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Nothing in my house as a child
contributed to my comedy. Uh I I talked
about listening in the car radio as we'd
make family trips, but that was silent.
You know, I'm listening and and just
loving these great performers.
Uh
but my house was not a a an artistic
household at all. I got lucky in one I
developed a interest in comedy ma magic
and performing. Great thing about magic
is you could buy a trick and then it had
instructions
and it had patter. Patter means talking
and you'd say the great Egyptian god fu
and you had your whole uh act kind of
defined for you. You didn't have to
think too much and you could be on
stage. Well, on stage I mean you know
doing your doing a performance at your
parents bridge party. Um,
and so I had collected this and and also
I had heard about uh performers and they
had a funny joke and I thought, "Oh,
that I didn't I didn't realize jokes
were property."
And uh there was a great uh comedy
magician named Carl Ballentine who had a
fantastic
joke where he said now the appearing
dove and he would blow up a paper sack
the appearing dove and he'd go like this
and then you just get feathers
and um so I thought well of course I can
use that and so uh I had an act and I
had actually thought up a couple of
jokes on my own. I had a um
I had the a disappearing candle and it
was a candle like this and I would put a
silk over it and then I would hold it up
and then I would go like this and the
candle was gone and then I would do
this. Thank you. Thank you very much.
Thank you. And it would get a laugh cuz
my arm was sticking out. And I had a few
little jokes. I remember I was I was in
high school and I was a cheerleader in
high school because I injured myself. I
really wanted to play football. So glad
I didn't. Um I ended up being a
cheerleader. And the reason I wanted to
be a cheerleader, I thought
that's show business standing up there
in front of those people. I'm in show
business.
As I got into college, you know, I I met
people who were inspirational to me, um,
I I got into a philosophy class. So, I
started thinking about, you know, philos
philosophy is about the willingness to
think about anything and break it down
and find out if it's true or false. And
I started thinking that way and I
thought, what if I applied that to
comedy? you know, I'm just a a kid in my
teens,
but it helped me get excited about it,
and it helped me find something new
about it, even if I'm making it up, even
if it's incorrect. I thought,
gee,
I don't see a future in me doing a magic
act.
But I did notice something. I said, I've
got to I've got to just kind of slip
into a little more comedy material.
And I thought, you know what? They love
it when the tricks don't work. So, I
started edging into like from a serious
magician into, hey, it's kind of funny
when the tricks don't work. And then I
started thinking maybe I could just do a
little bit of just regular comedy
materials, blah blah blah. And I put the
magic that that shape of that act stayed
with me my whole life where I put the
magic act at the end. It's kind of
silly. And did all this comedy up front.
So now I've got a little standup and I
and I thought I need time. I don't have
any time. Uh I don't have an act. My act
is 10 minutes long. I played the banjo.
So I I'll put the banjo in. So now I'm
accidentally creating a variety show and
I started with everything. I I played
the banjo and read poetry.
I I put everything in. I juggled. I put
in juggling and did like funny bits with
juggling
and
so slowly you're building. So, so now
I'm thinking, okay, so I'm I'm writing a
few jokes and that's fine. And then I
got this job on the Smother's brother's
comedy hour and I became a comedy writer
and I didn't know how to write a word. I
had written little funny stories that
were bizarre that had titles like uh you
know cruel shoes and the day the dopes
came over little kind of kind of
creative original but they had no
you know no outlet no purpose so there I
am writing now I have a little
background in uh writing sketches
whatever but I decide
um I don't really want to be here behind
the scenes I want to be in front of the
scenes so I quit
and went on the road with my act. And
out there
in all these little towns, these little
clubs where you perform in a corner with
no elevated stage, where you're running
the lights yourself, you know,
everything
meant something. Every lesson was
learned. every drunk person is dealt
with. Um,
and you're getting this backlog of
experience that you don't even know you
have that I I remember uh once in the
90s I did uh the play Waiting for GDAU
on at Lincoln Center with Robin Williams
directed by Mike Nichols F. Murray
Abraham.
And I thought I haven't done a play in
what was it 35 years. But when I was 18,
I worked for three years at Knottberry
Farm at a little theater uh where we did
a play four times a day. And I thought
this is exactly the same. Only the words
are different. The words are fantastic
and great, but the experience is the
same as that little thrust stage that we
perform to 200 people four times a day
and sometimes no people.
Uh sometimes we perform for two people.
So I have that in my head somewhere. How
to manage that? Uh how to not be
intimidated by three people or 18,000
people.
There's many ways to self-define success
and I've gone through many many stages
of it because at the same time you're
saying
um I'm on the cover of time. Uh I must
be successful. At the same time you're
thinking when's it all going to be over?
And uh I've had many of those moments
from I think the cover of time was like
I don't know 85 or something like
Newsweek was or 78 Newsweek and I
thinking well this happened this
happened where I became successful
and so you can notch that off. You say I
never thought it would happen but that's
your first moment of success. You could
go yeah I became successful now. Now
what happens now what is it? Is it this
for the rest of your life or is it
whatever? I I had no no clue.
Fortunately, I got into movies. So then
you have a hit. Go, oh, hit. This is so
great. Then you have some flops. Now
you're going like this. And it was only
until like the late 80s I kept thinking,
you know, I kept thinking I was going to
go away, but I never went away. So why
am I wasting all that
grief, you know, for my on what am I
putting that on myself? It's it's
survived somehow by the skin of my
teeth. And some of that is luck and some
of it is just luck.
There's this moment in in this long
career uh where you where you suddenly
kind of relax.
in this strange way that you never
thought you always thought you were
relaxed before but the truth was you're
very nervous and you're uh you know a
big project comes up like I said you
think about it for months and months and
months and then there's a sort of
elegance either maybe it's age or maybe
it's continued success or maybe it's
some kind of weird confidence even false
confidence
where it actually started to become fun
you know you finish a show and it's you
just feel ecstatic IC. I still feel that
today. I mean, if I play a show, say I
work with a band, the Rangers, or I work
with Marty, and we feel it went well,
we're we're high, you know, we really we
we discuss it and say, "How about that
in that moment?" And then we're still
high. Then, of course, the next day you
start over. And uh you know, I mean,
that that high doesn't last you through
the week. And I'm at that stage now. I'm
maybe I've lost the uh feeling that I
have to prove myself. And that's a big
relief.
So I went to London. I was so close to
Paris. I decided to go over there. So I
saw London and I saw France and then I
saw someone's underpants.
How many people have plans to go to
France? Raise your hand. Okay. Now
listen.
If you're going to France, let me give
you a warning. In France, chapo means
hat. Ru means street. It's like those
French have a different word for
everything.
They do it to screw you up. I'm not
kidding.
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