for each other. | ||
| They do it to me. | ||
| They'll say, like, Tony, last night we were going over a bit. | ||
| He's like, I really think that when you're saying this, maybe say that first. | ||
| And I was like, damn, maybe you're right. | ||
| And every now and then, someone will see things with fresh eyes, and they've got to pull you aside and go, I think you should do it this way. | ||
| And you're like, ooh, I like it. | ||
| Let me try it. | ||
| And I'll try it the next show. | ||
| And they're like, oh my god, you're right. | ||
|
unidentified
|
That's it! | |
| Think of that. | ||
| It's a comfort level. | ||
| It's a comfort level when you're comfortable with somebody and you get past that, you open up and you know each other. | ||
| That's exactly what it was, like I said. | ||
| We would go out and do these, and that would be it. | ||
| You would give me these things and get me all hyped up, and it changed who I was. | ||
| It changed what I, again, that comedian that with the, you know, standing up there in the middle with the mic stand, and like, you were just that guy to me. | ||
| You were that guy that was just like, you didn't care. | ||
| And I was like, ah, I want to be that, you know? | ||
| I remember one time we were at one of the improvs, the Bray Improv, or one of those improvs, and one of the fucking guys who's working the sound booth goes, what did you do to him? | ||
| I go, that's him! | ||
| That's him! | ||
| That's the real shimmy. | ||
| That's when it comes out. | ||
| Because you were just going nuts. | ||
| You were just going nuts. | ||
| You're like, dude, he goes so crazy when you're here. | ||
| That's him. | ||
| I need you in my life that way. | ||
| I need you to do that with everything. | ||
| I'm telling you, that's what I miss when I'm on my side. | ||
| Because, again, my own captain, I go off the rails. | ||
| I'll start overthinking things. | ||
| You know, that happens with fighters, too. | ||
| I'm sure. | ||
| Fighters decide that they're the boss, and then they don't have a guy like, That happened with Tyson. | ||
| Tyson was with Customato. | ||
| Customato died, and now he doesn't have a boss anymore. | ||
| He doesn't have the alpha. | ||
| He doesn't have this wise person who's overseeing all of it going, no, no, no, not this. | ||
| This. | ||
| And this is why. | ||
| This is why you have to approach it this way. | ||
| Like, yeah, this is why. | ||
| Sometimes people need a coach. | ||
| You need someone around you who knows exactly what's going on. | ||
| I don't care if it's you. | ||
| I need it. | ||
| If I'm writing a movie or doing whatever it is, I need people to say, hey, you've got to see it. | ||
| Because you're in your own head. | ||
| Everything has that same flavor. | ||
| I'm always like, ah, we're writing the same type of movies and this and that. | ||
| Because I'm controlling everything. | ||
| And sometimes I've got to relinquish that control and say, let someone else say, believe me, trust them. | ||
| Just go with it. | ||
| And I struggle with that. | ||
| Because I'm like, no, no, no, no. | ||
| And that's the key to it. | ||
| And I can see that in the fight game. | ||
| It must be like... | ||
| You know, where I take over and I know better and I got to switch camps and do all this stuff. | ||
| Especially if you're the champ. | ||
| Right. | ||
| If you're beating everybody and you think like, I'm fucking everybody up because I'm the best. | ||
| And then your manager is like looking at Clever Lang and Rocky. | ||
| Right. | ||
| He's like, no, this fucking guy is doing the real thing. | ||
|
unidentified
|
Right. | |
| You better watch out. | ||
| You don't see this coming. | ||
| You don't see this coming. | ||
| Yeah. | ||
| And you have to have that guy around you. | ||
| Otherwise, you'll be delusional and you wind up like with a flashlight in your face. | ||
| That's right. | ||
| That's right. | ||
| And, you know, they're wheeling you around in a stretcher. | ||
| That's the thing with success. | ||
| And also the part of success is to get successful, you have to get really uncomfortable. | ||
| And once you get to a certain level of comfort, you're like, I don't want to be uncomfortable anymore. | ||
| I did all that, but that's over. | ||
| I'm done. | ||
| But the only way you keep getting better is to be uncomfortable. | ||
| That's it. | ||
| That's the ice bath every morning. | ||
| That's literally going, you don't have to do this anymore. | ||
| It's like, but why? | ||
| So you've got to build up the boss in your head. | ||
| Like, I made my own coach, because I realized there's not going to be enough coaches around me. | ||
| Like, I had coaches when I was doing martial arts. | ||
| I mean, there was a giant factor for me that I went to that Jehun Kim Taekwondo Institute in Boston, which was like one of the best... | ||
| Best gyms in the country. | ||
| Just dumb luck happened to be there at the right time. | ||
| But once I realized, you're not going to have a coach everywhere, you've got to be able to coach yourself. | ||
| I write out my training routines all myself. | ||
| I write them out. | ||
| So I know what I have to do. | ||
| And I just do it. | ||
| I found an old journal when I was literally... | ||
| I did karate for... | ||
| For, I don't know how many years it was, when I got to like a brown belt, you know, when I was in high school and stuff like that, or a little, just as, I guess it was ending then, maybe it was just going into college. | ||
| I was by a brown belt by then. | ||
| But I never felt that we had a guy named Al Wilson in our school who was a boxer. | ||
| And I was learning all the karate stuff, and I was really good in, you know, I had these, you know, the moves and stuff like that, and the katas down like crazy, crank them out, like rip them, you know, like really powerful. | ||
| And this guy was just different. | ||
| You know, it was boxing, you know, like I didn't have that. | ||
| So I never had that confidence even then. | ||
| Like, as a brown belt, I was like, I need to know something. | ||
| Like, I got to learn something. | ||
| And it really, you know... | ||
| Boxing's an eye-opener. | ||
| Oh, my gosh. | ||
| And wrestling. | ||
| You know, it's like all these things. | ||
| That's what I'm saying. | ||
| As far as that stuff, it's like... | ||
| Those are two big eye-openers, especially if you think that you know how to fight because you know how to do karate, and then you box with somebody, and you're like, oh, this is a totally different thing. | ||
| I've got to learn this now. | ||
| Learn it like I learned everything else. | ||
| I remember when you took me to Beverly Hills Jiu-Jitsu, I remember probably the first class, a guy grabbed me and held me just against his chest, and my face was in his gi, and I couldn't breathe. | ||
| I didn't know what to do, so I reached up, and I was grabbing his throat, which you're not... | ||
| But I was panicking. | ||
| And he was like, whoa, you know, whatever. | ||
| I was like, whoa, I didn't know. | ||
| I just played it off. | ||
| But I was gone. | ||
| I was gone. | ||
| I was going to tap from a chest hold. | ||
| Yeah, people do that in black belt tournaments. | ||
| I do it all the time. | ||
| It's a smother choke. | ||
| Yeah, I can't. | ||
| I can't do that. | ||
| People smother tap people. | ||
| Like, big guys would get on top of people and tuck them in between their pecs and smother them. | ||
| Oh, my God. | ||
| Yeah, I'm out. | ||
| I feel like I'm drowning. | ||
| Yeah, you are kind of drowning. | ||
| Yeah, yeah. | ||
| It's scary. | ||
| It is scary. | ||
| But if you can learn defense of that... | ||
| Yeah. | ||
| Then you're always gonna be safe. | ||
| That's the thing. | ||
| It's like if you can just figure out how to defend yourself in those positions just to stay alive, and it's the worst feeling in the world, to be trapped under someone for five minutes while they're trying to kill you. | ||
| But if you can develop enough confidence that you're safe no matter what, that's what Hicks and Gracie always said. | ||
| He goes, I am always safe. | ||
| He goes, always defense. | ||
| My defense is perfect. | ||
| I am always safe. | ||
| So he never worried about being tapped, because he was always putting himself in these terrible positions. | ||
| He would have black belts start on his back with a fully locked in rear naked choke. | ||
| That's how you have them start. | ||
| Yeah, then you're not afraid of anything. | ||
| You've been there before. | ||
| You've got defense. | ||
| Yes. | ||
| Yeah, you've got your defense. | ||
| If I applied what I think about all day long to actually practicing it, I don't, but I think about it all the time. | ||
| You gotta build that coach up in your brain. | ||
| Dude, I would literally look up things and I go, I would watch everything and be like, I saw Eddie Bravo once say, or I heard that he said, I won't even teach anybody until you can do the butterfly, you can get it to your knees to the mat. | ||
| No, he said you can't get a black belt. | ||
| Oh, is that what it was? | ||
| Yeah. | ||
| You can't get a black belt until you get your knees to the mat. | ||
| Oh, okay. | ||
| I thought he was like, oh, I took it that way and I'm like, I started pushing, but then I faded. | ||
| He gave up on that, by the way. | ||
| Oh, did he? | ||
| Yeah, he gave up on that because he realized you could be a black belt without putting your knees to the mat. | ||
| Yeah, because I can't move. | ||
| It's just Eddie has a very specific style and it's super effective and it's very dangerous. | ||
| He's one of the most dangerous guys ever off his back. | ||
| And so he developed this style based on flexibility and movement. | ||
| And I could always do that because I was very lucky that I... You've always been flexible. | ||
| Because I did Taekwondo when I was really young and I always stretched. | ||
| So I didn't have any problem adopting his techniques, but a lot of people did just because of the dexterity issues. | ||
| I would think, like, because that was like the rubber guard and stuff like that, right? | ||
| And it was like, I was always a big guy, so I didn't know whether in my head I would go... | ||
| I shouldn't train this way because it's not my style of fighting or whatever, or should I be a big guy that can do that? | ||
| And I would go back and forth, and some trainers would be like, you shouldn't do this. | ||
| Don't waste your time doing that. | ||
| You'll never do that. | ||
| And I'm like, well, nothing scarier than a heavyweight that can move around and be like that. | ||
| A heavyweight that can fight off his back is one of the most dangerous guys. | ||
| I can't. | ||
| I get it. | ||
| That was always Noguera's big thing. | ||
| Because Minotauro, back in the day when Minotauro was the Pride Champion, Noguera was a lethal black belt off his back. | ||
| So these guys are so used to wrestling guys and taking them down. | ||
| But you get taken down, you're in Noguera's guard. | ||
| You're in hell. | ||
| Fabricio Verdum, he tapped all the greats from his back. | ||
| Fabricio Verdum, he tapped Fedor from his back. | ||
| I mean, come on, man. | ||
| Fedor, from his back. | ||
| He was the first guy to beat Fedor. | ||
| And everybody was like, holy shit. | ||
| And the way he did it with just pure jiu-jitsu, he got him an armbar triangle combination. | ||
| He's like, this is a checkmate, motherfucker. | ||
| Just slap that down. | ||
| Boy, Fabricio Verdun had the most wicked of all guards. | ||
| He tapped all the greats. | ||
| He tapped Cain Velasquez. | ||
| He tapped Minotauro. | ||
| He tapped Fedor. | ||
| He tapped some of the greatest of all time. | ||
| That guy tapped. | ||
| Off his back! | ||
| That's crazy. | ||
| That's what I have to... | ||
| I literally... | ||
| I have to get back to it. | ||
| I really got to get back to it because that fear of those positions that you just don't want to ever get in. | ||
| It's the suffocation. | ||
| It's this and that. | ||
| And every time I start up again, I hate the warm-ups. | ||
| The warm-ups. | ||
| I'm like dizzy. | ||
| I'm doing these crab walks and stuff. | ||
| I'm already out. | ||
| But it's like, I have a guy that Weidman hooked me up with. | ||
| You know, I was going to go to Sarah, because Sarah's out there. | ||
| It's great jiu-jitsu. | ||
| But for some reason, Weidman goes, go to this guy. | ||
| He'll be great with you. | ||
| His name is Derek Mangy. | ||
| He does monster jiu-jitsu, but it was like an hour away from me. | ||
| But he's the greatest guy. | ||
| And he comes to my house, and he trains me and stuff, and he's just a beast. | ||
| But it's like, I've got to get past, literally out of my head, and get in these positions. | ||
| But when I train with him, He's so big like I get on his back or whatever it is and he just gets up it's like an apartment building just coming up like I can't even hold you know I don't and it's so Frustrating to me and he's flexible and big and he can move around and it's like I This is where I don't finish I quit I'm like I get frustrated and I don't you know honestly the thing about Training with someone who's really good the problem is you're never gonna get good enough to tap them because they're always gonna be ahead of you You really should train with people that are | ||
| okay That's the best way to train. | ||
| The best way to get really good at jujitsu, I've always said, and Eddie Bravo used to always say this, is strangle blue belts. | ||
| Really? | ||
| Find people that can resist a little bit, but they're not really on your level, and just drill on them. | ||
| Right. | ||
| You drill on them, and that way, then when you get to brown belts and you get to black belts, you're sharp, and you have all these reps of finishing the technique. | ||
| Reps. | ||
| All these reps of closing the technique on. | ||
| That's the other thing. | ||
| Do you recommend just drilling, drilling, drilling? | ||
| 100%. | ||
| Drilling is almost more important than anything. | ||
| Really? | ||
|
unidentified
|
Really. | |
| Yeah, because it solidifies the move in your head. | ||
| When I got really good, the best I got at jujitsu when I went from blue belt to purple belt was when I was training with Eddie, and we were drilling all the time. | ||
| We were drilling multiple times a week. | ||
| Right. | ||
| So we'd get together, and for an hour and a half, we would just drill. | ||
| And it sucks. | ||
| You don't want to. | ||
| You want to roll. | ||
| Rolling is fun. | ||
| Sparring is fun. | ||
| It's like you're playing a video game. | ||
| But if you can just force yourself to do the work and do a lot of drilling, your technique will get really sharp. | ||
| All the best guys drill. | ||
| They drill all the time. | ||
| They do either live drills, where you all start from a certain position, or they'll do drills where they'll go over a specific path. | ||
| Like, Eddie was big on going over paths. | ||
| Like, I want you to do this. | ||
| You pass the guard, he goes to block, you set this up, and then you counter with that. | ||
| And then we would drill that very position. | ||
| So then when that would come up in training, when you would go to pass and someone would block and then you would take their back, it's like, oh, it's all synced in to your nervous system. | ||
| And that enables you to, when you're in a position, to think two or three moves ahead. | ||
| You're not going to get that if you're training with some big black belt. | ||
| You're not going to get that. | ||
| You're never going to get to the point where you could do that to him. | ||
| It's not going to happen. | ||
| It's not him. | ||
| No, it's not him. | ||
| It's me. | ||
| But even you, even if he lets you do it, it's not the same. | ||
| You've got to be able to do it to someone who's not letting you do it and someone who you don't know. | ||
| Well, that's the key. | ||
| Once you start learning someone and you're kind of... | ||
| Yeah, you don't want to know them. | ||
| You want to be able to solve a human puzzle. | ||
| Some person is pulling on your shit and he's kind of freaking out a little bit. | ||
| Not only that, it's the fear of that. | ||
| I hate that. | ||
| I don't like that. | ||
| You love it. | ||
| I hate going to a class where I don't know everybody. | ||
| First of all, I hate the gi. | ||
| I hate everything. | ||
| I suffocate in that thing. | ||
| That thing is cement hard. | ||
| Go no gi. | ||
| Because then I feel like you're not learning the techniques. | ||
| You are! | ||
| You are? | ||
| Yeah, 100%. | ||
| I have a black belt in gi and I have a black belt in no gi. | ||
| I can do both of them. | ||
| I've done both of them. | ||
| I trained both of them at the same time. | ||
| But one of the things that I did from learning from Eddie was, because I was training so much no gi, but I was also training gi, I would go in and do the gi, but I wouldn't use it. | ||
| I would let them use it on me. | ||
| But I was just concentrating on over hooks and under hooks and I was concentrating on all the same grips that I would use so that I would never be deficient. | ||
| Because if you get used to grabbing collars and sleeves and you get used to adjusting people with butterfly sweeps and stuff like that based on grips, the problem with that is all those grips go away when everyone's slippery and it's just bare chest. | ||
| So I was just all about clinching and I was all about a tight game. | ||
| It was all about learning what Eddie's moves were. | ||
| And Eddie's moves were all over hooks and under hooks. | ||
| It was all wrestling based. | ||
| And it was all because of Jean-Jacques Machado. | ||
| So our instructor Jean-Jacques, his left hand, he only has a thumb. | ||
|
unidentified
|
I know. | |
| He trained me a couple days in Encino. | ||
| He came to my house. | ||
| He was such a great guy. | ||
| He's the best. | ||
| He really is. | ||
| He's the best. | ||
| Where they take the gi belt or whatever it is and underneath and wrap it around this thing. | ||
| It's like, I always go, it's not that it can't work or whatever, but I always look for things that are applicable. | ||
| Like, you know, I want to be able to, you know, and it's like, to me, I can't do that. | ||
| I can't, you know. | ||
| But I always heard that for you to get better at no gi, you want to train gi because it's like taking a bat and, you know, swinging with the donut on it. | ||
| Nah, that doesn't make any sense. | ||
| Okay. | ||
| No. | ||
| No, you want to train. | ||
| It's like to get really good at racquetball, you need to play tennis. | ||
| It doesn't make any sense. | ||
| Well, I got four massive geese if you want to use them for something. | ||
| You could throw them over your couch or whatever you feel like doing because I'm happy to get rid of them. | ||
| Listen, there's nothing wrong with the geese. | ||
| The geese is still great. | ||
| And what the geese does do is it forces you to be very technical because you can't muscle out of things. | ||
| You can't just pull out of stuff because you're trapped. | ||
| So you have to learn how to use the proper defense and also never let you get yourself into a position where someone's completely cinched up on you. | ||
| Like if someone has, like there's certain chokes, like a clock choke. | ||
| Like if they reach into your collar and they grab ahold of your collar like this and then they get this arm wrapped around here, you're in a bad spot because then I'm going to spin. | ||
| Oh, gosh. | ||
| And it's like a tourniquet, right? | ||
| And it's terrible. | ||
| It's a tourniquet. | ||
| Oh, it's death. | ||
| It's death. | ||
| It's such a horrible choke to get stuck in. | ||
| So you just gotta... | ||
| In those situations, the gi can be very... | ||
| Like, if you're in a street fight with a guy who's got a winter jacket on, some guy's got a leather jacket on, and he grabs you, and you grab ahold of that collar, and you pull him to the side, And you fish that arm underneath his shoulder, that's a dead man. | ||
| Right. | ||
| Like, he didn't even know he's dead. | ||
| Yeah. | ||
| He's a dead man. | ||
| Yeah. | ||
| Like, if you get a hold of someone's leather jacket, and then you get your arm under there, and you get this like this, you're like, oh, son, you're going for a gator roll. | ||
| Right, right, right. | ||
| I love that. | ||
| Yeah, so this, like, a judo player fighting someone with a winter jacket, you're fucked. | ||
| That guy's going to hit you with the world. | ||
| He's going to spike you on your fucking head on the concrete. | ||
| And you're not even going to be able to stop it. | ||
| You're not going to be able to do a goddamn thing. | ||
| So it's good to learn the gi. | ||
| Because most people are wearing clothes. | ||
| Yeah, I'm just going to go out shirtless from now on. | ||
| Like, just not even wear anything. | ||
| You could easily ezekiel choke someone with a hoodie. | ||
|
unidentified
|
Right. | |
| Because you get on top of someone with a hoodie, and you get all up in here, and you fucking... | ||
| This is a different level. | ||
| This is not what I'm, literally, I need to. | ||
| Yeah. | ||
| I've got to start. | ||
| I really do. | ||
| I've got to do something because it's like, it's... | ||
| There's nothing wrong with the gi. | ||
| The gi's great. | ||
| The gi's great. | ||
| I still love the gi. | ||
| My problem is grip strength. | ||
| It does slow the game down for older guys, too. | ||
| That's the one thing. | ||
| That's why they keep saying, you don't want to go no-gi, but it'll be a lot quicker. | ||
| But I like that. | ||
| As long as it's a guy in my level, it does slow the game down. | ||
| But also, to me, I just feel suffocating. | ||
| Everybody's always grabbing me, and I'm like, I'm out. | ||
| I'm tapping like crazy. | ||
| Plus, my grip strength. | ||
| I ripped. | ||
| First of all, tore this bicep. | ||
| Did you get it repaired? | ||
| This one happened about five or six years ago. | ||
| I hired a personal trainer and she came to my house. | ||
| I didn't even know. | ||
| She was almost like the CrossFit person. | ||
| And she was like, we're going to work on strength. | ||
| And I had never deadlifted or did anything. | ||
| And I started doing deadlifts. | ||
| And she was like, I didn't even literally know how to do it. | ||
| She was like showing me. | ||
| And she was getting so excited. | ||
| She goes, that's pretty good weight. | ||
| Can we bump it up a little bit? | ||
| And it was like 135, 225, 275. And then she goes, can we go a little bit more? | ||
| She put 315 on it. | ||
| And then I go, and I got it. | ||
| And she was like, can we go 405, like whatever. | ||
| She bumped up and I'm going, and I'm starting to feel like a little tired. | ||
| And I'm like, And I go, I don't know. | ||
| I don't know if we should do this. | ||
| I don't know if this is getting me. | ||
| But she was so happy. | ||
| She's like, this is really good. | ||
| It was like a personal bet. | ||
| And I go, I've never done it. | ||
| I did 405. And I felt a little something. | ||
| I got it. | ||
| I just got it. | ||
| And she was like, this is amazing. | ||
| And then she said, can we go like 450? | ||
| Oh no. | ||
| Yes. | ||
| And I went pop, right away. | ||
| I got it up for a little bit and I just went, I felt, I go, oh my gosh. | ||
| But it didn't, it was such a bad, it didn't tear away from the bone. | ||
| It just, there was like, it looked like it was like chopped meat and it ripped a hole in the middle of it. | ||
|
unidentified
|
Oh. | |
| So it was weird. | ||
| It was like, the guy looked at it and he goes, we can't even do anything with this. | ||
| So it's like, you just gotta let it heal. | ||
| Does it still have a hole? | ||
| Like when you flex? | ||
| Well, you can't see this one as much. | ||
| You can see a little divot. | ||
| You see a little divot here. | ||
| But then, just recently, I did a movie with Joey Diaz. | ||
| I did that movie. | ||
| I did a movie with him. | ||
| And there was a lot of fighting in it. | ||
| And I'm fight training with the guys. | ||
| And we're rehearsing all the choreography and going through the moves. | ||
| And we did it like a lot. | ||
| And It was the end of the time. | ||
| He's like, do you want to run it one more time? | ||
| And I was like, alright. | ||
| He was, just run it slow. | ||
| Just to get it, because I was getting tired. | ||
| And I had to go and double leg the guy, or whatever it was. | ||
| And I went in to double leg him, and it was very slow. | ||
| And he moved to the side, and he went this way, and it stretched my arm, and it went... | ||
| I go, and they go, oh, that looked awesome, awesome, guys. | ||
| And I go, no, no, no, no. | ||
| I literally have it recorded. | ||
| I go, something's wrong. | ||
| I go, something's wrong. | ||
| And this one, this one's bad. | ||
| It's nasty. | ||
| It's the Matt Serra one. | ||
| It rolled up on me, and I got it checked out, and they go, it's completely torn. | ||
| And, you know, the guy was doing PT on me. | ||
| This guy, Amato, he's awesome. | ||
| Johnny Amato, he's an awesome guy to do PT. And he was telling me, he's like, well, the good thing about it is it's torn completely because it's not, you know, you're going to be able to do everything with it. | ||
| And I had to go into the movie, so they go, do you want to get it fixed? | ||
| You should get it fixed. | ||
| And he said, you know, it was like one of those things where it's like, you don't lose, you don't gain that much strength. | ||
| Believe it or not, the bicep doesn't do that much. | ||
| The bicep itself It's kind of like a turning a key, and it's like that's where it'll be affected a lot, which is, you know, that's actually not that bad. | ||
| So did you get it fixed or no? | ||
| I didn't. | ||
| I couldn't because I had to go into the movie and shoot the movie. | ||
|
unidentified
|
Oh, wow. | |
| Because if you do that, you get it fixed. | ||
| The rehab is, like, it's long, you know? | ||
| So I go, I can't do it. | ||
| So they said, I go, can I get it done after the movie? | ||
| And they go, you can't because it's a window of the muscle. | ||
| Like, if you don't attach it right away, it won't take. | ||
| Yeah. | ||
| So I did it. | ||
| I didn't do it. | ||
| And it's bad. | ||
| And it still hurts. | ||
| It cramps every time. | ||
| I don't feel like I can do anything. | ||
| I've lost so much strength on this thing now. | ||
| You wish you had gotten the surgery? | ||
| I do. | ||
| I do. | ||
|
unidentified
|
That sucks. | |
| I always wondered about Matt's arm. | ||
| He's strong as hell. | ||
| It doesn't affect him, though. | ||
| I think he says it's fine. | ||
| A bunch of guys get that one. | ||
| That's a real common one. | ||
| It's common with a lot of times when people throw a punch. | ||
| Like if the punch gets blocked, the bicep will pop and curl up. | ||
| I've seen that a couple of times. | ||
| Yeah. | ||
| Yeah. | ||
| This is ugly and it's bad. | ||
| Remember Kyle Parisian had that with his hamstring? | ||
| Yeah. | ||
| Oh my gosh, did he? | ||
| Yeah, he had a hole in his hamstring. | ||
| His hamstring just ripped apart and it shriveled up and it always fucked with him like the rest of his career. | ||
| Oh, it's in your head. | ||
| Well, also his one leg just was not as strong. | ||
| Right. | ||
| So his one leg was like always compromised. | ||
| He should have had surgery on it like right from the beginning. | ||
| Yeah. | ||
| Yeah. | ||
| Yeah, but guys try to rehab stuff. | ||
| There's like that fine window, that small window between fixing something and not being able to ever fix it. | ||
| Like TJ Dillashaw went through that with his shoulders. | ||
| He tried to just rehab his shoulders and his shoulders wind up becoming chronic and now they ruined his career. | ||
| Right. | ||
| Yeah, any kind of injury to a joint, I always say get the surgery if you can. | ||
| If it's that bad, get the surgery. | ||
| But also, it depends on what it is. | ||
| Like if it's a bicep, yeah, get the surgery. | ||
| But there's certain things like, hmm, stem cells might be able to fix that better than surgery. | ||
| So it's like knowing where to go and who to talk to and what doctors have actually gone through this before. | ||
| But you can't do that now. | ||
| With what? | ||
| With stem cell or anything? | ||
|
unidentified
|
No. | |
| With the bicep? | ||
| No. | ||
| Once it's shriveled up, it's shriveled up. | ||
|
unidentified
|
Yeah. | |
| You have a very small window. | ||
| I think a bicep, the window's just a couple weeks. | ||
|
unidentified
|
Yeah. | |
| You get it repaired like really quickly. | ||
| I should have done it because I really... | ||
| That sucks. | ||
| It does. | ||
| That's a bummer. | ||
| It's... | ||
| You know, slowing me down for sure. | ||
| I tore my MCL getting on stage once. | ||
| What? | ||
| Yes, at Stubbs. | ||
| It's Stubbs in Texas. | ||
| I was walking up the stage. | ||
| Stubbs is this outdoor amphitheater, and as you're turning the corner, it's these concrete stairs. | ||
| But they're spaced differently. | ||
| And so I was like, I was turning my recorder on on my phone and walking up the stairs being called up to the stage and I misstepped and twisted my foot and it popped my knee bad. | ||
| Where when I went on stage my leg was shaking like I was nervous. | ||
| You didn't stop? | ||
| I was in agony. | ||
| I was in agony. | ||
| Yeah, I just did my set. | ||
| Oh my god. | ||
| Yeah, I just power through it. | ||
| But I was like, my leg is shaking so bad. | ||
| It looks like I'm so nervous. | ||
| Everyone can see this. | ||
| But it was just pain. | ||
| I should have addressed it. | ||
| I should have said, I just blew my knee out. | ||
| I should have said that so people know why my knee is shaking. | ||
| Yeah. | ||
| Because otherwise I was like, God, how do I stop my knee from shaking? | ||
| Like, this guy's nervous. | ||
| Yeah, it shook for like the first fuck ten minutes at least. | ||
| Did you sit down? | ||
| Nope. | ||
| Nope. | ||
| You're nuts. | ||
| I did my set. | ||
| Yeah. | ||
| It still went great. | ||
| The show was fun, but then my knee was fucked up for a year after that. | ||
| I had to get a bunch of stem cells. | ||
| I got stem cells in it like three times before it finally got to the point where it doesn't bother me anymore. | ||
| How is it now? | ||
| It's great. | ||
| Yeah, now it's great. | ||
| Now I can kick the bag. | ||
| No problems. | ||
| Wow. | ||
| Yeah, I did a lot of knee-over-toe stuff, too. | ||
| That Ben Patrick program. | ||
| Yeah, that's great stuff. | ||
| It's a big game-changer. | ||
| I've strengthened my legs quite a bit more since I had that injury. | ||
| The Nordic curls and, you know, the slant board squats, goblet squats. | ||
| I got that sled, too, on the wheels, whatever it's called. | ||
| Yeah, the torque sled. | ||
| Yes, it's just... | ||
| I just push it light and then just walk back with it slow, you know, and just keep going, digging. | ||
| Yeah. | ||
| I feel it in my legs, and it's great. | ||
| The walking back is huge. | ||
| That's such a crazy way to strengthen your legs, to pull a sled backwards. | ||
| Such a good way to strengthen your knees. | ||
| Right. | ||
| Yeah, it just keeps everything strong and firm. | ||
| And as long as you stay flexible as well, and you're strong, you have stability. | ||
| You have range of motion, but you also have stability. | ||
| That's giant. | ||
| That's key. | ||
| Yeah. | ||
| I'm doing this movie now where it's me, and it's an action movie. | ||
| I'm literally leaving tonight to Vancouver. | ||
| It's like a crazy action movie, and I wanted to get in shape for it, and it didn't happen. | ||
| So I'm like, I don't know. | ||
| I'm next to this beast, too. | ||
| Alan Richen from The Reacher. | ||
|
unidentified
|
Oh, that guy? | |
| For The Reacher? | ||
|
unidentified
|
That guy's huge. | |
| That guy's huge. | ||
| Oh my gosh. | ||
| I was like, I gotta train to get, you know, ready for it. | ||
| And I'm like, nothing happened. | ||
| And now I'm like, oh boy, we're going into this thing. | ||
| That guy is the perfect guy for that show. | ||
| Because, you know, they did that movie with Tom Cruise. | ||
| And it was like, the character was never that small, right? | ||
| No, in the book, the character was this monster. | ||
| The character in the book was Alan Richman. | ||
| Yeah, Richson. | ||
| He's a beast. | ||
| Richson. | ||
| Yeah, really good. | ||
| Look at this dude! | ||
| He's ridiculous. | ||
| He's amazing. | ||
| He's a house. | ||
| That guy's a house. | ||
| Great dude, too. | ||
| Yeah, he seems like a really nice guy. | ||
| Unbelievable. | ||
| I've seen him in interviews. | ||
| He seems like a really nice guy, but he's the perfect guy for that series. | ||
| Yeah. | ||
| They just, you know, Tom Cruise is the blockbuster boy, so they're like, let's just do it with Tom Cruise. | ||
| They're like, but he's 5'9". | ||
| This guy's got to be a gorilla. | ||
| He's got to be a fucking linebacker. | ||
| He's a linebacker with a genius brain. | ||
| He can kill people. | ||
| This guy's a- Yeah. | ||
| He's perfect for it. | ||
| He is. | ||
| So you have to do an action movie with him. | ||
| Yeah. | ||
| Oh, no. | ||
| And just- Just start fasting. | ||
|
unidentified
|
I just don't- How much time do you have before the camera rolls? | |
| I just suck it out. | ||
| I mean, it's crazy, man. | ||
| It's like fighting that age, but it's like, you're right. | ||
| Look at how you're doing it, man. | ||
| It's like such a difference how you are with what you do and what you've implemented. | ||
| We're a different species, you and I. I'm telling you. | ||
| I just stayed on it. | ||
| I just never let off the gas. | ||
| That's the key. | ||
| But also being careful, like knowing what's What's up and what's not. | ||
| Knowing not to try to work through injuries but to heal them and making sure they don't happen anymore by increasing range of motion and strengthening things and just making sure your whole system is strong. | ||
| I do a lot of non-sexy exercises like Turkish get-ups and things like that. | ||
| Things that strengthen the whole body. | ||
| Windmills. | ||
| Those are the things that I like. | ||
| No one likes to do them. | ||
| When I walk around the gym and do a couple of things, It's like that's where I have to change my mindset to go go into the places where it where does it hurt when you bend where it is you know the ankle strength foot you know all this stuff to get you know comfortable in that and it's like that's the stuff that's so important Turkish get-ups I hate everybody hates those I don't like to do it I don't you know there's no like bench press is cool you know like you bang out 10 reps like yeah we did it Turkish get-ups you never feel like you're done it's | ||
| always no exactly oh It's hard, and everything's working. | ||
| Your legs are working, your core's working. | ||
| Do you do a specific sets, or are you more like, on your own, do you go, I'm just going to work this area, and I'm going to do as many as, I just want to drill it, or do you have a set? | ||
| No, I have sets. | ||
| You do? | ||
| Yeah, I'll do my warm-up. | ||
| My warm-up after the cold plunge is always 100 push-ups and 100 bodyweight squats, so that's the warm-up, so that gets you going. | ||
| That gets you warm after you've done the cold so that now you're heated up again. | ||
| And then I do my... | ||
| Wait a second, 100 push-ups? | ||
| And 100 bodyweight squats. | ||
| That's more than my week, Chris. | ||
| This is your warm-up? | ||
| That's the warm-up every day. | ||
| Yeah, that's 15 minutes. | ||
| So 15 minutes it takes to do 100 push-ups and 100 bodyweight squats. | ||
| I do those. | ||
| And then I do swings. | ||
| So depending upon whether or not I'm feeling good or whether I need more warm-up, I either go with 50 or 70 pounds. | ||
| So if I go to 70 pounds, that means I'm ready to go. | ||
| So I do three sets of 10 swings with each arm. | ||
| With 70 pounds, and then I do clean press, three sets of 10 with each arm, clean press, and then I do three sets of windmills with each arm, and then I do three sets of renegade rows. | ||
| You know renegade rows where you're doing a push-up on the kettlebells? | ||
| So you've got the kettlebells, two on the ground, same distance part of your shoulders, and you do a push-up, and then in the lock push-up position you do a row with one side, boom! | ||
| And then a row with the other side, boom. | ||
| Back down for a push-up, back up. | ||
| Row with one side, boom. | ||
| So your core is totally engaged the entire time. | ||
| You're in a plank the entire time. | ||
| And the entire time, you're either going down to do a push-up, you lock up, and then you're stabilizing yourself as you pull the one-tittle bell up. | ||
| That's core, that's everything. | ||
| Boom, put that down, yeah. | ||
| Boom. | ||
| And you do that with 70 pounds, three sets of 10 on each side, and you get worn the fuck out. | ||
| So you're doing 20 reps. | ||
| Every time I'm doing this, I'm doing 10 reps with each hand. | ||
| So I'm doing that with 70 pounds. | ||
| And so I do three sets of those. | ||
| And then once I get done with that, then I usually either do the sled or I'll do something else. | ||
| I'll do rounds on the bag. | ||
| I'll do something else. | ||
| And is that timed and all that stuff too? | ||
| No. | ||
| I like to give myself time in between sets because I want to be fully recovered before I get into the set again. | ||
| I don't believe in... | ||
| I follow this Russian principle, this strong first principle, which is The most important thing is how much weight are you pushing and for how many reps. | ||
| And it doesn't matter if those reps come over 5 minutes or they come over 20 minutes. | ||
| And it's probably better if they come over 20 minutes than over 5 minutes. | ||
| Because you have a lot of time. | ||
| I'll take 5, maybe even 10 minutes in between sets. | ||
|
unidentified
|
Yeah. | |
| So I'm fully ready to go. | ||
| And then when I'm doing the clean press with 70 pounds and I'm doing 10 reps each side, I'm no problem doing that. | ||
| I'm not fatigued. | ||
| Like, I'm fatigued. | ||
| It's difficult, but it's not where I'm, like, at the point of failure, ever. | ||
| If my point of failure was 10 reps, I would do 5. Right. | ||
| And then I would wait a long time, and then I'd do another 5. That makes sense. | ||
| Yeah, so I'm getting a lot of reps. | ||
| You're never getting to that point where you're pushing yourself to the point where you can hurt yourself? | ||
| Never. | ||
| That's all I do. | ||
| I don't lift anything heavier than 70 pounds. | ||
| You don't need to, right? | ||
| You don't need to. | ||
| People think you do. | ||
| I mean, it's one thing if you're a football player. | ||
| Exactly. | ||
| If you're a power athlete and you need to do cleans and squats and deadlifts, that's great. | ||
| But I don't need to do that. | ||
| I just keep my body strong. | ||
| And then I do my endurance work. | ||
| My endurance work is either sled pulling or it's Tabatas on the air bike or it's rounds on the back. | ||
| And then I get in the sauna. | ||
| And the saunas, see, go in there right when you're tired. | ||
| And you just step in that 195 degrees. | ||
| 195? | ||
| Sitting there for 20 minutes. | ||
| What's your cold plunge at? | ||
| 34 degrees. | ||
|
unidentified
|
I would have a heart attack instantly. | |
| I would be gone. | ||
| I have mine ready. | ||
| I have one. | ||
| It was 52 degrees. | ||
| It was 52. I was shaking, man. | ||
| I was in there for 15 minutes, though. | ||
| I would do that. | ||
| You don't need to go that long. | ||
| You don't need to, but you can do that if it's 50. Yeah. | ||
| I mean, it's probably giving you the same result if you do 15 minutes at 50 as you're doing 3 minutes at 34. That's crazy. | ||
| It's probably giving you the same result or similar result. | ||
| The whole idea is that you freak your body out and it produces cold shock proteins. | ||
| And how does that compare to the chamber one where you get the air? | ||
| Is it just like a... | ||
| Does that get you cold? | ||
| You know the one where you just... | ||
|
unidentified
|
Yeah. | |
| They're both brutal. | ||
| They're both brutal. | ||
| I think... | ||
| I've never done that. | ||
| The cold water is a different animal, though. | ||
| It gets in your bones more, right? | ||
| Yeah, you feel colder. | ||
| Like, when you'd get out of the cryotherapy machine, when you get out of there, within a couple of minutes, you're like, woo! | ||
| You're okay. | ||
| You get out of that cold water, like, for a fucking half an hour, you're like, Jesus Christ! | ||
| But that was the way I would warm up. | ||
| I would just go right into the bodyweight squats and the push-ups. | ||
| So that was my way of heating my body back up after the cold. | ||
| But don't your joints feel just frozen at that point? | ||
| No, no, you're alright. | ||
| You're alright. | ||
| I mean, it's body weight, so it's not much weight, so you're just kind of pushing. | ||
| You could easily do 20 push-ups. | ||
| You just do the 20 push-ups, take a break, do the 20 body weight squats, take a break, heart rate drops back down, next set. | ||
| 20 body weight squats, 20 push-ups, next set. | ||
| Do it. | ||
| Do it five times, you've got 100. And then by that time, I'm warm. | ||
| And so then I'll do whatever the other workout is. | ||
| Maybe I'll jump rope. | ||
| It depends on what I'm doing that day. | ||
| But I always write it out. | ||
| You do? | ||
| Yeah, because if you write it out, you don't give yourself any room for fuckery. | ||
| Because you know this is what you have to do. | ||
| It's all written out. | ||
| Like, that's the boss. | ||
| The boss gets in there and writes it all out before the The ego steps in. | ||
| And they're like, let's eat. | ||
| I'm hungry. | ||
| Once it's there, it's there. | ||
| You get a better workout if you have some fruit first. | ||
| Let's go have some fruit. | ||
| You get a better workout if you eat. | ||
| You know what? | ||
| I have a window between 3 and 4.30. | ||
| I've got a really good workout then. | ||
|
unidentified
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And then right now, I'll just go watch TV. That's me. | |
| Yeah, that's everybody. | ||
| But you just got to have that boss in your brain has to be in control. | ||
| And once you get it subdued like that much, it's not that hard, right? | ||
| The whole thing is momentum. | ||
| Everybody that has ever had a good day, you have a good day where you really get your shit together, you start feeling good about yourself. | ||
| And you go, the key is just carry that forward and keep going and don't let yourself fuck off. | ||
| And if you do give yourself a day off, recognize that just like an alcoholic, It starts drinking again. | ||
| This could be a slippery slope. | ||
| So if you give yourself that day off, be real aware of what you're doing. | ||
| I self-sabotage. | ||
| I'll start Monday again or I'll start tomorrow. | ||
| That hope of starting the next day, I have it so much. | ||
| I remember when I was training and Weidman said this to me. | ||
| He goes, When you, you know, you're training and you, you know, get a flat, you know, you don't get out and fix the flat. | ||
| You get out and pop the other three tires. | ||
| Like, you literally do. | ||
| And I do. | ||
| It's like, once I go off, I go, ah, all right, I'm off. | ||
| I'll start, you know, Monday. | ||
| Yeah, I do. | ||
| I crush it. | ||
| I do. | ||
| Oh, man, I would love to eat with you. | ||
| You know that. | ||
| But I'm saying, like, you're right. | ||
| And you can eat and do it in the right way. | ||
| And I'm sure you enjoy food. | ||
| It's just you've got to... | ||
| The boss has to be fully in control before you get a day off. | ||
| Yes. | ||
| And it is almost like sobriety in that way. | ||
| You have to get so much momentum that you're fully confident that you could take a day off and just eat ice cream. | ||
| And there's nothing wrong with that if you do have a hold of it. | ||
| Even if that's got to be tempered, though. | ||
| I can't do a day off where I'm just crushing myself. | ||
| There's no coming back. | ||
| The next day, you'll feel like shit. | ||
| 100%. | ||
|
unidentified
|
But the thing is, you have... | |
| Gone on schedule and gotten in shape before. | ||
| You have done it. | ||
| So you know you can do it. | ||
| So it's maybe even more frustrating than someone who's never done it. | ||
| That's right. | ||
| Because you have, like, dropped 60 pounds. | ||
| You have gotten in shape again. | ||
| And I remember when you were training mitts with Della Grotte. | ||
| I was watching you hit the pounds. | ||
| Like, when you got in shape for Here Comes the Boom, you got in fucking shape. | ||
| And you were training hard. | ||
| And I was watching some of those sessions. | ||
| It's like, so I know you can get to that spot. | ||
| Right. | ||
| It's just like maintaining. | ||
| I know. | ||
| That's the thing, is maintaining. | ||
| And now as I go, it's like God takes the little thing away from me, the bicep pull now. | ||
| Yeah, another new reason. | ||
| It's a little, yeah, it's like I gotta fight it, man. | ||
| And like I said, I'm teetering. | ||
| Teetering between that, you know, I gotta go back, I gotta go back. | ||
| And you're right, man. | ||
| Yeah, you just gotta decide. | ||
| And one of the best ways to decide is to write things down. | ||
| It's so easy to just keep a thought in your head and you don't really give it the... | ||
| What it deserves. | ||
| You've got to write things down occasionally. | ||
| You have to really do. | ||
| And I write down my workouts. | ||
| I have a big whiteboard in my gym, too. | ||
| Just put it up there. | ||
| Write it up. | ||
| Just write it down before you do it. | ||
| And give yourself a realistic goal. | ||
| Don't be nutty at one point where the next day you're going to be a dead man. | ||
| Give yourself a realistic goal. | ||
| He goes, get up and go for a walk. | ||
| Just go for a walk for 40 minutes. | ||
| You know, whatever. | ||
| And really what happens is when I start walking, I'll start moving around. | ||
| I feel good. | ||
| I go, you know, whatever. | ||
| And I start adding more, you know. | ||
| And it's like, my goodness. | ||
| Then I start, you know, wanting to throw, I'll get the egg weights and I'll just start throwing with those and just, I love it. | ||
| I really, you know, it's... | ||
| It's something that is really addictive in a good way that, like, you can, you know, once you start doing it, and it's a little bit... | ||
| It's the pressure of you don't have to do so much. | ||
| Just do this. | ||
| Yep. | ||
| And then... | ||
| Yeah, if your pressure is, okay, now you have to lift weights for an hour and then go to a 90-minute yoga class and then run a marathon, like, fuck that. | ||
| Right. | ||
| It needs to be very realistic. | ||
| Like, you know, we're going to start off today. | ||
| You're going to do 20 push-ups, 20 bodyweight squats, 10 cleans, 10 presses... | ||
| You know, a couple of chin-ups and then you're done. | ||
| That's a wrap. | ||
| That's 20 minutes. | ||
| 20 minutes and never be exhausted. | ||
| And then take, you know, the next day you're going to do something different but equally light. | ||
| And you do that for a couple of weeks. | ||
| And if you write it all out, it shouldn't take you more than even 20 minutes to work out. | ||
| And you can get through 20 minutes. | ||
| Just write it all out. | ||
| Make sure you follow it. | ||
| And one of the best things for me is I have a TV in the gym and I'll put fights on. | ||
| So I'll be watching fights, getting inspired, watching fights, and then you go through your routine and you're good. | ||
| And as long as you write it out, and if you write it out and you know, I know I wrote this down on paper, I have to do what this says. | ||
| You're committing to it. | ||
| Yeah, you have to do it. | ||
| It's great. | ||
| Because if you just hold it in your head, I'm going to go work out. | ||
| What am I going to do? | ||
| Oh, my fucking curls. | ||
| I don't know. | ||
| Maybe we'll do some bench press. | ||
| You need a structure so you can give it to yourself. | ||
| You're right. | ||
| That's awesome, man. | ||
| I'll do it in this documentary, and we'll come back, and I'm going to show you that I'm stuck here. | ||
| Next time you're here, you'll be looking for houses. | ||
| I promise. | ||
| We'll work out together. | ||
| I love it. | ||
| All right. | ||
| My man. | ||
| It's good to see you, brother. | ||
| You're the best. | ||
| I love you, man. | ||
| You're the greatest. | ||
| Thank you for doing everything you're doing, man. | ||
| My pleasure. | ||
| You're awesome. | ||
| It's a lot of fun. | ||
| It's great to see you out there killing it. | ||
| I love it. | ||
|
unidentified
|
All right. |
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