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[SPEAKER_01]: Michael Mera, Radio Entertainment.

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[SPEAKER_00]: Talk to a great story.

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[SPEAKER_00]: Welcome to the Michael Marizzo.

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[SPEAKER_00]: It’s a year old buddy Rob’s few act along with Josh Schroke.

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[SPEAKER_00]: And a man I consider a friend, because he always calls me pal in his text.

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[SPEAKER_00]: It’s Adam Ferrer.

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[SPEAKER_00]: Adam, how are you?

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[SPEAKER_00]: He’s a bad mother.

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[SPEAKER_01]: What’s your mother?

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[UNKNOWN]: Ha ha ha ha.

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[SPEAKER_01]: No.

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[SPEAKER_00]: You’re joining us from New York, Domicile, yes?

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[SPEAKER_03]: Yeah.

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[SPEAKER_00]: Yeah, I’m okay.

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[SPEAKER_00]: I’m at the Outpost here.

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[SPEAKER_00]: I know that you split your times between a what that was swat because I watched a top gear promo that had you and it that had the swat theme and it doesn’t take much to make me want to hear rhythm heritage love love the band who remember swat TJ would turn his hat backwards and I do remember with it with an m16 we are of a certain age Josh probably didn’t watch swat

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[SPEAKER_02]: What were you a reader?

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[SPEAKER_00]: I know.

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[SPEAKER_00]: I was a baby.

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[SPEAKER_00]: That’s good.

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[SPEAKER_00]: He’s a kid.

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[SPEAKER_00]: I know you all know who Adam is.

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[SPEAKER_00]: Adam is a actor comedian.

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[SPEAKER_00]: You’ve seen him in rescue me and nurse Jackie.

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[SPEAKER_00]: And I think most recently, I saw you in Nona’s or Nona’s.

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[SPEAKER_00]: Yeah.

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[SPEAKER_00]: Yeah.

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[SPEAKER_00]: The movie with the Italian grandfather.

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[SPEAKER_00]: Yeah.

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[SPEAKER_00]: I loved it.

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[SPEAKER_00]: I loved it.

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[SPEAKER_01]: Now, was it hard for you to play an Italian?

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[SPEAKER_01]: Here’s what happened.

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[SPEAKER_01]: It was a period piece so that they dressed me all up.

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[SPEAKER_01]: Right?

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[SPEAKER_01]: You’re right.

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[SPEAKER_01]: You’re right.

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[SPEAKER_01]: You’re right.

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[SPEAKER_01]: You’re right.

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[SPEAKER_01]: You’re right.

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[SPEAKER_01]: In the script, it was a, it was a, it was a, it was a 59 caddy.

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[SPEAKER_01]: The big Finn caddy.

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[SPEAKER_01]: You know, the, yeah.

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[SPEAKER_01]: Yeah.

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[SPEAKER_01]: Yeah.

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[SPEAKER_01]: And I, I told my manager when I got the gig, I’m like, I’m like, I’m not going to get that car.

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[SPEAKER_01]: And they did.

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[SPEAKER_00]: They did, they got a 59””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””

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[SPEAKER_01]: Yeah, it’s great.

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[SPEAKER_01]: It’s a lot of fun.

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[SPEAKER_01]: Pete the owner is one of his is a dear friend.

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[SPEAKER_01]: So I’m looking forward to every time I can come back and I come to see you guys.

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[SPEAKER_01]: I like that.

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[SPEAKER_00]: Well, that’s awesome.

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[SPEAKER_01]: And then you can buy tickets through your website.

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[SPEAKER_01]: You’re taking it on the website or you can go to all thedrafthouse.com and get tickets there.

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[SPEAKER_01]: But either way, come and see me.

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[SPEAKER_00]: Yeah, go do it.

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[SPEAKER_00]: Adam Ferrara.com.

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[SPEAKER_00]: Also, you’re headed out to South Dakota for the month.

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[SPEAKER_00]: Box elder and then

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[SPEAKER_01]: I, you know what?

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[SPEAKER_01]: The box elder theater.

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[SPEAKER_01]: My manager said, uh, you’re going to sell out the code and I said, why?

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[SPEAKER_01]: And he said, well, they hit the number.

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[SPEAKER_01]: I said, oh, I’m going.

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[SPEAKER_01]: Hey, it’s just, well, they’re just the way we would do for them to do.

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[SPEAKER_01]: Sure.

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[SPEAKER_01]: Yeah.

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[SPEAKER_01]: So, if you reach out to come on to box up one of your elders, come and see me.

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[SPEAKER_00]: Oh, I didn’t think of it that way.

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[SPEAKER_00]: But yeah, bring them along and we’ll hear you say.

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[SPEAKER_00]: And his grandma, openly won’t hear you won’t hear as many laughs, but they will be there.

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[SPEAKER_00]: You got your podcast 30 minutes.

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[SPEAKER_00]: You’ll never get back.

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[SPEAKER_00]: Congratulations on over 350 episodes.

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[SPEAKER_00]: No one sticks with a podcast that long.

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[SPEAKER_01]: Yeah, it’s no one tells you it’s a lot of work, but at least there’s no money.

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[SPEAKER_01]: So there’s that.

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[SPEAKER_01]: I know.

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[SPEAKER_00]: And people last year went on after 30 minutes.

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[SPEAKER_00]: That’s true.

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[SPEAKER_00]: People say what’s your favorite nonprofit organization?

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[SPEAKER_00]: I say the Michael Marasio.

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[SPEAKER_00]: Also, you do your Facebook live on Tuesday nights.

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[SPEAKER_00]: They’re great.

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[SPEAKER_00]: And of course, you can find all this stuff out at Adam Ferrara.com.

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[SPEAKER_00]: Now, we have a bit of a history, Josh, I don’t know if you know this, but the first time we had Adam in studio, we had him taste my food cake.

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[SPEAKER_00]: And he liked it, enough that that very weekend he snuck into the improv and watched us do alive T.M.O.S.

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[SPEAKER_00]: and gave us, I would say, a B to a B plus.

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[SPEAKER_02]: He won a more frutate.

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[SPEAKER_00]: I think you did one more fruit cake and no, no, we do have we have a great time and I just really enjoy speaking with you now question.

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[SPEAKER_00]: You’re still touring and touring is great but

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[SPEAKER_00]: has it totally rebounded from like the touring pre-COVID because I know you toured through COVID.

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[SPEAKER_00]: You did mask performance.

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[SPEAKER_00]: Did you do a drive-in theater performance?

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[SPEAKER_01]: I did a drive-in benefit.

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[SPEAKER_01]: We did what we had to do.

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[SPEAKER_01]: just to get through.

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[SPEAKER_01]: But it’s the thing about getting people to come out.

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[SPEAKER_01]: It’s not easy.

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[SPEAKER_01]: You know, people can get so much to do at home.

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[SPEAKER_01]: Right.

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[SPEAKER_01]: Now, the world can be pumped into your house.

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[SPEAKER_01]: Not only can the world be pumped into your house, the way you want to see the world can be pumped into your house.

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[SPEAKER_01]: Yeah.

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[SPEAKER_01]: You can control it.

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[SPEAKER_01]: Yeah.

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[SPEAKER_01]: You’re like, oh, I don’t like it.

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[SPEAKER_01]: Delete.

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[SPEAKER_01]: Okay.

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[SPEAKER_01]: But what if that’s what it is.

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[SPEAKER_01]: Doesn’t matter.

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[SPEAKER_01]: Delete.

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[SPEAKER_01]: So that’s terrified.

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[SPEAKER_00]: Now, you do, you’re good at the social media, which I like.

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[SPEAKER_00]: Your socials that you pop up all the time are always great.

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[SPEAKER_00]: When you got in, and how long have you been at stand up?

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[SPEAKER_01]: Oh, July 13th, 1988, Wednesday night, East Side Comedy Club, open midnight.

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[SPEAKER_00]: Now, you just have that memorized, or you’re like, Mary Lou Hennor, you know that’s a Wednesday.

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[SPEAKER_00]: No, no, I just know, no, I’m not Mary Lou Hennor, I just know when nothing Mike was.

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[SPEAKER_00]: Yeah, so you’re closing in on 40 years doing stand up when you started and you first started to get your traction.

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[SPEAKER_01]: Yeah.

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[SPEAKER_00]: Did you ever foresee something like social media becoming such an important part of being a comment?

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[SPEAKER_00]: Well, my nostrils.

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[SPEAKER_02]: How about how come?

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[SPEAKER_00]: No, no, no, no.

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[SPEAKER_00]: I mean, as far as did you think we’d invent the internet?

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[SPEAKER_00]: What the fuck you out?

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[SPEAKER_00]: All right, okay, two against one, not fair.

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[SPEAKER_00]: Let me rephrase it.

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[SPEAKER_01]: Please do.

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[SPEAKER_00]: When the social media started to happen, and you had to embrace it, did it surprise you what an amazing part of your job just filling your feed would be?

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[SPEAKER_01]: No, I didn’t know what a necessary part of the job would be, and it’s the new delivery system.

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[SPEAKER_01]: I had no clue because when it did hit, it’s the awareness of like, this is what we need to do.

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[SPEAKER_01]: This is the new reality, this new delivery system.

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[SPEAKER_01]: I was doing two TV shows at the same time.

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[SPEAKER_01]: I was doing top gear and nurse Jackie, so I didn’t sleep for like two years.

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[SPEAKER_01]: So I was running back and forth.

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[SPEAKER_01]: And then, you know, I was on planes back and forth all the time and then doing stand up.

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[SPEAKER_01]: And then when I came, came back to, I’m like, Oh, what is, I have to be this?

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[SPEAKER_01]: You know, what’s the problem?

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[SPEAKER_01]: Yeah.

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[SPEAKER_01]: All right.

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[SPEAKER_01]: Let’s get to work.

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[SPEAKER_01]: Where you fast to embrace it or did you drag your feet?

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[SPEAKER_01]: No, I, I, I went kicking and screaming only because,

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[SPEAKER_01]: I’m like the uncertainty, I’m not good with the uncertainty, I’m like, yeah, yeah, yeah, yeah, yeah, you know, and it’s just, but I wasn’t steeped in it, so I’m like, I don’t want to learn something, but you have to, you have to realize that this is, this is the new communication system.

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[SPEAKER_01]: So, and not knowing what to do and being willing to make the mistakes, you know, I feel bad for kids now, they got to make the mistakes out loud.

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[SPEAKER_01]: You know, we’re kind of making mistakes out loud in front of everybody, you know.

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[SPEAKER_00]: Yeah, we were talking about when American Idol was so hot that bands can’t suck anymore.

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[SPEAKER_00]: Yeah.

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[SPEAKER_00]: You can’t just go out and suck and get good.

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[SPEAKER_00]: You have to be good when you’re ready to launch.

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[SPEAKER_00]: So there’s no room for mistakes.

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[SPEAKER_00]: Yeah.

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[SPEAKER_00]: And all of your mistakes are captured forever.

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[SPEAKER_00]: Yeah.

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[SPEAKER_01]: And the internet, yeah, the pressure of that, that’s got to be tremendous pressure.

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[SPEAKER_01]: And but it’s like now when I put stuff out and my my problem fellas and I have many

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[SPEAKER_01]: is, it’s some, I’m a perfectionist, I’m like, that’s not right.

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[SPEAKER_01]: Well, what do they think of the, and it’s, but it’s Doritos, you know, Edo, you want, we’ll make more.

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[SPEAKER_01]: You just got exactly.

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[SPEAKER_00]: Yeah.

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[SPEAKER_00]: When you’re doing the, the socials and I know you probably don’t wanna reveal like your, I guess I can use this without looking too stupid, your chunks, your prepared bits that you, because you want people to come to the club for those.

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[SPEAKER_00]: So, they’re largely crowdwork, I guess, or stuff like that.

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[SPEAKER_01]: It’s what what what’s on my social media.

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[SPEAKER_01]: If you come by the channel and please do this a variety of things.

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[SPEAKER_01]: Yes.

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[SPEAKER_01]: You’ll see stuff live live stand-up clips.

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[SPEAKER_01]: There’s also We do sketches on there as well as bar sketches I do with my pound mic.

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[SPEAKER_00]: Love your bar sketches.

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[SPEAKER_01]: Yeah.

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[SPEAKER_01]: We just did another round yesterday.

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[SPEAKER_01]: Because it’s your own channel.

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[SPEAKER_01]: My wife can you tell me you have your own television channel.

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[SPEAKER_01]: Thank you.

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[SPEAKER_01]: I know.

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[SPEAKER_01]: It sounds like she lives under a mushroom.

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[SPEAKER_01]: But with you, when you said kicking and screaming, she was the one pulling me kicking and screaming.

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[SPEAKER_01]: Yeah, picture me landing in Lilliput.

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[SPEAKER_01]: I’m tied up in dental flaws.

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[SPEAKER_01]: And this beautiful elf like woman that I married is this drag and me going, here’s the future you go.

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[SPEAKER_00]: Did you see that among a lot of comics?

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[SPEAKER_00]: Did a lot of people that you came up with?

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[SPEAKER_00]: Did they say whoa whoa whoa.

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[SPEAKER_00]: This looks like it’s the future, but I don’t know if it’s me or not.

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[SPEAKER_01]: Um, well, the guys I came up with were being forced to embrace it, you know, it’s just a half to it’s changed.

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[SPEAKER_01]: It’s just, it’s just a manifestation of change.

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[SPEAKER_01]: It’s just what it looked at some point.

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[SPEAKER_01]: There was someone going a flying machine.

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[SPEAKER_02]: Well, what I see is people who come from that TV world, who have trouble understanding that they can do whatever they want, that they don’t know how to operate without a producer telling them what to do.

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[SPEAKER_01]: Yeah.

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[SPEAKER_01]: Well, yeah, I will tell you this for my time, your little brain.

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[SPEAKER_01]: The structure was great.

09:37.789 –> 09:40.714
[SPEAKER_01]: I love getting a script and going, I got to make this thing.

09:40.774 –> 09:42.397
[SPEAKER_01]: I was the Frankenstein monster.

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[SPEAKER_01]: I was like, I got to give this creation life, you know?

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[SPEAKER_01]: and that’s the structure, eases anxiety, loss of structure for me just spins my anxiety around.

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[SPEAKER_01]: Because you don’t mind working hard, you just want to know what to work hard at.

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[SPEAKER_01]: And the thing which is good, you don’t know what’s going to work, or what’s not going to work.

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[SPEAKER_00]: And you also don’t sometimes know when you’re done.

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[SPEAKER_00]: You know, is this it?

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[SPEAKER_00]: Are we done with this?

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[SPEAKER_00]: Can we move to the next one?

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[SPEAKER_00]: But there is no done.

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[SPEAKER_00]: The most you’re right.

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[SPEAKER_00]: To be fed.

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[SPEAKER_00]: There is no done.

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[SPEAKER_00]: It just is.

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[SPEAKER_00]: Now, when you’re doing your crowdwork, which is great.

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[SPEAKER_00]: Thanks.

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[SPEAKER_00]: First of all, I have to know some people in your line of work are sensational at it.

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[SPEAKER_00]: Some people look like they’re moving rocks when they do it.

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[SPEAKER_00]: You are effortless and you’re very funny.

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[SPEAKER_00]: But that is without structure, is it not?

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[SPEAKER_01]: Yeah, I’ll tell you what happens with that is when I got on stage the first time I was on stage I remember I walked off, you know that Wednesday night July 13th, 1988 long night.

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[SPEAKER_01]: It’s like calendar now.

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[SPEAKER_01]: Yeah, sure.

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[SPEAKER_01]: Yeah.

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[SPEAKER_01]: By the way, the place now is a Pomodoro restaurant.

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[SPEAKER_01]: But when I walked off stage, I woke up the next day and I just went, I wasn’t thinking.

10:53.686 –> 10:54.667
[SPEAKER_01]: I wasn’t thinking.

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[SPEAKER_01]: And what was in my way?

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[SPEAKER_01]: Okay, all right, and I knew I’m like that’s I don’t know how long they’re gonna let me stay, but I belong here

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[SPEAKER_01]: So, so that’s when it all goes away.

11:08.631 –> 11:15.142
[SPEAKER_01]: That’s the highest state of my being is when I’m, when I’m with the crowd for some reason, God said, this will be your pathway.

11:15.563 –> 11:16.364
[SPEAKER_01]: So I could do that.

11:16.945 –> 11:17.646
[SPEAKER_00]: That’s so cool.

11:18.027 –> 11:22.535
[SPEAKER_00]: You could, I mean, I’m sure you could go out and do a set just on crowdwork.

11:22.555 –> 11:23.316
[SPEAKER_01]: I had to.

11:23.356 –> 11:25.780
[SPEAKER_01]: When I was a kid, I was very fortunate when I was a kid.

11:26.241 –> 11:30.088
[SPEAKER_01]: I worked way before I should have, because they said, can you do a half-alot?

11:30.408 –> 11:30.829
[SPEAKER_01]: Yeah.

11:33.627 –> 11:34.689
[SPEAKER_01]: And can you write a horse?

11:34.990 –> 11:36.553
[SPEAKER_01]: Yeah, I said, no clue.

11:36.573 –> 11:37.936
[SPEAKER_01]: So I just did it, right?

11:38.277 –> 11:39.720
[SPEAKER_01]: It was a survival thing.

11:39.800 –> 11:41.504
[SPEAKER_01]: It was just like, oh, I can do this.

11:41.724 –> 11:42.366
[SPEAKER_01]: I can do this.

11:42.386 –> 11:45.472
[SPEAKER_01]: Not only can I do this, I’m good at this and I’m not the one doing it.

11:45.833 –> 11:46.695
[SPEAKER_01]: Does that make any sense?

11:47.076 –> 11:47.296
[SPEAKER_01]: Yeah.

11:47.316 –> 11:49.020
[SPEAKER_01]: I was like, this ain’t coming from me.

11:49.461 –> 11:50.944
[SPEAKER_01]: This is coming through me.

11:51.008 –> 11:51.589
[SPEAKER_00]: Yeah.

11:51.609 –> 11:52.290
[SPEAKER_00]: Yeah.

11:52.410 –> 11:56.557
[SPEAKER_00]: I hate to ask about the serious business of comedy, but I find it so fascinating.

11:56.677 –> 11:56.877
[SPEAKER_00]: Yeah.

11:57.218 –> 11:58.780
[SPEAKER_00]: Very telling with it, which I love.

11:59.301 –> 12:06.433
[SPEAKER_00]: When you’re doing crowdwork, you come out, do you ever peek out to see who’s in the front row or is it always in the moment?

12:06.593 –> 12:07.995
[SPEAKER_01]: No, it’s always in the moment.

12:08.015 –> 12:08.856
[SPEAKER_01]: Something will happen.

12:08.896 –> 12:09.878
[SPEAKER_01]: I mean, usually if you

12:09.858 –> 12:24.819
[SPEAKER_01]: If somebody coughs or somebody drops a glass or somebody has a weird laugh or snorts, you know, it’s like, okay, let’s go here, that’s when you’re co-creating with the audience because they’ve experienced the same thing and you’re in the state of becoming together, that’s what makes it special.

12:25.140 –> 12:27.784
[SPEAKER_01]: You know, it doesn’t make me special, it makes the act special.

12:28.345 –> 12:32.170
[SPEAKER_01]: And mind you still have to courage to get out of the ways, the willingness to be a vessel.

12:32.386 –> 12:39.275
[SPEAKER_00]: Okay, if no one coughs, if no one drops a glass, is there a look that a patron might have that you would zero in on?

12:39.295 –> 12:44.102
[SPEAKER_01]: Yeah, there’ll be something that gets my attention that I’ll follow that I’ve cultivated enough to go.

12:44.562 –> 12:45.824
[SPEAKER_01]: The instinct will take me there.

12:46.124 –> 12:52.673
[SPEAKER_01]: And then to be honest with you, if I’m doing a shoot with as a camera set up and I get the first four people, I’m gonna work those four people because they’re on camera.

12:52.653 –> 12:53.174
[SPEAKER_01]: Of course.

12:53.394 –> 12:53.795
[SPEAKER_01]: Yeah.

12:53.995 –> 13:10.020
[SPEAKER_01]: So there’s situational awareness, but most of the time, spontaneous stuff, if you are willing to be quiet and listen, and listen, not here, listen, and take that direction, it usually leads you to a better place than you could have even imagined.

13:10.473 –> 13:15.259
[SPEAKER_00]: I imagine you’d surprise yourself sometimes with stuff you find almost by accident.

13:15.459 –> 13:23.350
[SPEAKER_01]: Yeah, and then some a lot of stuff like what will happen is like you’ll be riffing with someone, and an idea you’ve had floating around in your head in the heads-up display comes out.

13:23.770 –> 13:28.496
[SPEAKER_01]: And you might be able to get bits out of it, you might be able to do at least complete a thought to know what it is.

13:28.877 –> 13:32.101
[SPEAKER_01]: That’s that’s the thing about, I’ve learned all my lessons through stand-up.

13:32.642 –> 13:36.767
[SPEAKER_01]: So I can’t fix my life, but I can fix a joke, so I know.

13:37.422 –> 13:41.875
[SPEAKER_01]: I know as too many words and as too many, too many, too many cludding thoughts.

13:41.915 –> 13:42.818
[SPEAKER_01]: I’m sorry, I interrupted you.

13:42.878 –> 13:43.881
[SPEAKER_02]: No, I was just in.

13:43.941 –> 13:49.457
[SPEAKER_02]: I’m always surprised with how open the audience is, where there’s always someone who shares too much.

13:49.859 –> 13:57.568
[SPEAKER_01]: Oh yeah, but I think that’s a condition of ours of our current, the way we’re talking to each other.

13:57.588 –> 13:58.249
[SPEAKER_01]: We’re talking like this.

13:58.529 –> 14:09.021
[SPEAKER_01]: They want to be seen and they want to be heard, so if you’re so isolated and you’re not leaving your house, this becomes the next thing, so they’re conditioned to do that.

14:09.221 –> 14:15.208
[SPEAKER_01]: The other side of the coin is people want to be part of the crowdwork, so the yell stuff out, which is, you know,

14:15.188 –> 14:15.669
[SPEAKER_01]: Fine.

14:15.849 –> 14:16.510
[SPEAKER_01]: Okay.

14:16.550 –> 14:17.251
[SPEAKER_01]: We’ll deal with this.

14:17.972 –> 14:20.175
[SPEAKER_00]: I think also tell me if you disagree.

14:20.215 –> 14:23.820
[SPEAKER_00]: It’s sort of a pack mentality because people are not going out as much.

14:24.340 –> 14:30.389
[SPEAKER_00]: And if you get 200 people in a little brick room, they’re going to relate to each other because they’re all there for the same thing.

14:30.869 –> 14:34.674
[SPEAKER_00]: It probably gives them a sense of safety and they might be more forthcoming.

14:34.694 –> 14:35.656
[SPEAKER_00]: Plus there’s alcohol.

14:36.096 –> 14:36.437
[SPEAKER_01]: Yeah.

14:36.457 –> 14:36.917
[SPEAKER_01]: Yeah.

14:36.998 –> 14:37.999
[SPEAKER_01]: There’s always that.

14:38.019 –> 14:40.042
[SPEAKER_01]: Let me tell you about Gina’s sister.

14:40.302 –> 14:43.947
[SPEAKER_01]: That’s it.

14:43.927 –> 14:46.230
[SPEAKER_00]: now speaking of genus sister.

14:47.091 –> 14:57.044
[SPEAKER_00]: Now I think when I think back to the times we’ve talked, I think my favorite stories you tell involve your relatives and specifically your parents.

14:57.504 –> 14:59.927
[SPEAKER_00]: One thing that lives it, they say this on the internet.

15:00.368 –> 15:03.792
[SPEAKER_00]: One thing that lives in my brain, read free is

15:03.772 –> 15:14.794
[SPEAKER_00]: you said when they were going to Atlantic City yeah they would say we’re headed south yeah or something like that really isn’t you father and I are going south which means they’re pissing away the inherits

15:15.635 –> 15:25.708
[SPEAKER_00]: And they did, but it’s so relatable, and you’ve got, of course, you’ve already mentioned your wife and uncles, you come from a family.

15:26.649 –> 15:32.616
[SPEAKER_00]: How rich of an environment is that for comedy, and does it continue to be rich to this day?

15:32.636 –> 15:33.037
[SPEAKER_01]: Yeah.

15:33.217 –> 15:34.939
[SPEAKER_01]: It’s their characters.

15:35.099 –> 15:37.322
[SPEAKER_01]: I mean, I’ve been given

15:37.302 –> 15:48.581
[SPEAKER_01]: The double-edged sword with me was the alien, the sense of alienation, I’ve had, like you never felt like you fit in, like all the criminals from my father’s side of family, and all the melodics are on my mother’s side of them.

15:48.601 –> 15:49.883
[SPEAKER_00]: What a good mix.

15:49.903 –> 15:50.464
[SPEAKER_01]: Yeah.

15:50.484 –> 15:56.053
[SPEAKER_01]: So I know how to hunt wire a car, but then I feel guilty, and I bring it back.

15:58.649 –> 16:15.797
[SPEAKER_01]: humor was the way that I could fit in right so I was always and I didn’t realize this when I was a kid but I was always the observer and a lot of it when the youngest or were the youngest or were the youngest you’re the oldest oh okay wow okay yeah but I was

16:16.621 –> 16:23.152
[SPEAKER_01]: I also noticed that a lot of the stress release comes from character, unbridled character, behavior of the characters.

16:23.172 –> 16:23.773
[SPEAKER_01]: I’ll tell you a story.

16:24.354 –> 16:25.717
[SPEAKER_01]: But that past is away, right?

16:26.258 –> 16:30.024
[SPEAKER_01]: So we’re in the, we’re in the, we’re sitting with the funeral director.

16:30.064 –> 16:34.212
[SPEAKER_01]: It’s me, my mother’s, my little mother’s in the middle and I put the Johnny’s over here.

16:34.232 –> 16:36.496
[SPEAKER_01]: And I brought the Johnny, he’s a big boy, right?

16:36.516 –> 16:37.397
[SPEAKER_01]: Yeah, okay.

16:37.417 –> 16:38.699
[SPEAKER_01]: He’s a water heater with a head.

16:38.940 –> 16:40.182
[SPEAKER_01]: He’s just a big boy.

16:42.777 –> 16:48.185
[SPEAKER_01]: So my mother’s crying, they feel directed, gives her the tissues, and she’s wiping her eyes, and she’s going through it.

16:48.305 –> 16:50.449
[SPEAKER_01]: I love these flowers, they’re beautiful.

16:50.649 –> 16:53.994
[SPEAKER_01]: Okay, big, horseshoe flowers, Rob.

16:54.034 –> 16:56.317
[SPEAKER_01]: Like my father won the Kentucky Derby.

16:56.337 –> 16:59.041
[SPEAKER_00]: This is where I know, it goes way over the time.

16:59.202 –> 17:04.730
[SPEAKER_01]: Yeah, okay, so we get the flowers, and then I call my wife and honey, give me a favorite, take my eye out, right?

17:05.030 –> 17:06.392
[SPEAKER_01]: We have to, just with this guy.

17:07.073 –> 17:09.137
[SPEAKER_01]: So for Johnny Lee’s in and goes to the funeral director.

17:09.157 –> 17:10.118
[SPEAKER_01]: All right, give me the number.

17:13.321 –> 17:15.944
[SPEAKER_01]: The guy slides a piece of paper to my brother.

17:16.705 –> 17:18.047
[SPEAKER_01]: No!

17:18.067 –> 17:21.091
[SPEAKER_01]: My brother picks up the piece of paper and goes, oh!

17:24.275 –> 17:27.158
[SPEAKER_01]: I’m gonna need you to go back and shop and you pencil on this.

17:28.660 –> 17:30.643
[SPEAKER_01]: The guy’s face goes white.

17:31.784 –> 17:34.107
[SPEAKER_01]: I guess he’s like, he don’t know what to do.

17:34.908 –> 17:38.132
[SPEAKER_01]: I said can you excuse us for a minute because yeah, sure, he leaves the room.

17:38.172 –> 17:41.877
[SPEAKER_01]: I look at my brother Johnny, go, what are you doing?

17:43.325 –> 17:45.327
[SPEAKER_01]: He’s like, come on, smart enough, what do you think?

17:45.527 –> 17:47.650
[SPEAKER_01]: These flowers only go into one funeral today?

17:48.751 –> 17:49.852
[SPEAKER_00]: Come on, oh, that’s true.

17:49.992 –> 17:54.056
[SPEAKER_00]: Yeah, yeah, but he didn’t need to handle it like Godfather too.

17:54.076 –> 17:54.917
[SPEAKER_00]: Well, that’s what happened.

17:55.278 –> 17:56.078
[SPEAKER_01]: He got him back in.

17:56.679 –> 17:57.960
[SPEAKER_01]: He comes back in, right?

17:58.020 –> 17:58.701
[SPEAKER_01]: And he’s sweating.

17:58.721 –> 18:00.803
[SPEAKER_01]: So I take the tissues that go here, wipe your head.

18:00.823 –> 18:01.604
[SPEAKER_01]: So he’s sweating.

18:03.226 –> 18:04.467
[SPEAKER_01]: And he looks at my brother.

18:04.587 –> 18:05.748
[SPEAKER_01]: He’s such a piece of paper back to him.

18:05.768 –> 18:09.893
[SPEAKER_01]: He’s like, better, better, better, than Johnny Lee’s in and goes.

18:10.153 –> 18:12.015
[SPEAKER_01]: All right, how much for cash?

18:15.995 –> 18:19.259
[SPEAKER_01]: He’s like, I don’t know what you mean.

18:19.279 –> 18:20.781
[SPEAKER_01]: And my brother goes, you know what?

18:20.801 –> 18:24.426
[SPEAKER_01]: Everyone’s got to deal with death and taxes, but I am sure both on the same day.

18:24.827 –> 18:26.689
[SPEAKER_01]: He takes out a water cash.

18:27.010 –> 18:28.171
[SPEAKER_01]: He puts it on the desk.

18:28.191 –> 18:29.173
[SPEAKER_01]: He’s like, we’re done.

18:29.413 –> 18:30.995
[SPEAKER_01]: He gets up and walks out.

18:31.756 –> 18:33.318
[SPEAKER_01]: He’s got this big smile on his face.

18:33.358 –> 18:34.119
[SPEAKER_01]: Like, what are you doing?

18:34.139 –> 18:36.062
[SPEAKER_01]: He’s like, pop would have been proud.

18:36.295 –> 18:37.537
[SPEAKER_00]: your pop would have been proud.

18:37.998 –> 18:38.719
[SPEAKER_00]: Absolutely.

18:38.999 –> 18:40.201
[SPEAKER_00]: That is so great.

18:40.241 –> 18:43.727
[SPEAKER_00]: You never think about, you know, funeral directors.

18:43.767 –> 18:47.332
[SPEAKER_00]: You said, you know, friends of ours would like a better date with this service.

18:47.853 –> 18:51.338
[SPEAKER_00]: And you lean on what was right there.

18:51.358 –> 18:53.402
[SPEAKER_00]: What is Johnny do for a living if I may ask?

18:54.363 –> 18:55.445
[SPEAKER_01]: He’s in a restaurant business.

18:56.346 –> 18:56.707
[SPEAKER_00]: Shocking.

18:58.710 –> 18:58.810
[UNKNOWN]: Yeah.

18:58.790 –> 19:00.913
[SPEAKER_02]: But that’s what everyone knows about.

19:00.953 –> 19:02.436
[SPEAKER_01]: No, he was a chef.

19:02.456 –> 19:03.518
[SPEAKER_01]: He went to the colony.

19:03.538 –> 19:06.122
[SPEAKER_01]: He went to the Colleague student in a high park.

19:06.663 –> 19:07.324
[SPEAKER_01]: He’s really good.

19:08.165 –> 19:08.485
[SPEAKER_01]: Wow.

19:08.626 –> 19:11.009
[SPEAKER_01]: But that’s, you know, he runs wrestling.

19:11.170 –> 19:11.871
[SPEAKER_00]: He used to be a chef.

19:11.891 –> 19:12.732
[SPEAKER_00]: Now he runs wrestling.

19:13.133 –> 19:17.580
[SPEAKER_00]: I guarantee you that funeral director is not accustomed to that kind of treatment.

19:17.600 –> 19:21.767
[SPEAKER_00]: Now because they go in and they really attack the grieving.

19:21.967 –> 19:22.568
[SPEAKER_00]: I’ve seen it.

19:23.189 –> 19:25.152
[SPEAKER_00]: And when you bite back, that’s great.

19:25.132 –> 19:33.150
[SPEAKER_01]: He’s sitting there, he’s like, you know, the fuel director’s like, you know, he’s only going to be buried once I go, yeah, he may not be buried alone, not get off

19:34.632 –> 19:35.613
[SPEAKER_00]: I love that.

19:36.053 –> 19:39.256
[SPEAKER_00]: Yeah, it’s, I come from a colorful family myself.

19:39.516 –> 19:39.797
[SPEAKER_00]: Good.

19:40.057 –> 19:43.860
[SPEAKER_00]: And what’s great is, you know, we’ve got our greatest hits stories.

19:44.381 –> 19:48.164
[SPEAKER_00]: And when the family gets together, we roll down the greatest hits and it’s always great.

19:48.605 –> 19:51.888
[SPEAKER_00]: But something new always comes out.

19:52.648 –> 19:54.570
[SPEAKER_00]: And that’s, that’s the magic.

19:55.071 –> 20:02.057
[SPEAKER_00]: So I imagine when you guys get together, if you land on a new mini topic of something, you can absolutely build on it.

20:02.037 –> 20:05.442
[SPEAKER_01]: Yeah, and there’s also when people remember the stories differently.

20:05.903 –> 20:08.787
[SPEAKER_00]: It didn’t happen that way, exactly.

20:09.028 –> 20:09.709
[SPEAKER_00]: Exactly.

20:10.109 –> 20:10.350
[SPEAKER_00]: Wow.

20:11.031 –> 20:12.573
[SPEAKER_00]: Now, we mentioned your New York now.

20:12.593 –> 20:15.358
[SPEAKER_00]: I know you split time between New York and Los Angeles.

20:15.558 –> 20:15.658
[SPEAKER_00]: Yeah.

20:15.678 –> 20:21.447
[SPEAKER_00]: And this is a really jive jail and no question, but two totally different audiences, right?

20:22.439 –> 20:24.482
[SPEAKER_01]: Oh, yeah, there’s more acts.

20:24.522 –> 20:30.091
[SPEAKER_00]: I mean, if we leave it, if we leave Kenosha and South Dakota out of it, let’s speak in extremes.

20:30.452 –> 20:33.837
[SPEAKER_00]: Let’s talk about doing a club in New York and doing a club in Los Angeles.

20:34.378 –> 20:36.622
[SPEAKER_01]: Well, the thing about New York is you can work more.

20:36.902 –> 20:40.608
[SPEAKER_01]: I mean, without getting in the car, there’s three, five sets a night.

20:40.628 –> 20:42.431
[SPEAKER_01]: So you’re a better hot mic in New York.

20:42.491 –> 20:43.673
[SPEAKER_01]: You know, I got to drive everywhere.

20:44.274 –> 20:44.434
[SPEAKER_01]: Right.

20:44.454 –> 20:49.763
[SPEAKER_01]: You know, you might get to, but stage time is very limited.

20:49.743 –> 20:57.215
[SPEAKER_01]: as far as the audience, what I found in New York and this, I got this realization when I was younger.

20:58.057 –> 20:59.700
[SPEAKER_01]: You go on the road, you write immaterial.

21:00.080 –> 21:01.082
[SPEAKER_01]: It’s like fine cocaine.

21:01.362 –> 21:04.608
[SPEAKER_01]: Then you come back to New York and you boil it off and make crack.

21:05.229 –> 21:13.202
[SPEAKER_01]: So, if you write three minutes of new stuff on the road, you’re going to come back to New York and you realize it’s a minute, 30, when you leave.

21:13.182 –> 21:14.023
[SPEAKER_01]: But it’s great.

21:14.404 –> 21:18.792
[SPEAKER_01]: But it’s a hammer because it’s got a bank bank.

21:18.812 –> 21:24.262
[SPEAKER_01]: There’s no wasted words, you know, and that’s the beauty of working in this city.

21:25.083 –> 21:29.471
[SPEAKER_00]: Now, when you talk about no wasted words and we can come back to New York too.

21:30.132 –> 21:31.174
[SPEAKER_00]: But

21:31.154 –> 21:33.758
[SPEAKER_00]: I know your idol is a George Carlin.

21:34.339 –> 21:37.204
[SPEAKER_01]: Yeah, well, I’m a prior robin Williams and then Carlin.

21:37.484 –> 21:39.908
[SPEAKER_01]: But the order would be Robin, prior, and Carlin.

21:39.968 –> 21:42.753
[SPEAKER_01]: But prior, prior, and robin are close.

21:42.773 –> 21:43.013
[SPEAKER_00]: Okay.

21:43.133 –> 21:45.317
[SPEAKER_00]: Well, I know you did idolize Carlin.

21:45.337 –> 21:46.459
[SPEAKER_00]: You got to open for us.

21:46.479 –> 21:47.140
[SPEAKER_01]: George is a sweetheart.

21:47.160 –> 21:48.021
[SPEAKER_01]: We’re so kind to me.

21:48.041 –> 21:48.702
[SPEAKER_01]: He’s a whole lot.

21:48.722 –> 21:49.524
[SPEAKER_01]: What do I got here?

21:49.544 –> 21:50.205
[SPEAKER_01]: Let me show you this.

21:50.285 –> 21:51.627
[SPEAKER_01]: I got this hanging here.

21:51.607 –> 21:52.789
[SPEAKER_00]: This is why we do video.

21:53.511 –> 21:54.913
[SPEAKER_00]: Oh, how great is that?

21:55.535 –> 21:55.635
[SPEAKER_01]: Yeah.

21:55.655 –> 21:56.557
[SPEAKER_01]: Oh, that’s awesome.

21:56.597 –> 21:57.819
[SPEAKER_01]: George was a mechanic.

21:58.260 –> 22:06.997
[SPEAKER_01]: George was a, when you look at his economy of words, when you look at the things he wrote about, he was, he was a mechanic.

22:07.357 –> 22:10.223
[SPEAKER_01]: I, when prior, I saw prior’s beating heart.

22:11.249 –> 22:14.413
[SPEAKER_01]: I just saw the pathos, just I saw a pain.

22:14.893 –> 22:16.935
[SPEAKER_01]: And I was like, that’s what I saw when I was a kid.

22:16.955 –> 22:17.836
[SPEAKER_01]: And that’s what drew me in.

22:18.117 –> 22:20.740
[SPEAKER_01]: And then Robin was just all over the place.

22:20.760 –> 22:22.361
[SPEAKER_01]: That was the energy that’s in my head.

22:23.222 –> 22:23.783
[SPEAKER_01]: That’s it.

22:23.943 –> 22:34.675
[SPEAKER_00]: I would imagine to see Robin Williams unleashed it would almost have a slight flavor of fear to it because he could be so out of control, but in a wonderful way.

22:34.655 –> 22:43.348
[SPEAKER_01]: Yeah, but that was the energy that was inside of me, that manic energy, and then the pain, the heart was beating with prior, and then George, for me, was the mechanic.

22:43.368 –> 22:45.255
[SPEAKER_01]: I was like, oh, that’s how you get it out.

22:45.623 –> 23:06.130
[SPEAKER_00]: And what that’s what I wanted to ask about Carlin is you can listen to him do one of his famous bits like a place for my stuff and you can hear it here and you can hear it on the album or you could hear it with Carson or wherever the words are always the same without a note without a prompter he has that beat and that rhythm.

23:06.110 –> 23:07.594
[SPEAKER_00]: almost built into him.

23:08.195 –> 23:16.997
[SPEAKER_00]: And when you talk about boiling a joke down and getting to the real meat of it, do you find yourself once it shines up, you’re telling it identically each time?

23:17.669 –> 23:23.355
[SPEAKER_01]: Yeah, the words are the same, the emotion, if you, the emotion can be different, here’s a trick I have.

23:23.375 –> 23:33.405
[SPEAKER_01]: If I get a bit that works and I know how the bit works, if I move it to another place in this set, which I do often, it takes on a different life because it’s coming out of a different energy.

23:33.745 –> 23:47.018
[SPEAKER_01]: So I’m delivering the joke in a different, the thoughts can connect, but the performance is gonna be different because I’m coming out of this bit that’s up here, energetically or down here energetically, or I’d see the bring on the up or take it be down,

23:46.998 –> 23:48.180
[SPEAKER_01]: original way I wrote it.

23:48.681 –> 24:02.307
[SPEAKER_00]: So do you do you actually you know structure the the the night that way I know you have some unpriced to the unprotected If I can get two things together, I mean the thing about New York is you’re going to do unless you do in a headline set you’re going to do 15 20 minutes

24:02.371 –> 24:09.519
[SPEAKER_01]: You know, tens, 15s, 20s, so you want to get some work done, but you got to put a new stuff in the hammock.

24:09.539 –> 24:20.492
[SPEAKER_01]: You got to open up and get them on your side, get them left, give the joke a hammock, a place to live, and then connect it to another, and then finish strong, just in case it doesn’t go like you want it.

24:20.512 –> 24:25.598
[SPEAKER_01]: So every time you move something around, the story changes, makes sense.

24:25.618 –> 24:28.581
[SPEAKER_01]: And when the story changes, there’s more possibilities there.

24:28.865 –> 24:38.736
[SPEAKER_00]: Now, when you’re doing these, you said you could do four or five nights in New York, or sex in a night, is that worrying is it enthusiastic?

24:38.876 –> 24:41.479
[SPEAKER_00]: Is it, does it energize you to do it that much?

24:41.679 –> 24:43.982
[SPEAKER_00]: Or is it more part of the process for you?

24:44.262 –> 24:45.884
[SPEAKER_01]: It depends if the joke is working.

24:46.845 –> 24:47.185
[SPEAKER_01]: I know.

24:48.026 –> 24:50.089
[SPEAKER_01]: If the joke is working, you can’t wait to get on stage.

24:50.109 –> 24:52.011
[SPEAKER_01]: And you’ll know it’s working because you have fun doing it.

24:52.031 –> 24:55.935
[SPEAKER_01]: You got a new play with and you move it up closer and closer to the beginning of the set.

24:56.354 –> 24:59.078
[SPEAKER_01]: because there’s some jokes are great open jokes, you know, you write that.

24:59.498 –> 25:00.660
[SPEAKER_01]: Bang, you just, yeah.

25:00.680 –> 25:01.721
[SPEAKER_01]: Yeah, sure, sure, sure.

25:02.242 –> 25:04.305
[SPEAKER_01]: So you see, and then you’ll see what it wants to be.

25:04.986 –> 25:10.073
[SPEAKER_01]: You know, I mean, I’ve been doing this long enough to know that I’m really not that much part of the process.

25:10.113 –> 25:11.455
[SPEAKER_01]: I just have to be willing to be in it.

25:12.136 –> 25:12.596
[SPEAKER_01]: Okay.

25:12.836 –> 25:15.080
[SPEAKER_01]: When I talk to younger comics, they’re like, how do you do?

25:15.100 –> 25:15.580
[SPEAKER_01]: How do you dice it?

25:15.700 –> 25:17.583
[SPEAKER_01]: I do the same thing you do.

25:17.603 –> 25:19.105
[SPEAKER_01]: I just do it quicker.

25:19.237 –> 25:19.577
[SPEAKER_00]: Yeah.

25:20.098 –> 25:20.679
[SPEAKER_00]: You’re good at it.

25:21.380 –> 25:21.480
[SPEAKER_00]: Yeah.

25:21.500 –> 25:23.362
[SPEAKER_00]: And you know, you know, you know how to do the process.

25:23.442 –> 25:27.748
[SPEAKER_00]: And do you ever land on a joke that you’re in love with?

25:28.228 –> 25:29.890
[SPEAKER_00]: You think this thing is awesome.

25:30.251 –> 25:31.532
[SPEAKER_00]: You may be did four minutes.

25:31.833 –> 25:34.196
[SPEAKER_00]: You got to down to a minute and a half and you love it.

25:34.736 –> 25:36.258
[SPEAKER_00]: And you can’t make it work on stage.

25:36.338 –> 25:38.521
[SPEAKER_01]: Does that ever have notebooks full of that?

25:39.022 –> 25:43.287
[SPEAKER_01]: Oh, do you really that jokes that I still maintain a funny that they’re just staring?

25:45.005 –> 25:46.006
[SPEAKER_01]: Do you know one off hand?

25:46.066 –> 25:47.988
[SPEAKER_01]: I have to work on my reading comprehension.

25:48.128 –> 25:51.592
[SPEAKER_01]: I thought farewell to arms was about the Venus to Milo.

25:51.612 –> 25:52.032
[SPEAKER_01]: Nothing.

25:52.673 –> 25:53.654
[SPEAKER_00]: That’s great.

25:54.154 –> 25:54.635
[SPEAKER_00]: Nothing.

25:55.656 –> 25:59.059
[SPEAKER_00]: Well, when you play, when you play Venice, that’s going to kill.

25:59.199 –> 25:59.720
[SPEAKER_00]: That’s it.

26:00.481 –> 26:02.923
[SPEAKER_00]: You got to wait till you do five nights in Venice.

26:03.223 –> 26:05.506
[SPEAKER_01]: Well, you can see everyone tapping the gondolas stick.

26:05.926 –> 26:07.107
[SPEAKER_03]: This is funny, man.

26:07.888 –> 26:10.911
[SPEAKER_00]: This guy is a funny, I remember that.

26:10.891 –> 26:18.265
[SPEAKER_00]: Friday, April 3rd, and Saturday, April 4th, Adam will be at the Arlington Cinema and Draft House.

26:18.926 –> 26:20.830
[SPEAKER_00]: Thank you for indulging me on the comedy questions.

26:20.850 –> 26:21.591
[SPEAKER_00]: I’m such a nerd.

26:22.212 –> 26:22.352
[SPEAKER_00]: Yeah.

26:22.994 –> 26:26.861
[SPEAKER_00]: I know, but you know, you’ve done, again, the sounds of your life, but it’s true.

26:27.181 –> 26:33.473
[SPEAKER_00]: You’ve done your motion pictures, you’ve done your life, you’ve done many ways to help you.

26:34.043 –> 26:41.212
[SPEAKER_00]: Full color, many of them are full color, but you’ve done, you know, our procedural’s on television, you’ve done sitcom’s on television.

26:42.533 –> 26:43.635
[SPEAKER_00]: They’re all different.

26:43.655 –> 26:48.400
[SPEAKER_00]: Do you have a favorite way to work excluding stand-up.

26:48.420 –> 26:49.201
[SPEAKER_00]: Like the actor.

26:49.301 –> 26:51.965
[SPEAKER_01]: It’s one of the funds.

26:52.165 –> 26:53.586
[SPEAKER_01]: They all have a different appeal.

26:54.047 –> 26:57.812
[SPEAKER_01]: One of multi camera was always fun because it was like little theater.

26:57.872 –> 26:58.933
[SPEAKER_01]: You start with a sure.

26:59.153 –> 27:01.536
[SPEAKER_01]: We’re all starting together on a Monday.

27:01.516 –> 27:05.300
[SPEAKER_01]: or a Tuesdays even better when you had a Tuesday shoot.

27:05.541 –> 27:09.385
[SPEAKER_00]: So for example, let me make sure I’m understanding this right and for the listeners too.

27:09.465 –> 27:11.227
[SPEAKER_00]: You’re talking like something like the King of Queens.

27:11.688 –> 27:13.670
[SPEAKER_00]: Yeah, they’re running three cameras at once.

27:13.870 –> 27:14.732
[SPEAKER_00]: Three cameras at one.

27:14.752 –> 27:15.593
[SPEAKER_00]: Three cameras at one.

27:15.893 –> 27:18.816
[SPEAKER_01]: Everyone’s ramen and it’s like, you’re all starting from ground zero.

27:18.856 –> 27:21.299
[SPEAKER_01]: You bump into furniture rehearsing every day, everything’s changing.

27:21.319 –> 27:22.120
[SPEAKER_01]: And then it’s show night.

27:22.140 –> 27:25.084
[SPEAKER_01]: The energy of the show night with a live audience comes out.

27:25.104 –> 27:30.510
[SPEAKER_01]: And it’s best when you have a Tuesday taping because when you rehearsal a week, you get the weekend to let things process.

27:30.490 –> 27:38.803
[SPEAKER_01]: But it jell, yeah, and then you do the blocking is where the cameras come in and they do all this and you tape on Tuesday And I and everyone goes out for a drink.

27:38.823 –> 27:43.650
[SPEAKER_01]: They’re exhausted when’s they you show up Get a new piece of uh you get a new script and it starts all over again.

27:44.051 –> 27:47.616
[SPEAKER_01]: It’s a It’s fun in that because you’re part of that energy.

27:47.636 –> 27:51.222
[SPEAKER_00]: It’s part of life performance You go back a long way with Kevin James, right?

27:51.342 –> 27:54.186
[SPEAKER_00]: Yeah, yeah, we used to share an apartment together

27:54.790 –> 27:58.596
[SPEAKER_00]: and may again, but for right now, you’re living separately.

27:59.557 –> 28:06.588
[SPEAKER_00]: When you come in and he was great about bringing stand-ups on to, I got to hang out on the set one day.

28:06.608 –> 28:06.868
[SPEAKER_00]: Sure, yeah.

28:07.309 –> 28:11.916
[SPEAKER_00]: He brings comics on to do small parts and everyone has got their chops on that show.

28:12.677 –> 28:18.165
[SPEAKER_00]: I bet that made a huge difference on Shonite because you got people that are literally fueled by the audience.

28:18.398 –> 28:19.019
[SPEAKER_01]: Oh, yeah.

28:19.299 –> 28:22.062
[SPEAKER_01]: And the space is getting longer.

28:22.082 –> 28:39.199
[SPEAKER_01]: When you get a big laugh, there’s just so much room just to be in, and you can just behave, because you’ve got to wait for your timing, but the time they take the body audience, so you’ve got to wait for your time, and your instincts will tell you when to hit the next line, to ride the wave.

28:40.080 –> 28:47.427
[SPEAKER_01]: But you get to do behavioral stuff, like you could find different things if you’re willing to allow it to take you.

28:47.862 –> 28:51.629
[SPEAKER_00]: I may, I found the whole process of the multi-camera shoot, fascinating.

28:52.030 –> 28:52.330
[SPEAKER_00]: Yeah.

28:52.350 –> 28:54.354
[SPEAKER_00]: First of all, you’re walking on Howard Ground.

28:54.414 –> 29:01.286
[SPEAKER_00]: You’re walking in the Old Columbia Studios, where the great movie stars of the Black and White, and talkies were there, but they’re still there, and the audiences in the room and it’s constructed, literally, like, a play with the moving scenery like you talk about.

29:01.306 –> 29:10.022
[SPEAKER_00]: And, you know, you know, you know, you know, you know, you know, you know, you know, you know, you know, you know, you know, you know, you know, you know, you know, you know, you know, you know, you know, you know, you know, you know, you know, you know, you know, you know, you know, you know, you know, you know, you know, you know, you know, you know, you know, you know, you know, you know, you know, you

29:10.002 –> 29:16.013
[SPEAKER_00]: they’re changing stuff on the fly, if a joke doesn’t work, they change it and we shoot it.

29:16.354 –> 29:18.618
[SPEAKER_00]: Yeah, the pressure is going to be crazy.

29:18.638 –> 29:27.876
[SPEAKER_01]: If it doesn’t work, if it doesn’t work in your profile, I’m going to get some, I, those are some of the best moments where

29:28.193 –> 29:29.115
[SPEAKER_01]: I’m dropping a name.

29:30.117 –> 29:30.838
[SPEAKER_01]: I’m dropping a name.

29:30.858 –> 29:31.359
[SPEAKER_00]: I wish you would.

29:31.379 –> 29:36.008
[SPEAKER_01]: I got to work with a great director, Jim Burroughs.

29:37.371 –> 29:38.954
[SPEAKER_00]: Oh, no, I’m getting of course.

29:39.034 –> 29:44.886
[SPEAKER_01]: So I got to work with him as a show called Caroline in the city and the end of the scene didn’t have a button.

29:45.187 –> 29:51.694
[SPEAKER_01]: So, I improbbed the button on the end of the scene and I got an applause break.

29:52.515 –> 29:57.060
[SPEAKER_01]: And I woke up and I came back out and it was, I felt fine doing it because it was the end of the scene anyway.

29:57.080 –> 30:02.365
[SPEAKER_01]: So while I was doing this, on my exit, I just threw a line over my shoulder and it killed.

30:03.206 –> 30:03.667
[SPEAKER_00]: That’s awesome.

30:03.927 –> 30:08.612
[SPEAKER_01]: And Burroughs looked at me and goes, that’s what I wanted and he never asked me.

30:09.807 –> 30:11.831
[SPEAKER_01]: that’s, and you feel 10 feet tall.

30:12.011 –> 30:13.474
[SPEAKER_00]: And you’re painting a kill.

30:13.494 –> 30:13.995
[SPEAKER_01]: I’m 10.

30:14.015 –> 30:15.518
[SPEAKER_01]: It was 10, 15, you’re 20.

30:15.538 –> 30:17.482
[SPEAKER_01]: I’m telling the story now, Rob.

30:17.522 –> 30:19.005
[SPEAKER_00]: You’re getting back so great.

30:19.486 –> 30:22.612
[SPEAKER_00]: Now, one last question, you’ve been really generous with your time.

30:22.953 –> 30:23.113
[SPEAKER_00]: Sure.

30:23.574 –> 30:30.448
[SPEAKER_00]: The one thing I’ve not seen you do, and I think you’d be ideal for it, have you ever been approached to do voiceover for like a cartoon?

30:30.428 –> 30:34.374
[SPEAKER_01]: I was an animated Garling’s beer in England.

30:34.634 –> 30:35.595
[SPEAKER_01]: I was the radio.

30:35.655 –> 30:35.956
[SPEAKER_01]: Really?

30:36.236 –> 30:38.540
[SPEAKER_01]: Yeah, I was the voice of Garling’s beer in England.

30:38.960 –> 30:44.829
[SPEAKER_01]: It’s a very closed system, you know, the voice of it’s just, they have, they’re go to people.

30:45.269 –> 30:49.716
[SPEAKER_01]: And you know, you audition for stuff, but it’s something I would like to do.

30:50.076 –> 30:54.482
[SPEAKER_01]: I’m thinking of just, you know what, I’ll write my own cartoons, just animation so expensive to do, you know.

30:54.542 –> 30:55.644
[SPEAKER_00]: Well, I’m a pretty good drawer.

30:55.744 –> 30:56.385
[SPEAKER_00]: I could help.

30:56.365 –> 31:02.434
[SPEAKER_00]: All right, but you’re going to drop me like a hot potato the second Disney calls.

31:02.534 –> 31:04.757
[SPEAKER_00]: I know how it works It’s all show business.

31:05.238 –> 31:20.019
[SPEAKER_00]: I’m going to be a shock WWW dot Adam for our dot com and remember you can see Adam this weekend at the Arlington, Cinema and draft house great room and you don’t what plenty of parking which is important for at the bourbonites.

31:20.039 –> 31:21.681
[SPEAKER_00]: Yeah absolutely

31:21.661 –> 31:23.084
[SPEAKER_00]: You can check it on Adam.

31:23.144 –> 31:24.166
[SPEAKER_00]: It’s such a pleasure.

31:24.467 –> 31:25.469
[SPEAKER_00]: Oh, it’s a senior brother.

31:25.609 –> 31:26.310
[SPEAKER_01]: You talk to him.

31:26.330 –> 31:26.831
[SPEAKER_01]: He’s happy.

31:26.851 –> 31:28.575
[SPEAKER_01]: Thanks guys for having me on.

31:28.595 –> 31:30.038
[SPEAKER_01]: I always love talking to you.

31:30.058 –> 31:30.679
[SPEAKER_00]: It’s a blast.

31:30.699 –> 31:31.080
[SPEAKER_00]: Love you.

31:31.401 –> 31:32.603
[SPEAKER_00]: And we’ll talk to you soon.

31:32.964 –> 31:34.727
[SPEAKER_00]: We’ll back tomorrow with a new Michael Marasho.

31:35.188 –> 31:36.210
[SPEAKER_00]: And we’ll talk to you then.

31:36.310 –> 31:36.932
[SPEAKER_00]: Thanks again, Adam.

31:41.060 –> 31:43.585
[SPEAKER_03]: Michael Mara, radio entertainment.