Louis C.K. w/ Mark Normand & Sam Morril - We Might Be Drunk Podcast

[Music] Hey! Hey! You take it. That was terrible. Just roll with it. We're here. We're queer. My legs are freezing. Yeah, it's cool. But yeah, good to have you. We got Louis CK everybody. Hey. Let's cookin'. Hi, new special on Netflix. Louis, you're back on Netflix, man. I'm back on Netflix starting today this morning. I don't know midnight. I don't know when they put it on. Yeah. It was on when I woke up. How does it feel like it's opposed to throwing on your website? I mean, it's only been a few hours, but it's nice because it's outside the fence more. Yeah. Folks can wander over. Right. You know what I mean? It's global. And it's all over the world. Yeah. So it was my website, but it was a closed circuit. Right. And so it's nice. People can stumble on it. I know some people's algorithm won't give it to them. But you know. That's true. You ever see someone else's algorithm at their house? You're like, what the hell is this? Yeah. Yes. Spain is different. Singing. Yeah. It's crazy. Indian movies. Yeah. Yeah. For a while was on my dad's Netflix. And I would just stumble. And I'd be like, you and my mom are watching weird shit. Yeah. It's all just like Korean drama type stuff. Yes. That's funny. Korean and the usage of Spanish and Indian. My mom goes all British like cop show. Like a British detective shit. She like like happy valley or something. You ever see that one? We call it a fucking. The one that's a town's name and it's really morose and dark. They're all morose and dark and boring. I hate it. That was more broad. That was a good. Yes. I like those. Really good. What's his name? David. Something brothers in that. Yeah. He was then he was a doctor who. Oh. Like kids got into doctor who's choice. The watch doctor who for a while. I love doctor who. I don't know what doctor who is. I've never seen a middle. Oh no. Yeah. They're different doctor who's. Okay. Yeah. So doctor who's a. It's actually not a guy. That's not the person's name. It's the name of the show. He's just called the doctor. And he's the guy who lives in a telephone booth that's really big inside. And he travels through time. What? Really? Yeah. Oh. You could be fucking with us. No. It's what it's about. But it's a movie. It was a TV show back in the 50s. It used to be in black and white. In Britain. And every few years he dies. Okay. Because they don't pay the actors very much. And then he regenerates as a new person. So there's been a lot of people that have played the doctor. And the newest doctor who's of all been like a new like a new general. Also, once in a while the show dies. And then it comes back with a new group of writers and producers. What? And a new cluster of actors. Yeah. So those are some of the doctors. Wow. So it's almost like a James Bond thing. Yeah. Down there, David, what the fuck is his name? David Tennant. Not good. He was a great doctor. And so was who's two fret down from him. The woman's pretty good too. Peter Capaldi's really good. That's something that wasn't that into. Okay. And then if you go, can you see the first one? Wow. Because I grew up. So many. The first one was in black. And the first one I saw was the guy. He's holding an orange and red thing. Oh, yeah. He was the first one I remember when I was a kid. Is that Al Lubell? Yeah. Lubell. He was the first Al Lubell. Look at many iterations. This is crazy. Do your kids turn you on in a lot of shows? Yeah. Yeah. They like what they watch. I like a lot of what they watch. But this one was yours. It was pretty cool. Anyway. How do we end up talking to a doctor? I don't know. This is it. I've never gotten a problem with that. Algorithms. Yeah. Broadchurch. Yeah. Broadchurch. Yes. She also loves that Sherlock Holmes. Yeah. She's Sherlock Holmes with banded. Yes. And Martin Freeman. Yes. From the office. Oh, the blonde guy. He's good. Yeah. He's great and a lot of stuff. Yes. That was a great Sherlock Holmes rendition. Yes. It was. It was fucking clever as hell. Yes. Really well filmed, really taught. Mm-hmm. Because we did want an America called Elementary. And it wasn't as good. It was a CBS show. That's true. It had that CSI look that kind of cloudy, beige look. I hate. Exactly what you mean. I hate that too. Well, we're doing a movie and we're trying to. All the movies now look shitty, I think. And they look too dark. They look better. Do they look better? Which movie is like. Like a mainstream movie. I feel like every movie is like tinted a little too dark now. I don't know. Yeah. Well, the places that put out the images for promo. They're all the same. They do everybody's. Oh. It's like there's only a few publicists. So like, remember when Chris got slapped by Will Smith? Oh yeah. Of course. So there's only at that elite level of all the people that were in the room. There's only like two publicists. I don't know who they are at this point. But you know that. Everybody has like two of the same. Yeah. So they all thought really quickly, I think, during the commercial break. Wait a minute. We're not sure. They're both black. It's what you know. Yeah. And so all of the stars just tweeted that you can't say nothing. So all the stars tweeted like, did you see that? Like, they just like have no take. Yeah. Just registering surprise. Right. Oh, wow. Yeah. That happened. They all said, so you know there's one publicist or maybe two. They're like, you got to just be surprised. Don't. Don't have a take. Absolutely. This is how we do this. But so all these images you see of movies now are sort of semi. Because that's what's registering is. I think it's probably the thumbnails that are making things look the way they do now. And they probably did some focus group. But they're like, people respond to this. Yeah. But I don't like when like for horror movie, I get it for comedy. You don't want a dark looking. No. You want like a light comedy. Yeah. Exactly. You want some levity there. Some good colors. Like a Billy Madison. Yeah. It was like bright. It was bright. Not a fan. You don't like it? Great. I'm not saying I'm just saying it's a, it looked good. Terrific. You're taking people out this episode, dude. Between match Smith. Not the Sandman. Yeah. Really? Have you ever actually had a conversation with Chris about that slap? No, I don't want to talk about that. It's his story. It's his story. It's not my story to tell. Hold the cup with two hands. Yeah, I don't know. Yeah. He slapped me. Shouldn't have done that. It was wrong. Agreed. It was just punk move. Agreed. It was just a slap. The idea that it was shivalry was really offensive. Because if you are a shilt, if you're that guy that British. He's a glove. You say, well, you say, put your hands up. Oh. You say you're in a fight now. A duel. You don't walk up like this and then. Right. And your twice as big as the guy. Not about twice. Well, he's big, dude. I think he's. We can do the heights. Chris is very. Well, heights is one thing. Oh, okay. Okay. But in my age, still, I could kick the shit out of it. Dude, I don't think you're good. That's what I'm doing right now. I like your bit, though, about how old is 58. Uh-huh. And you're just like, it's old enough that I could. You're talking to the 11-year old. I could kick your ass, but it would hurt me, too. I get hurt. Yeah. That's a great line. I get hurt, too. It wouldn't be a clean fuck-up. Oh, yeah. He's 5-10. I bet I'm going to go Will Smith 6-2. I find a guess. He's got 100 pounds. He played Muhammad Ali in a movie. So he's shaky. Yeah. All right. Well, he's dead now. Oh, good boy. Yeah. Yeah. Good. That was 6-2 nailed it. Nice. That was not a good movie. Did you see that? No. Oh, Ali. Well, I like Michael Mann. He's like one of my favorites ever, but I just don't like him. He's a received man-hunter. David, what's the best? So fucking good. Diving through the fucking glass window is. We cool this. Fucking my buddy, Tom Noonan, is the bad guy. He's amazing. Died recently. Yeah. Great, great. I think they're redoing Faith is incredible. Faith is a gorgeous looking movie. It's beautiful. That's one of the most, like, the wet streets and the blue. Yes. Yes. That's seen in the diner, too, when he just talks about, like, needing nothing to lose. Yeah. That is, like, that could be any other career. It's in. That could be, like, comedy or whatever. Yeah. You know what you mean? The way he describes. Prison. Yeah. And he's like, I need it to have nothing to lose to be great. And you're like, oh, that's fucking cool. It is. It is a little, little thing about life. They don't make movies like that anymore. And Willie Nelson. Oh. He was so cool. Oh, yeah. Look at him. Wow. Get me out of here, brother. James Khan is so cool in that movie. It's. That movie is astonishingly good. And it's violent as fuck. Sure. Oh, my God. Even some of the deaths. Like, the guy who plays the main bad guy. So good. The thing is, they used to have off-type guys like that. Like. What do you mean? In other words, you didn't get a guy like this. I'm the mob guy. It's this sort of fat Irishman. Oh. He looks like Santa Claus. Yeah. He looks sweet. But he's a sweet looking guy. But he is. He puts him in a. Oh, that guy. Yes. He puts James Belushi in a vat of acid and melts his body. Yeah. But he's like nice about it. Well, I'm gonna do this now. I'm sorry. Yeah. He's not done that. Oh, my God. The scene when he tries to adopt a kid too. And they won't let him. I'm gonna take a black one. I'll take a. I'll even take the black one. That was a different time. Yep. That movie. You know, it's also so underrated. The insider, Michael Mann, great movie. Oh, yeah. The insider is great. Amazing. Also grow. Oh, so good. The tobacco. The Latino. But also just the backdrop of Al Pacino playing a 60-minute producer. Yeah. Gray movie. Classic. The insider. Also, inside. Who's the one that's kind of similar feeling? Kind of dark and gritty. and gritty with the word inside in it, Spike Lee. - Inside man. - Inside man. - Great fucking movie. - Cool movie. - That's the best movie, I think. - Do you really? - Yeah. - Spike gets a lot of ideas of what he wants to do in life, but he's a great fucking director. - Oh yeah. - He's a great, if you took any movie, and you, a great script, just a tight script, and you just hired Spike, this movie is so fucking good. - So entertaining. - Clevo, I was great in that. - Jody Foster, fucking Christopher Plumber, one of his best roles in the world. - Oh yeah. - We have the foes great in us. - Oh yeah. - Huge hug. - Yeah? - No, they have to see G.I sometimes. - No, that's not true. - They did a replacement. - Pull it off. - That's you. (laughing) - Are you sending me up for that one? - No, I forgot on the bed, yeah. - Dude, yeah, that movie's, that's a fun one. I love 25 hour, too. I think that's a really cool one. - I don't think I saw it. - Oh yeah, I had an order. - I liked Philips and Ross, man. - Mo betta blues, I liked. - Yeah, never saw it. - Malcom X. - Do the right thing. - Malcom X is great. - Yeah, I think I didn't love. The first one she's got to have, it's great. What's the one, fucking jungle fevers, really? - Oh yeah. - Tensic, gotta see it. - He did poetic justice, which I jerked off to once. - Hmm, nice. - Oh, girl six was the one I jerked off to. 'Cause he's a tall girl. - He got, I love he got him. - It's great, and again, on the bus, great. - The clockers is fucking good. - Ah, I've never seen that. - Oh, you got to see clockers. - Okay. - So good. John Tutoro's, oh wow. - Fucking, that guy. - Do you know what I'm talking about? - Okay, I don't know this one. - It's like kind of a slow burn. You don't know what's happening. Yeah, it's in a strip club. But it's like all these weird people and you don't know how they really know each other connect and it kind of slowly comes together. It's really cool. - Okay. - Adam Agoyan? - Oh, Adam Agoyan. He made a movie about a boss full of kids going through the ice. - Yeah. - No, you're right though. - And it was the second movie like that. - Really? - Because Dennis Hopper made one. - Wow. - All out of the blue. - He's a wild dude. - Yeah. - Also dead. - Yeah. - He died. - Sure did. - Such a good bad guy. - Hot shot. Pop quiz, asshole. - Yeah. - You know what's good with the off-type casting is Trivolt, Quentin Tarantino. He'll cast like Trivolta as a hit man guy. - Yeah, that was kind of crazy. - But it worked. - But it worked. - It really did. - And it was really like that guy, really? - He is great vision. - When you had Louis, was that one of the most fun things? Is you're like, I'm just gonna put someone. Like I get the cast Charles Grodin. - Yeah, once we started being able to get people, it was really cool. I mean, I liked it before too when we were just, 'cause New York has a huge like theater community. And people that are just laying around who have huge skill. And, but yeah, when we could start going like, like Michael Rappaport was one of my favorite. - Oh, really? - Yeah, as the cop, he was fucking great. And David Lynch, I mean, you know. - That was a great. - That was a great, three episode arc. - And then at the same time, fucking Doug Stanhope out of the, you know, the village lantern. - Yeah. - And he was great. - I might have been my favorite guest performance of the whole show. - Stanhope was so good. - So good. - Going to the open mic. - Fighting with Greg Roguel. - Yes. - Yeah, he got him. - Greg, right? - That was awesome. - That was documentary. - Yeah. - Rob and Williams. - Oh, that was a great one with the funeral. - And Big J. - Yeah. - Big J was in the show. - I've messaged you when I'm like, rewatched it before, 'cause I've messaged you when I was rewatching Louis. - Yeah, yeah. - I just miss, there's aren't that many New York shows like that anymore. It like captured a kind of New York that isn't often captured. - Yeah, we were shooting on the streets pretty barely, like without much support, you know, so we got to really see the city the way it felt then. - Mm-hmm, Bobby Kelly. Bobby was great, played my brother. - Oh, Pamela Adlon, great, and this was great in the show. - I love that episode where you're trying to sleep in the morning, you're trying to sleep in, and there's a bunch of garbage happening, the garbage men are being too loud, and then eventually they come in, and they're on the bed. - Yeah. - That is quality content. - We just keep, you keep escalating. The other one I love is when you're, you miss the flight, and the one keeps explaining why you, you're like, oh, what happened in the plane? And you're not allowed to be upset when you find out. - What she says, everyone died except for one baby. - Except for one baby. - It's just like, oh, that's, yeah. That's like, you tapped in the shit that we feel all the time. - Yeah. - As New Yorkers and Road Comics. - Oh, thanks, man. - Yeah, that was, that was pure fun. - Apparently after that, people said I want the Louis deal. That was the thing in TV. - And it died in a year. - No one's getting the thing. - I had a lot of training as a filmmaker, so I was just, you know, I had directed a lot. I knew how to do it. That was what it all rested on. I didn't need a lot of supervision and stuff because I actually knew how to, some guys, when they have their first show, they actually have to learn how to do it, so. They need help. - Well, it was cool. I remember being an open-micro, and you would tweet, hey, I'm gonna be at the Comedy Cellar 4, or Free Soda. - Yeah. - And you give a free Coke, and I was broke, and I would go drink Coke. - Oh yeah. - And you would do a set up the cellar with the steady cam guy, up your ass, stage and everything. And that was all, I had to leave work for that. - It's funny because those shows were always kind of shitty. - Yeah, it's tough. - The crowds were too, like, ooh, we're at a place. It wasn't like an audience. You need an audience to feel like they own the show, like, you know what I mean? It rests with them. And these crowds, I used to just tweet, come to the cellar and they come. And they'd sort of stiffly stare at me. So I started to go, I stopped doing that, and I would just go to the cellar with the steady cam guy. It makes more sense. - I'd just jump on stage, and he'd kind of elbow his way in. - Right. - And I would just, you know, we'd just take over and do it once in a while. - Was he like a German guy? That guy with the steady cam? - I don't remember that. - Oh, okay, I thought he was a friend of you. - You know, I was an Asian guy who I worked with a lot back then. - Oh, I just remember a guy with a thick, crazy accent. - Gosh. - He was some kind of DP or something on the show. He always yelled stuff at you. - Yeah. - Sorry. - That's all right. - That's all right. And it stuck at it by brain like, wow, this guy's like a real artist. He's foreign. - Don't remember a German guy. - I feel like that's what took the cellar, like from doing two shows a night, or to now it's four, soon to be five rooms. But I feel like that show was like, became a tourist attraction. - Yeah, we brought a lot of business there. I mean, it's also has its own momentum. - Totally. - Yeah. - And comedy definitely took off, you know, at a certain point. But yeah, I mean, that was, I mean, we were at the cellar, and there were two shows a night. - Yeah. - Now it's like 12 or something. - Totally, it's insane. - It's crazy. - There is places in other countries that got into standup because of my show, not even, but because it was about standups. Like I was just in this stumble, and I did a show there, and a guy told me that a comedian there told me that it was the series that got people into standup. Because it was like the life of standup comedy. Like that's what you watch. If you watch standup and you don't do it, it feels like this other thing, like who can do that. But the show showed the comedy as a first person experience. So people got into that. That's what made them want to do it. I guess, in Turkey anyway. - Wow, that's crazy. - That's crazy. - I think that was the last show about a standup. - No, crashing was after that. - Oh, crashing. - Because every-- - I was with the cellar, so-- - Yeah. - Was that awkward? - Huh? - Was that awkward? - I don't know, I didn't watch it. - Yeah, something will get weird about that. Chappelle's always like, "Key and Peel stole my show." - I don't know. - And you're like, "Ah, it's just another show." - Everybody's biting, everybody doesn't matter. - All right. - Yeah. - Who are your biggest influences like as a director? - I love Woody. - Yeah. - Squarespacey. Then like some weird people like Lena Vertmuller. She's an Italian director. - Hmm. - She made great films. - Oh, a lot of them up, don't know her. - Yeah, so she made a movie called "Swept Away," which has been remade a couple of times. It's about a fancy yacht, and it hits the rocks. And the snottiest lady in the gold bikini, like a millionaire lady. And the sluggiest dude that works on the yacht are end up together in an island. And it turns, you know, so he ends up ruling the-- (laughing) 'Cause without him, she's dead. - Oh. - So it's just this turning upside down of-- - Kind of like triangle of sadness. - Yeah, like that. But yeah, this one is, it's also hilarious. But also he made one called "Seven Beauties," which I think is the next one over on your list there. It's right next to "Swept Away." There you go. - There you go. - Okay, so this one is about an Italian pimp. And he's a real just ladies man scumbag. And then it's World War II, and he turns out he's Jewish. So now he's in a concentration camp. - Whoa. - And he's dying in the concentration camp. He's like, I can't-- he has no courage. He's no strength as a person. - Uh-huh. - And the concentration camp, Comodant of his barracks is a big fat German lady. And he's like, I gotta try to fuck her. Like, it's the only thing I have. - Whoa. So he won a premise. - Yes, so he has, yeah, there she is. So he seduces her. so that he can survive the Holocaust. - Whoa, what off? - I mean, who else is making that move? - Exactly, that's gold. - Yeah, this guy and no one women saved his life. - I guess so. - That's right. - Damn. - Wow. - That was Lena Vertmohler. She was an incredible filmmaker. - Did she, she didn't write 'em too, huh? - I think she might have. - Oh, that's even cooler. - Yeah. She's a great filmmaker. I don't know if she wrote her movies. - Movies are so expensive now. If you pitched that, people will go, "This is never gonna sell, I hate me." So you never get to see that movie anymore. - Yeah, but I think there's gonna be a big resurgence now with like indie movies and stuff like that. I think so too. People are, I don't know, there's always somewhere that people are having cinema courage, you know? Do you still go to the theater a lot or no? - I haven't seen a movie in the theater. Last few I saw, I saw the Spanish version of it's called Society of the Snow and it's about the plane that went down. - I saw that. - And they all ate each other? - Pretty good. - So they made one here long time ago with Ethan Hawke. - No. - I don't remember what that one's called. Ethan Hawke and Josh Hamilton and it's about the plane going down and they all eat each other. Alive, you got it. - Oh, I got it, okay. That's old. - Yeah. - That was a great movie. - Fucking good. But the one that's the Spanish made by the actual, basically the people who experienced it, it's phenomenal. I mean, it's made by the country. It's like a paraguire or something. - Right. God, that's good. Most great cinema, especially visually, is Spanish speaking for some reason. A lot of movies have seen recently. I don't know, but they're, because part of it is the democratization or whatever you want to call it of the simplicity of not just phones but like cameras. You can get a really great camera now for very cheap. And so I think countries in South America are making beautiful movies now. - What's the, yeah? - I've seen a few of them. - The gravity guy, I think he's Hispanic. - Quarón, he's my brother, yeah. - Is that it? - Quarón is Alfonz Quarón. He is Mexican. - Okay. - And his great movie, it's one of my favorite movies of all time is Children of Men. - Oh, I love that movie. - It's great movie. - What are you doing? - I'm a great movie. - Great movie. - Yeah, that just like that last 20 minutes or so. - Oh yeah. - Unbelievable. - I don't know how you do it. I don't know how he did it. - I know, it's so much handheld and running with the camera. - Yeah. - Great flick. - Yeah, so a lot of Latino movies are good right now. - Ah. - What about, where are you at on Korean? I think they're doing some good stuff. - Like when did Parasite? - Yes. - You didn't like it? - You didn't like Parasite. - You didn't like Parasite or Billy Madison? What the hell? - What's the, yeah, it's as good as Billy Madison. (laughing) - I don't know, I didn't get, it felt, not meta, but it just felt like there was a conceit to the way people acted in the movie that it was like, I'm not picking up on it. I thought it there was great filmmaking in it. It was very beautiful. He made a movie that's like a crazy kind of, there's a lizard eating people on the streets in Korea or something. - Oh. - And the host? - Maybe it was really fucking great. I mean, I think the guy's a genius factor. - Yeah, I made a movie called "Memories of Murder." - Do you see that on "Parasite?" - Right, right. - Do you see "Memories of Murder?" - Don't know that one. - That same director's really cool. I don't know that one. - Really, really weird crime movie. - His old movies have kind of a message. He did that "Oakja" and it's all about how we shouldn't be eating meat. - Uh-huh. - And "Parasites" about the class system blah, blah, blah. - Don't let crazy people live in your apartment. - Yeah, yeah. - It's a good lesson. - There's a Japanese filmmaker and it doesn't matter that it doesn't, that's not connected to him. Just 'cause it's easier. - It's easier. - The same area. But he's, I watched a lot of Turner classic movies and he's, he made a bunch of movies. There's nothing like these movies. Fuck, early spring is one of them. I think it's Japanese early spring. Try that, something like that. - Here we go. - Uh-huh. - Yeah, what's his name, the director? - Oh man, we got a busy weekend. Yes, sir. - New-yo-zoo. - Okay, that guy is incredible. - Okay. - All right. That guy is incredible. - You gotta, you have to bookmark some of these. - So he made this one movie. - 1903. - So it's about a guy, well his movies were made in post-war, Japan. - Yeah. - Sounds like, I mean, think of that. Post-word, like we went from the war to like, "Damn, today we go." - Right. - And Japan's like, "Woof, we're gonna need a minute." - Yeah. - Yeah. - It's like, this is fucking tough. - Yeah. - So they became very muted. You can see it sort of, well anyway. This movie is about a professor, a college professor, who lives with his daughter. His daughter never marries. Marrying and being in a family is a big thing in the culture at the time. And she loves living with her dad. And she's just a sweet girl who doesn't really want to get married. And he's worried 'cause he's gonna die and she's gonna be alone. - Yeah. - So he pretends that he found a wife, 'cause he's a widow. And she was raised from only by him, as her mother died when she was just a kid. So he says, "I'm marrying this lady down the street." So you have to go. And so she's sad, but she sort of opens up to finding somebody and she finds a guy. And the main character, it's a really sad story, but he's really happy, go lucky. She's like, when she leaves to go to live with her husband, she says, "I'm so grateful to you for giving me the best childhood anybody." And she's crying. And he goes, "Oh, yeah, yeah, that's cool." Like the whole movie, he's like, "Yeah." And people are like, "Are you sad? Your daughter's leaving." And he's like, "No, it's okay, it makes sense." And he's just really, you know, happy. And then the whole movie is a set up for when she leaves. And he goes home to the empty house. - Wow. - And he gets an apple. And there's this incredible scene where he's peeling the apple and you hear the sound of the knife going through the apple. And he looks at the apple with no skin on it and he just goes like this. And it's credits. - Damn, it's just his head going and you just fucking die. - Those are my favorite movies when the credits hit and you're just like, "Fuck." - Yeah, just that little move. - Yeah. - We talk about all that jazz all the time on that when the credits roll and when the credits hit and you're just like, "Fuck." - Where is that moment for you for all that jazz? - I mean, after that whole number and they just zipped the bag on them. - Yeah. - And you just go, "Fuck." - That movie's so well done. The opening of that movie is unbelievable. - This pop on the pills? - Yes. All that jazz is a masterpiece. - Yeah. - It's a big, juicy, gorgeous masterpiece of a movie. - Yeah, sweaty and it's sexy and it's got a long way. - Also another round. I feel like the ending of that movie, too. - Oh, that's a great ending. - Do you ever see that one? Danish movie, "Mads Michelson?" - Sure. - No, I know that one. - What, so what's the moment then? - Well, just when you don't know what happens to him, and you're just like, "That's it." - And you don't, but just it hits it. I love an ambiguous ending and you're just like, "Oh shit." - So back to him in a second, but there's another movie that has that moment and it's, I think it's called Howard's End. It's a-- - Oh yeah, I remember that one. - Fucking, nope, maybe I don't know. - Yeah, no, no, no, it's different. It's Anthony Hopkins and-- - That's him. - Yes, but it's what's her name. Oh yeah, so maybe it is this one. So it's a butler and no, it's different. It's different movie. Howard's End is different. But it's another merchant ivory that they're both in. Him and Emma, what the fuck is wrong? - He's in two of the same movie? - Yeah, they're in the dress in the same kind of clothes. Both period movies, remains of the day. - Thank you. - He's the butler and she's the housekeeper of a great house, right? And it's this long story of, and his father was the butler. - Oh, it's good. - So he replaces him. But anyway, he's deeply in love with her. And she kind of, she's waiting for him 'cause it's English to make a move. And he's just, every time they're going away for like the holidays, she's like, where are you going? And he's like, I'll just be going to the countryside. And she's like, I'm not going anywhere. And he's like, well, I'll see you later. And year after year, then they get gray and they're both, and the house closes. So it's over and he sees her to the train. And she's on the train and he gives him her hand just to say goodbye, just to shake hands. And there's this close up of her hand and he just presses it with his thumb just a little. And as the train takes off, she's like, oh my God, he loved me the whole fucking time. And he's just like, he couldn't, it's like a 40 year, I can't say I love it. - Right, damn, what a nut, yeah. - So it's that moment. - It's like the ending of the Age of Innocence when Daniel De Lewis won't go upstairs. - Right, yeah. - It's like that repressed age, we're just like a touch, you're just like, oh my God. - Yeah. It's crazy to think where we went, we're like, with like porn and stuff now. Back then it's like, you're like, you touched my hand. - It's anal. - Now it's, now it's eight cocks at once. - With jizz all over it. - Damn, the makeup's running. - Been thinking about starting a business, selling a product or launching an online store. Shopify makes it a lot easier to get started. everything. you need is built in from day one. So you can focus on your business instead of figuring out complicated software. Shopify gives you a professional website template and tools that help you build a great looking store without needing to know how to code. 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Not really. Deeply upsetting movie and it's all about the last like three seconds. It's just a huge set up to the most upsetting three seconds of cinema. Oh boy. Damn. Yeah. Have you heard about this new movie that's banned now? That's number one on Apple. What is it? It's about a guy. I think he's in Germany. It's a honey hammer man movie. It's already banned everywhere because he's going around killing Mike. It's like death. It's like death wish time of it. Yeah. I just watched death wish. Me too. Really? Yeah. I just watched it. I watched it and I watched half of two. It's the same plot, right? It is. The first one is life and I skipped the rape. You got to skip the revenge. Yeah. I was at that bad. And Jeff Goldblum's one of the rapes. Jeff's Goldblum. He's wearing a kind of crown like jug head in the archies. And he says to this woman, he goes, you rich cunt. I kill rich cunts. It's awful. Jeff Goldblum says that. It's awful. It's a movie. Somebody, he's in his apartment going, you rich cunt. No, no, no, no. There's eight other dudes in that audition room. Like, I got this. Yeah, yeah. No, he nails you rich cunt. But it's like it's there he is. There he is. But the part of the movie is his wife and daughter are raped and his wife's murders. And then and he goes on revenge, not those guys, but he's just like, you know, going streets. Yeah, he never gets those guys. But then the second one is just, it's just his maid and his daughter are raped and murdered. It's like they didn't really, they got a kind of different way. Yeah, they got a twist. He's got some bad luck. Yeah, give me something. Yeah, it's, he moves to LA too, right? It's like a different LA. It's kind of like escape from New York or escape from LA. I like it at the end of that movie. The cops are like, we know it's you, but just get the hell out of here. Yeah. What a fun. That's so 70s. He's killing everybody in town. But just get the hell out of it. Yep. We get it. Look at that. I got a rewatch. I haven't seen this movie in 20 years. These movies are very shotally done to the very cheap kind of like right on the street movies, but they're really dynamic. It's like Mike, to think that Michael Mann was going full circle was making lush gorgeous films. And this was a straight ed. This was a huge hit. Yeah. They made four or five of them. Yeah. I never got Bronson's face. His face bothers me. So he made, he has one of the greatest movies ever, which is what he's, the problem is the guys get famous because they do something great. So then they have them do other things. Right. Right. Let's see how the caprio doesn't need to be fucking Jagger Hoover, you know. Yeah. He's good at other things. You don't think you can nail it? Well, that wasn't that you know. Okay. Yeah. That wasn't, that was consistent. I never saw that. I didn't see it either. But Bronson did a movie called Hard Times. Oh, the fist fight movie. Yeah. James Coburn. It's a really phenomenal movie because it's not just these great fist fight scenes. It's a weird, it's a portrait of New Orleans during the Depression. Which is where you're from, right? Yeah, that right. And I don't know how they did it because they were like, well, I mean, you go to New Orleans. It's like the 30s there. That's true. It's a lot. So yeah. But it's really it's a gorgeous, funny, interesting movie. Worthy in, uh, what is it? Not the good, the bad and the ugly together. The other 30 dozen. Magnificent seven. Yeah. Yes, they were together. Coburn and him. I'm I'm thinking, well, I don't know. Coburn was in the dirty dozen. You old Brenner, I think it was in there. Yeah. Oh, yeah, 30. I mean, well, did you ever see the original Japanese? No, I got to see it. I got to watch that one. It's good. That was nervous. It was like, here we go. Old black and white. But it's, you know, you know what? I watched the other day for the first time. That was crazy. If you're into this movie to be or not to be by Ernest Lubich, 1942 made it. Lubich was great. During the Holocaust and it's a like anti-Hitler movie. It's just mocking the Nazis. It's a comedy. It's a straight-up comedy with Jack Benny. So controversial when it came out that Jack Benny's dad walked out of it like he was disgrace. I mean, 42. They're right in the heart. They're right in the heart of it. And, you know, he's a Berlin Jew. He left Hitler hates him, obviously. And Carol Lumbar dies like two months before it comes out in a plane crash that Orson Wells is like Nazi agent shot at that. No shit. I mean, it's probably bullshit. It was a war yet. No, it was a war. It was a war. Oh, okay. During the 42. Yeah. Well, there was war movies right after the war are way better than war movies after. Like process it a little. Yeah. Well, the ones that were right after were great because they were made by veterans. And they were like Samuel Fuller made a shitload of war movies. I mean, he was in really deep shit in World War II. And there's another one called decision before dawn. I think it's called. So I don't know how they did this movie because it what year is it? 51. Okay. I mean, think about that that six years after World War II. Yeah. What was six years ago today? 2020. Yeah. So it's like a movie about the pandemic, what's going to be like, we just did that. So this is like, there's still rubble everywhere. Right. And so they made this movie and this really incredible actor, the lead. What's his area? Oscar Werner. So Oscar plays a soldier, a Nazi soldier. Oh, Klaus Kinski's in it. Yes, he is. And the U.S. and it's based on a true story that the U.S. started to take POWs, German POWs and send them back in uniform to be spies. And so he was sent to do a major, huge, like killing a lot of people in Germany thing. And he hated Hitler. And they have to, they interview these guys and see if they're really committed. Cause otherwise they're going to go over and fuck thing. It's like a very dangerous thing to do to send a guy back as a spy because if he turns back again, he can really hurt you. So he plays a guy who goes over back into Nazi Germany to try to do some sabotaging and cause a big thing. And you just follow him and he's going around German towns and he's seeing friends and he see people he likes. Crazy. And like his father is a doctor in a hospital and he goes, he's outside the hospital and he calls his dad and his dad comes to the phone but he can't say hi to him. And you just see him like, and you're, and what you're watching is you're wondering is he's going to do this thing. And the movie lets you have a lot of sympathy for Germans. Yeah, during the war. And a lot of movies after that were made right after. Because if you were really over there fighting, you came away with some sympathy. You just did. The kind of jingo is stick fucked. These people is like, that came later like John Wayne Warmer. Right. Well, John Wayne famously never served, right? I mean, he never said book about that. And any war five came back. All the director like fuck this guy. He's a pussy. He's playing tough guys. And they John Ford went over. They went over to all those guys. Yeah. But so yeah, the movies they made right after were more reflective, more like this, like more messy. That kind of thing. Do you find, and that's a little gay interviewy question, but do you find that? Because you got some of the most, you know, out there premises. Do you think you see some of these, these crazy movie premises? And you go, I can, like, what is it? Putty Swope? Yeah. You know, that's a wacky. I don't know. Yeah, completely nuts. But I think some of your premises, you're like, you go places, no one else will go. You got this weird part of your brain. I feel like you tap into it. I feel like you started super absurdist in your standup and you've kind of gone back to that a little bit too. Yeah, I kind of have. Well, yeah, thanks. I mean, I'll take it as a comment. No, that's a good thing. The no one else is going there. Well, that made to me makes it worth doing. Like, I guess a lot of what drives what I do is curiosity. So if I can see how something's going to work, I'm like, well, and why, why do it's like, I already seen the movie. Do you know what I mean? But if you start with something that's really fucked up and strange, right? What about this? What would this be like? And jokes are like jokes are a more immediate version of that totally where you go, like, why am I going to talk about this? This is not. There's things that people think are funny and we know what they are. And if you, and that's not easy, nothing, nothing in standup is easy. But I like starting with something where I'm like, they don't even want to hear about this. Yeah, how do you get over that hump? You know, it's curiosity. It's one thing, but if they're rejecting it, it's like waves coming at you and you're, you keep swimming. So it's a good question. To me, it's because I don't take those, the rejection personally. It doesn't hurt I just think it's interesting like if you are a scientist and you're doing an experiment if you put this dropper liquid into this thing it does it bubble or does it boil or what does it do if you got offended that it bubbles you'd be out of luck as a scientist but if you're like I'm just curious to see what'll happen sure and also I've been doing this for 40 plus I mean in 1985 so whatever that is yeah so when you do a joke and they just draw a blank you go oh that's okay but we're still all here and I could do something now that I couldn't have done when you're laughing it keeps resetting when you do a joke that makes people feel like oh that's so funny they laugh and then they're like here give us another one you keep coming back to kind of the same place but if you do a joke that makes them go what the fuck was that now you're in a new you've gone to a new place yeah and there's a bunch of jokes there that nobody else is gonna find because they feel more comfortable in this cycle but I guess it's not even a person that that's interesting it's not even a personal thing for me it's like oh no one I'm gonna bomb and no one's gonna come back no one's gonna see me again are they gonna walk away going I was a bad shit but okay for example you're really skilled comic you are a guy who clipped up kills okay you're killer act and you're it's clear you're in success mode on stage like you're you're you're doing great so why would one it's incredible to me actually that like one you're thinking if they don't laugh at this they're never gonna come well I mean that's a little extreme but they're gonna be going to walk away but they're not gonna walk away they're still there I mean after it's over they're gonna go yeah we saw that guy he's suck yeah but also Louis there's not a lot of comics at your level who have the comfort bombing that you have and I mean that's a compliment I mean I've seen yeah it really doesn't like we both seen Louis like in workout mode and he's I've never seen it's rare that dude this famous is Louis are comfortable taking an L that's true it's so fun to do like I remember going into the cellar one night and it was the upstairs room the lounge the bar yeah I think at times that's the worst room easily that's where they put the end of the audience yes not gotten to but that kind of makes it the best room sometimes it's fucking great yeah because when you go in with a low bar and they have a good time yeah and you're kind of like if I get one line out of this set right you know if I get something but it was not a good night and everybody was sitting at those tables outside of the curtain and everyone's just it's just fucking bad yeah and they're all looking at me I kind of feel other comedians eyes on me is I'm about to go on stage and I'm and I've got a list of bits that I want to try that aren't they ain't been working and part of me wants to just go up there and smoke the place yeah you know what I mean and show them this is how it's done but I just want I came here to accomplish something so I went up and I'm trying these bits and the crowds like like yeah like not beyond bombing to like what the fuck yeah like it's because that's the kind of people to kind of go to the so totally totally there's a lot of girls in black dresses and they're like together and they're like wet so they're not and I'm older and I'm doing these weird things right now and I kind of get off and I walk by that table and they're all looking at me the comics and I said that was horrible and they were all they all smile like I make them happy that I acknowledge that I ate it and that we all ate it we're all the same you know what I mean I like I like I like being in that world of bombing is is there's dignity in it you know this kind of gives me a good feeling and kind of you can feel that it heats you up like a fever kind of burns off oh yeah demons well Bill Burr has that to where he can kind of go far and then win him back yeah I quit I like boxing and you know Rocky Marciano had the had a they've found he had a padding on his head like extra weird cartilage on his head really take more hits and I think some comics have a thing where they can take more abuse yeah you can take a lot of if you can take a lot of beatings but there's a level beyond winning them back yeah for sure there's another thing but if you can get all the way out and come back like it's different it's you go way out yeah you there's no court there's a more spaceship yeah you this this umbilical yeah yeah and ain't there I know you've taken them somewhere where they're like we don't even know why you're floating this is not an entertainment there yeah and you're just like all right guys well here we are there's no for down here I am but you're all freaking out you're worried because they don't like the audience doesn't like feeling like they're in a struggle or in a bad place but I'm okay I'm my brains working right and I learn that a little from boxing because when you're getting beaten up in boxing the only way out is your brain you have to be smart you can't it's not just hitting back it's like having a good idea right there upset because I've done sometimes two three things in a row that haven't worked yeah deep in and I'm okay I'm breathing okay I'm not panicking I'm not struggling to get them back I'm like we're in a really interesting place way out here now and there's jokes out his comedy you haven't considered out here and if you can start a new garden of comedy there instead of coming back right there you got a whole other you got a whole range of shit but I know your whole career and all that you started with the same hour either the same hour for 10 years I did you know you're doing the complete you want the complete other way where you did a new hour a year for a while that's true so how did you go from hey I'm the hour every year play it's safe guy same hour you know live in Houston that hour the the the breakfast order the eggs on a nail every night every guy getting hit by the car yeah the peach yeah yeah how did you go from that guy play it safe guy to out in the atmosphere with a new garden good question well and one of that what that was that flip was a gradual if some of it was gradual and some of it was just getting really sick of it because I the the opening joke to that set was I live in New York and it's the only city in the world where you have to say things like hey that's mine don't pee on that that was the joke I did that joke thousands of times and I hated it so much every time I would say it I hated the way my mouth felt like hey you know you know that kind of thing where you've done a joke too many times right I didn't even know what I was saying I was just making breath go through my fucking throat yeah sounds and they'd laugh and I hate an autopilot yes and all of the jokes in that first hour I just did them for years and years and I started to rot and feel like I got nothing was there a comic that made that gave you like the bump or is it just you was just hating it well there was a few things that started it one of them was I was me in a bunch of comics in New York were just like doing our same sets you do the same five when you audition for Letterman in the same 20 when you try to get on this thing and you know whatever yeah no one's getting an hour special that was sure nobody was getting that and you try to get money at the clubs sometimes and SNL once in a while auditions but it was just miserable and then Chris Rock who had been on SNL but then vanished for a while yes he came back and he was at Caroline's headlining and I was friends with them earlier but I hadn't seen him a long time so me and a bunch of comedians went to the Caroline's and we're all sitting in one booth and it was astonishing he was leaning forward and he was doing these jokes that I was like I didn't know this was an option to get to get this good it was bring the pain yeah I think so and we all sat there at the end of the show everyone was standing and we were all just wow so that woke your ass up and made me realize funny that has the opposite impact on a comedian yeah I don't like I fucking hate myself so upset yeah it's like if everybody was a high jumpers together and everyone's like three feet man how did you fucking do three feet and then some guy does like eight and you're like no no no no wait a minute three is a lot yeah it's like no it's nothing right and I was I think close to 30 or something I don't remember how old I was but that lit a fire under your ass yeah and then I started thinking I should actually like study what I do I should actually be deliberate night good Chris and I rekindled friendship and he gave me certain advice like if you're driving to a gig turn the radio off and I mean forget phones back then but sit there and stew in your car you need to get uncomfortable and you need to play clubs where they don't like you and I started thinking like oh no you actually have to be like training you have to actually actually try you don't just sit around like here's my act where is my fucking deal yeah you go forget getting attention from anybody and just think what can make me better and I I started to listen to guys more more I started I got all Richard prior put out just around then a big CD set of all of his you could buy them all at once all his albums I listen to them all and I listen to what did you take from prior just this fluidity and this like, you know, "Ah, that easy Richard Pryor and owning moments." The thing about Pryor is that people, I think, felt like he was really like opinionated and he said big things, but he was silly as fuck. He was funny and fucking silly. - People forget that about Bill Hicks too. They always, it's always like the heavy clips, but there were moments where he was so damn silly. - Oh yeah. - The reason Bill Hicks was great was 'cause he knew how to use a microphone, like he made funny noises and shit. - Yeah. - He was just a great comic, but anyway, so yeah, Pryor. And then I heard Carlin in an interview talk about his process and he said that he looked at it like I'm writing this show now and I'm writing, it just had never occurred to me. Like I'm doing this show, I do it for about a year then I do one of my, 'cause he was the guy doing a special all the time. - Right. - And then he said that I kind of start working. He had a more gradual thing of throwing it out gradually and starting on. But the idea of like I did this show, this show's done. - Mm-hmm. - Let's start again. Was so deeply exciting to me. That that was an all at once thing. - Wow. - That was like, I'm doing that from now. 'Cause I did, when I did Lucky Louis, the show never had a chance. - Yeah. - It's definitely getting canceled. And I knew it, so I, but I was in it. - Why do you think I'd never had a chance? - It just was not something people wanted and it was, you know, a lot of reasons. But I was there, I was inside HBO. So I asked them, can I have an hour? - Yeah. - And they said yes. So the show got canceled. - Was that shameless? - Yeah. And I went on the road for a year and I built that hour. - And you had done a half hour with it? - I had done a half hour where a lot of stuff I had been working on. Everything, it was everything since that album to the half hour went into that. - Well, you had that closer to talking to your kid. - The life. - That's a great thing. - That was a bit where I felt like, I mean, just as someone, it was a spectator, I was like, oh, he's turned a corner, I think, creatively. I think when you started bringing your kids into it, there was something, like no one had talked about kids that way. - No, for sure. I thought I'm a dumpster. That was a big bit. - So that was a big and then also there was this general feeling also that I didn't care anymore that if they didn't laugh, it was okay with me. - Yeah, with some comics say, but they take the wrong way. - That's right, I don't mean it like, fuck you. I just mean like, I think if I don't get a laugh, we're all gonna be okay and there's something past it. I was a control. - Yes, it was like, why not try it? It's gonna be okay, it's just one joke. And the first one that I, joke I came up with that was that, was the thing about the World Trade Center. The joke was, you know how bad a person you are by how soon after 9/11 you jerked off for the first time. - I remember that. - And every time I would do that joke, people would go, no, like they loud, loud, no, no. It would just get sound, but I'm like, I know it's a great joke. So I'm gonna do it every night until it starts working. - And the turn at the end. - And then it, yeah, I don't remember it. - The turn was in between the two. - Between the two plans. - That's a great line. - Between the two buildings going down. - 'Cause you took something awful and you found a light angle. - I found it really, really selfish, silly angle to it. You made yourself the bad guy in 9/11. - At 9/11, that's right. If you can do that, that's pretty great. - But that's kind of the beauty that joke is like, I'm the asshole. - Yeah, I'm gross. Look at me. - That's loser. - Yeah, that was, that was in shameless that one. - That was, no, it was shoot up. - Hey, I don't remember it. - I don't remember it. - It was in a shoot up. - I think so. - Did I do it in a shoot up? - That was a joke that like was an example to me that I, for me that I would tell someone when they'd say, like, oh, you shouldn't do a 9/11 joke. That's a great 9/11 joke. It's no subjects off limit. - No, but also it isn't for who likes it. So it's like, if somebody says you shouldn't, well then they shouldn't watch that kind of comedy. But it doesn't, there's no universal collective what we should be doing or not. There's just, you do what you do. And then the results are the results. - Yeah. - How many people like it, where do people like it, where do people not? - I never had in any quarrel with people saying, I don't like jokes that are like that. That's fine. That's their thing. Then they like another kind of humor. There's lots of kinds. - But my point about that is that I think it's such a strong joke that it can turn people who might not necessarily-- - And then there's so what comes and goes, but team seems to always be there, is that people are open to comedy. Oh, comedy is a place where people are open. In other words, I'll listen to something I don't, I'm not, that's not my kind of thing. 'Cause I might laugh. - Well, I think it's fucking rare and it's fun. - Yes. - So you're like, I don't like jokes about abortion. I don't like abortion as a touchy subject for me, but I'll give this a listen because I might laugh. And if they find themselves laughing, you know, there's a connection there, it's good. - That's a great point. - So. - Okay, but I had a thing, but I was so involved in that, I'm curious about it. - When you write, 'cause you say like, "Carlin puts on," you know, this is my show. This is the new show. When you're writing, is it free association? Are you reading the paper? I've seen you at the store getting the paper. Like, what's your process when you sit down? - I love the, I get the paper 'cause I like the crosswords. I read the Wall Street Journal, I get that at home, but I go buy the New York Times and the weekends for the cry, I like the cross. But no, when I don't, I mean, there's a cycle so I don't know where you started. Like I just did a special, so I'm off, I'm out. - You're back to zero. - Yeah, I got no jokes. I got tour three left over that I came up with towards the end of the tour. I have a bit about farts that I'm really proud of. All right. And so when I come back, I'll have that. It's a pretty decent bit. - Yeah. - And so usually there's a couple like that. Little things like one or two. And then, and so I just put it out of my, I put comedy out of my mind though. I don't think about it for months. - Yeah. - Try to go as long as I can. Last night I was texting with Daniel Simonson 'cause about the world cup, he loved soccer. And he said, I'm gonna miss the game 'cause I'm going to the seller. And I was like, I wanna go to the seller. Like I wanna be on stage. - Yeah. - But right now as the stage were like, I'm actually prohibiting it. Like just don't do it. - Really? - Don't think about jokes. Don't touch it. - You wanna live. - Yeah. And also just stay off the muscle. Just stay off of it completely. Let it bury the potato under the ground and let it just sit there. - Yeah. - Get fermented. - You wanna live. - Yeah. - And yeah, it's, I wanna live my life, but I also don't, for the sake of the standup, I don't want to be doing it right now. It needs to cool off. Like in Hungary they take a cow's head and they fill it full of crazy spices and shit and snails. And they wrap it in a rag and they bury it under the ground out in their yard. And it sits under there for like months. And then they dig it up and they eat it. - Whoa. - That's like the best thing you ever ate. - Come on, give that a goog. - Give that a little Hungarian bee, I don't know, do your best. You know what you're doing. - Cow's head, berry. - Yeah, something like that. - Wow. I mean the months is annoying 'cause you're like, I wanna eat the fucking thing. - Yeah. - I gotta wait months, what if I'm starving? - No, that I don't think you're in the right track. But anyway, it's something they do with, I think it's in Hungary. No. It's this a delicacy. First, Dalek, you can just say you wanna take some time off too, you know. - I just wanna take some time off, man. - I just got, I was like, you want life. You need to write about, you need to reach out. You've done this, as you said, 41 years. - Yes, the last time I stopped, I took a, I took a full year and a half. And I thought was I'm not doing it anymore. - Yeah. - I was quitting. - I knew that was never gonna take. - Yeah, I thought, I honestly thought it would because I loved, I felt so good. And once I live near, I live right between the cellar and the stand. So once in a while I see comedians walk and buy from one to the other and they have this pasty look on their face. I'm like, I'm going to do a spot and I'm like, I don't fucking miss that at all. It's like seeing people going on the river sticks, they just have like no soul anymore. Stand up is such a fucked up lifestyle. So I don't miss it. - True. - But you kind of romanticize it. I feel like watching Louie made me feel like, it felt like being a comic was cool. - It ain't man. - Nah. - But in the show, in the show, in the show it felt cool. I mean like. - Yeah and the road is great. - Yeah. - No, you're right it is. - Yeah. - And even the episode with Jim Florentine where you guys are in the comedy condo together. And Jim is playing a hack. He's hilarious. - Yeah, he's drinking. - And there's a line where you're being arrogant about your craft and he goes, it's a fucking bar trick. - Yeah. - It's something I love that you kind of would shit on yourself and like. - Well, we shot that show in Long Island at the governor's. - Yeah, yeah. - And it was great because I asked him, just be a huge hack. - Yeah. - Just go on and be it just, and he was like, yeah, all right. (laughing) And he's like, sorry, you got three girls at your table. You must be hung like a fucking elephant. And he's just doing the basics and he's crushing. - It was so fun to watch a guy who you just go, don't have any, just do it. - So he just did his act, he just did his act. - I mean, he's a thousand times funnier and more inventive than that. I love Jim Florentine. - Yeah, no Jim Florentine. - Right, yeah. - And anyway, yeah, so he was great in that. That was really fun. - But you would call yourself out, but then also there were times where I thought you'd like, look cool was a comic and it was, I know that you, you know, were self-deprecating, but, That in the lifestyle seemed cool to me. Maybe it hit me at the right time. - No, it was, it was, it did feel cool. It does a lot of the time, it does. Sometimes it feels incredibly cool. Sometimes you can't believe what you're in the middle of. - Yeah, like when you're running from one club to the next and like the jokes kind of start to work better. - Fantastic, that's the fun part. It's not the running around or the bombing or whatever it's like tinkering. - No doubt. That's what I was talking to Keath Robinson. And he had done some joke about a girl vandalizing his scooter, you know, 'cause he's got his stroke. - Yeah. - And this way it's like a rascal. And he said some girl in his building wanted him to have sex with her. And he wouldn't, so she vandalized his scooter. She fucked up his scooter. - Wow. - And he was telling the story and he didn't really, wasn't a joke yet. And afterwards I was like, there's something there and he goes, yeah, I don't know what it is yet, but there's something there. And then somehow the conversation turned into talking about how long should we do stand up for in our lives. And he said, as long as I'm curious about bits like that. As long as I have that sort of like, how do I make that work? - Yeah. - I'll keep doing this. And it really is, it's a small thing that makes you love it. - Yes. - Is that little like, right? - And light of the tunnel. - Oh, I see something there. - I see something there and you fit, and then when you really come up with a thing. - Yeah. - And you crack it. - Oh God. - Keath still turned on material. It's feeling. - It's pretty insane. It's pretty awesome. - Yeah. - That he's walking from set to set, you know, after two strokes and still writing really funny new shit. - That's how fun it is. - Yeah. - To come up with a bit. And to know, oh, I just, like when you're doing a special and you've been doing the bits all year, and then you come up with just a second. - Oh yeah. - Right. And sometimes that happens right after. - Too late, yeah. - Unfortunately. - But that's why you see these guys do the same act for 10, 20 years. They seem sad about it. You know, and they seem kind of like road hard and weary. Just kind of like, I'm going to do a set. But when they see the guys who are always working, that's a different kind of pain. But there's hope at the end of that. There's hope involved in that pain. - Well, you're in pain because you want something. - Yeah. - Yes, exactly. - Bombing sucks. Even if you're going towards something. It's like, you know, you know it's part of the process, but you get off stage some nights, even though you're like, I got one like, and you still feel like a piece of shit a little bit. - Of course. - Totally. - Well, it's like when you watch an athlete, like I'm ever watching Derek Jeter once coming around third base to try to score on like, you know, where he shouldn't have gone around third. And his teeth were gritted. It was like a great moment because he scored, but he looks upset. - Yeah. - Because there's a great video of Tom Brady out of that whole ESPN thing. I didn't like most of it, but there's one thing he does, where he talks about every time, he knows a lot of the great athletes. And every time somebody wins a championship, he calls them and says, hey, you did it great. And the guy always goes, that was fucking hard, man, that like they're never happy. - Oh, great. - And he goes, yep. It's because if you want to do great things and achieve your dreams, it's fucking hard. - It's hard. - When you were doing an hour a year, which I feel like you were the comic that is, the reason a lot of comics are doing an hour a year now, thanks a lot. - Yeah, I mean, seriously though, I think at Karlin was doing it, but then for modern comics, I think you were the one who set the bar there, and then not every color guy's doing that in England. They do it a lot 'cause they have that thing in Edinburgh. So in your, you know, I never did it, so I don't know. - No, it's just a bunch of like, life stories. - Yeah, yeah, it's a little more, you know. - It's a little, it's not as dense. It's not as dense, but you're doing, you're editing your show, you're writing your show, you're directing your show, you're starring in your show, and you're doing an hour a year. When you're talking about like, it not being fun, are you talking about that a little bit? - You mean 'cause it's such hard work. - You would just, yeah, you probably like, you're talking now about living. Do you feel like, I don't wanna say you're like a retired athlete, but that's like what it sounds like a little. - No, back then I was more, I was really in the bigs. Yeah, I was a big league guy, and there's stuff that I did back then. It's just, I think I can do a lot of the things I used to do, it just takes longer and I gotta be more measured about it. This last tour I did was just too many shows. - Well, you were going like, you were Belarus, and we went around the world. - Yeah, yeah, I was in India, and Turkey, all these Hong Kong, but that was too many shows, and I built a tour that was more shows than I'd ever done in my whole career. And there were times out on the road where I was like, I can't fucking keep doing this. 'Cause there were years where I just was inexhaustible, and I could do, when I did the tour that ended in this special called hilarious, the shows were off in 90 minutes, and sometimes two hours, and I used to do this thing where this was like at the height of like, I felt anyway, I could do anything, where I had a good 15 minute closing chunk, like this is all closer, right? And so I didn't, I used to get off stage without it, and come back and do it as an encore. So I had a set that was strong enough without my actual closer, and I closed really strong, good night at whatever, an hour, 20 or something. - Damn. - Get off stage, and then they'd go nuts. I'd come back on, and I'd go, all right, here we go, and then I'd have 15 minutes of closing grade nuclear material, and people, and what the fuck did I just see? That's what it felt like. That was the experience I was having. - Yeah. - I go back sometimes and like sample some of my specials, hilarious, it's not one of my favorites. I think I got pretty crazy thinking I was better than I was then. That's the way I look at it. But you say it is one of your best or not one of your best? - Not one of my best. - Oh, really? - But I'm not that guy anymore. I mean, when I did the beacon to do my special, the show was so great. It was about as good as it gets, and I never do on-course anymore. Like I don't, I just, I have them turn the music on right away, 'cause I just think it feels cheesy and encore, but I told the guy that runs my stuff. I said, you know what tonight, let's see what happens. Leave the lights down and see what happens. I had a great set. I got off stage, and as soon as I left the stage, you were like, all right, let's go. (laughing) All right, those days are well-known for it. They got enough. - Yeah, yeah. - They got just enough. - No, do you find it, it gets easier. You've been setting it up to 40 plus. - Yeah. - Does the bit get easier like to crack? Can you see where the funny is? 'Cause I think you can see more of, you can see funny from different more angles. - Okay. I hope. - But they're on to me, they know me. So there is a level of this where, if you do it long enough, you become the context for your own material. There's nothing like being a new comic who's really strong. 'Cause people like, where the fuck did this come from? Like I've never seen a guy like this. - Sure. - You have that and you have that. You guys are both like, I never heard your voices before. - Really? - Or is your new comic. - Hey, all right. - Yeah, both super strong and original. So it's like exciting to watch. 'Cause I'm not watching it kind of like, oh yeah, I know this, this isn't his new special. Not for me anyway, I don't watch as much as I used it. - Yeah. - But people have seen me and seen me. And there's some, I evolve in some ways. - Yep. - But the tour before this one, the reason one reason I thought of quitting is 'cause I started hearing my own bits and going like, yeah, I know. - Oh, I saw the trick. - I'm starting to see the trick. - Oh, good. - If I can see it, I bet they can fucking see it. So. - Formulaic. - I started to feel like I had a formula. - What do you do in that happens? - Yeah. - Do you think like, okay, I'm doing too many bit bits and I need to go into stories more. Like, could you shift up the approach or what do you do? - I think you gotta empty out, take a long time off. - Wow. - And if you're doing a show 'cause it's time to do another show, there's something to that. I mean, when you first come out of the gate where you guys I think still are, you don't have to worry about that. Just keep generating and it's all gonna be pretty fresh. - You're a new, you're a new son. But once you've kind of supernovaed it out. - Yeah, yeah. - And you're a red dwarf. You gotta come up with a reason to be out there. You gotta go like, why am I doing this? - Yeah. - So that I stopped and I thought, but it's also just like Jim said, this is all a bar trick, it's this is kind of bullshit 'cause I left for a year and a half, I took sculpture classes and I wrote a novel and all this stuff. I remember what's his name, Ranaan. - Yeah. - I ran into him somewhere and I was excited, I'm like, I'm taking drawing classes, I'm taking sculpture classes. - I'm like a fetch, I got a romco. (laughing) - You're reinventing and flying. - Yes, and Ranaan said, which one of your, which one of your retirement activities do you like the most? (laughing) - He made me feel old. I was like, yeesh. - I bet anyway, Vig. - I took all that time off and I thought, I'm gonna have a reason to come back to the stage that's gonna feel like a new, a new approach. - Yeah. - But all that happened was I thought of a joke. - Sure. - For the first time. - But you don't know? - I don't know. - I was out on a vacation with a friend and I said, I said, are you getting any on a phone, you know? - A bars. - And she said, no, and I said, I only have one bar and it's a gay bar. - There, that's in the hour. - Yes, it is. That's the first one. - Yeah. - And I was like, man, okay, what am I gonna do with one joke? Like, I can't let it sit, I can't let it die. - Yeah. - So I just, I'm like, okay, I've got a notebook in it. (laughing) So I just wrote it down. And then I thought of another one. I think the second one was, press feeding, what was it? Oh yeah, I bit my mother's nipple when I was, my mother told me that I bit her nipple when I was press feeding, which I don't remember 'cause that was a drunk. (laughing) - There it is. It's like a stirred burger sticks. - That one reminded me of you. - Oh, okay. - Yeah, it was a little bit enormous. - Yeah, I like that one. - You get all the guys in your head a little. - Yeah. - I took your rhythm a little. Of course I don't remember 'cause I was drunk. (laughing) - Got a little more rope up. - Got a little more rope up. - To a comedy after that. - Yeah, comedy. - Well, you're open to the AIDS joke. I think I'm one of the first times you try that, I think I saw you do it. And I was like, oh, that's a great opener because it's so-- - I remember you're saying that. - That is a great one. - It's so silly. And then I didn't see until the special, you added it. You go rats. I got it from rats. - Yeah, yeah, yeah, yeah. - But there is, that's one that I came up with the best tag after the special, like a week after. Because it's like, oh, rats, that's how I got it, rats it. You can get AIDS from a rat. They don't even have to be gay. - Yeah. - But this one was gay. And then I added after, well, at least he is now. - Oh, and that was-- - That's good. - That's not in the special. - Damn it. - Because I came up with it after. - That's how it goes all the time. - How it goes? - Yep. - Damn, boy, I could do this all night, but I know you're gonna go to those places. You got children. - I got life. - Oh, boo. - Boo, life. - Well, do you ever have the thing where you're like, how did I write those jokes? - The old ones. - Of course. You'll never write another one, right? - Yeah, which is, which is-- - Never write another one. - Which is the special you look back at. You're like, oh, that's my favorite one I did. I'm like, how did I do that? - The one that's called, sorry, that one-- - Oh, really? - Has the run about the elephant? - No, but that one's pretty great, but the panties, girl's little girls panties that a friend sent to me is a joke. - Oh, yeah. - Some of the girls panties, and I'm talking about how I can't get rid of them, because you can't dispose of them without you. I don't want it somebody finding them in my garbage. - Right, right. - And I thought about like cutting them in the little pieces, throwing them all away in different towns. - Oh, this day went on and on about it. That felt like a great special to me. I guess maybe because it's more recent. I think that the comedy store one was really good. I'm proud of that one. - Oh, yeah. - I think shoot up was really good. Although when I look back at those days, I don't, I think I talked too fast. I was frenetic. I said fuck as a filler. - Too much. - I had a rule with fuck for a few years, which is if it comes out clean, take it out. In other words, that guy's a fucking asshole. Take it out, that guy's an asshole. But if it's like I fuck during the ass, you can't take fuck out. - You need it. - It needs to be integral to keep it. But in the last couple of years, I said fuck that shit. It's a word, it's a condiment. It's a sound, it's a twang, it's a guitar. - But that's a dialed in you are where you're thinking about the fuck. - I was thinking of taking fuck out. But that's what you're doing at the top of your game. I think you think maybe you're like, oh, how can I handicap myself? - That's right. - Yes. - That's right. - Man, all right, we can do two hours here. You gotta go take a shit. - New special on Netflix. - There you go. Check it out, Ridiculous on Netflix now. It's great. That will folks home bit. - Check it out. - Oh yeah. - Thank you. - They don't make you show your ID. - Yeah. - They're not valuable. That's a lie. - Yeah. - They're not valuables, not valuables. - Yeah, that was a really fun bit to build. - Yeah. - And it's gotta be fun doing something. And you're like, I'm gonna get a bit out of this. Like you're at the old folks home. There's so much comedy coming at you. - Yes, that place, I was very heart-stressful to be there. I hate visiting my father. And I went once it was towards the tail end of the pandemic. It was like you starting to be okay without masks, but they're still careful. So I went to see him on him in his room and I'm like, I just don't want to be, this is horrible. And then the lady comes in and she goes, it's time for dinner. And he goes, can my son come to dinner with me? And she goes, no, no guests at dinner, I'm sorry. And I was like, sorry dad. So then I'm in an elevator with a lady in my age. And I said something like, yeah, dinner at six o'clock. We can't stay. And she goes, that's why I always get here at 10 o'clock. - Whoa. - And she didn't, she wasn't getting. - Whoa. - And I was like, damn. - She was just cold. - And I realized this is a place that people come to that's really grim and really hard to be in. These, there's bits here. There's, so I started building that. - Whoa. - That bit. - That's a sure funny reason to visit your father. (laughing) - Some material here, I'm gonna check it out. - Shokes. - There's more jokes. - Anyway, all right. - Are you going on the road, you're taking a breather? - I'm taking a long, but I'm not having no gigs for the foreseeable future. - Go see Louie in a finger painting class near you. (laughing) - Do you have any gigs? What are those? - I'll do it back in the clubs. I've tried to build a new hour. - Sidesplitters, great club. - Great club, Tampa. - I'm doing something in the Hamptons one night only than Cubs. - Great one. - San Francisco, Houston, Improv. - Nice. - Zanies, Nashville, Pittsburgh, Improv. - Some Casino and Regina. - Regina. - Nice. - Calgary, I love Calgary. - Calgary's great, right. Minneapolis, Acre. - Aw, it asked me. - The best. - Great. - Louis Lee, great place. - Hey, you know everybody. - Of course. - How about Denver? - I love the city. - Uh-oh. - Go on. - Calgary on the state? Come on, man. - Great fucking club. - One of the greats, Charlton musicals, and. - You can't explain all these, by the way, for when we shoot the movie. - Oh yeah, we're going on the movie. I think we have city in Austin. - What movie? What are you talking about? We're going to run a movie. We're shooting it. - You are? - Yeah. - Yeah, a cobra. - We're excited. - So you have to cancel some of these games? - Some of these. - Yeah. - Hopefully, yeah. - I just got the Brea Improv, August 21st through 23rd. - People. - I got it. - We'll see what happens. - Lisbon, Athens, Budapest, Zagreb, Vienna, Warsaw, Helsinki, Stockholm, and Copenhagen. I'll add a bunch of dates coming up soon, but a bunch of new stuff's coming soon. - You got to go to Kirk near Warsaw. What do you call it? Fakao? - Yeah, Krakow's great. The guy don't have time on this, so I'm going to go for sure. I really want to go there. - Good, man. You're doing the other closet. - Nice. - That's good. I love it, man. - Good to see you guys. - When are you back in New York doing this hour? I want to see you're doing a new hour. - Oh, that's not ready yet. - What? - Give it to me. - That's what I want now. I want to see it. - I'm embarrassed. I'm trying to do stories now, and it's ugly. - Oh, I want to see that. - It's sloppy and clunky. - No, I want to see that. - I want to see that. - Yeah, I need some endings, I need some punches in the middle. - Maybe not. - Maybe not. - We'll get back on the phone. - Sorry. - What about you, when are you in there? - I'm not. - Are you just tape? - I just tape. - It's really not ready. I got like a passable seller set right now. - All right. - That's new. - Good. - I'd love a new 30 by the time this comes out. - That'd be nice. - Yeah, so that's my goal. - It's great when you get a new hour. - Yeah. - Exactly. - We just said that. - Yeah. - Healed. - Yeah. - It's like you're just naked without it. - I know. - But once you have the hour, it's like I can go to any venue on the planet and put on a show. - Exactly. - Like literally there isn't. That was the craziest feeling when I got to that of like there's literally not a building with seats in it that I can't go royal Albert Hall. Can I do a stadium here, where it was like there is just anywhere. - Yes. - Do you have the hour where you just go, buy it and go over here? - It's been a globe. - Yes. - Well, I'm not there yet. - It's much better. - Yeah. - Working on it. But I could do any club in the Northeast. - Yeah. - Anyway. - Are you gonna run a money? You okay on money? - I mean, that's the, you know, no, I spend to my, spend it too much. Yeah. - Oh. - But the Netflix is nice. - All right. Good. - Yeah. - Just making sure you got that. - Yeah. - I don't know. What's going on? (laughing) - The guy at the end of the show. - Louie started talking about it forward towards the end of the, it's a really good vehicle. - Really good car. (laughing) - Thank you guys. - All right, guys. Thanks. ♪ Sunday's the day for my next spender ♪ ♪ A bit of pivorec, you know, the future's close ♪ ♪ I've had a little too much further ♪ ♪ And Norman's talking shit about the fucking post ♪ ♪ And I get down in the same way ♪ ♪ Up on the roof like a cop's comin' ♪ ♪ And they could send you well as feeling dangerous ♪ ♪ I'm out to lunch here in New Orleans ♪ ♪ This woman doesn't look like I remember her ♪ ♪ And I get down in the same way ♪ ♪ With my feet drum ♪