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Jerry Corley: Hey, what's happening? Good morning, everybody. Hey, Steve, how are you?

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Stephen Berger: Good morning, doing well.

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Jerry Corley: Good. Hi, Janet, how are you?

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Janet Rapala: Doing okay, I'm wearing a beanie because I'm self-conscious about my hair loss.

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Jerry Corley: Oh.

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Janet Rapala: I'm starting to resemble a Benedictine monk with the fringe around the center, so I tell people, if I start chanting in Latin, just tell me to shut up.

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Jerry Corley: That works.

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Janet Rapala: Although chanting is a polyvagal activity, like humming or singing, actually decreases anxiety and keeps you relaxed, so…

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Jerry Corley: Yeah, you're right. That's why the… that's why the monks, vibrate, you know?

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Janet Rapala: Vagus nerve goes right through your vocal cord.

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Jerry Corley: I did not know that.

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Janet Rapala: Yep.

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Jerry Corley: You know? I want the… I want the nerve that goes right to the clip.

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Jerry Corley: That's,

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Janet Rapala: But you don't have a clit.

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Jerry Corley: I know, I read that in Cosmopolitan Magazine when I was 15. If you whisper in a girl's ear, there are nerve endings that go right there, and I was like, oh man, I'm so glad I know this information. I'm gonna use it so much at 15.

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Jerry Corley: Yeah, yeah.

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Janet Rapala: Yeah, exactly.

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Jerry Corley: I don't think it ever worked.

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Jerry Corley: I'm still waiting for a few more people I know that are signed up here, trying to see what's happening.

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Stephen Berger: I think he could get one if he wanted.

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Jerry Corley: What's that?

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Stephen Berger: You could get one if you wanted.

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Jerry Corley: I can get, get a clit?

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Jerry Corley: Or a vagal nerve.

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Janet Rapala: The clit, a plastic surgeon could probably, or a urogynee…

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Jerry Corley: Yeah, yeah, that could work.

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Stephen Berger: Other men have gone…

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Janet Rapala: I've seen sex changes from male to female, and they do damn good work.

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Jerry Corley: Wow, that's good to know. We're waiting for just a couple more people. I think they may have gotten the wrong link or something like that, because I know they're usually here. Let me double check.

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Jerry Corley: So this is, let's see here…

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Jerry Corley: Let's see here, hold on…

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Kaz Okamoto: Hello, everybody!

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Jerry Corley: Hello there!

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Jerry Corley: That's all we need. We just need Kaz to get started. Yeah, I'm missing a few more people, but, I know Cliff is supposed to be here. Did, so Kaz, your link worked okay?

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Kaz Okamoto: Yeah!

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Jerry Corley: Excellent. Alright.

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Kaz Okamoto: Was it not supposed to?

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Jerry Corley: No, it's supposed to work. I think maybe, because it seems like there's two links for this class, I was just making sure.

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Kaz Okamoto: I only have one.

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Jerry Corley: Yeah, oh, that's good. Well, you have one.

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Jerry Corley: But, the system seems to be duplicating lately. I did it with my class the other day.

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Kaz Okamoto: Must be AI.

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Jerry Corley: It's Zoom.

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Jerry Corley: You know, they're all… they're all implementing some form of AI.

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Kaz Okamoto: Yeah, it's really bad.

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Jerry Corley: And every one of them have experienced some sort of glitch or problem, or, you know, some rogue experience. So, we'll see. We're gonna go on with this anyway, because, there's a lot to cover. Dynamic ships are very cool,

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Jerry Corley: the way… how do you keep an audience and attention? I mean, Steve, one of the reasons this is, like, I'm using an example from yesterday's notes from your showcase.

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Jerry Corley: You did, you did… he was doing a bit about, we're gonna show how this works. He's doing a bit about his, needing to raise more money, right? Like, he's doing a joke, so he's like, you know, financially, we need to… we've been hitting some hard times, so I need to get a second job.

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Jerry Corley: And so he sets it up, that way. So I said, okay, how can we add a dynamic shift? So let's change that.

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Jerry Corley: So it's a matter of taking… so one way is like a third-person narration, right? A third-person narrative, which is how most comedians start. They just start telling a story from a, you know, basically, I'm telling a story, giving you a third-person narrative, instead of taking on…

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Jerry Corley: a first-person act-out. So anytime you have a situation where, you know, my wife said to me the other day, it would be better if I wore shorts

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Jerry Corley: You know, why say it that way, when you can make it come alive and say, my wife's like, you know what, you know, you should wear shorts.

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Jerry Corley: you know what, she says it. So now you have a he said, she said working, it heightens the tension, right? So, any chance you have to do that, think about adding it

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Jerry Corley: in a first-person act-out. Sometimes it might be best in a third-person narration, but in most cases, as far as stand-up is concerned, it's like doing it in a first-person shifts that dynamic, that little quick change.

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Jerry Corley: of the perspective, right? It doesn't need to be big, right? We talk about Robin Williams, he's pretty broad with his changes. We're going to take a look at how many dynamic shifts he has just in one minute.

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Jerry Corley: And we'll see. You don't have to go that drastic. Or Maria Bamford, who is, like, polyvocality, diegetic interruption, character voices, dialects, sound effects, she's all over the place with that stuff, and so it's a very impressive performance. It doesn't have to be that much. It's just a matter of, how do I keep the audience's attention by shifting

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Jerry Corley: your dynamic. So, we're gonna take a look at the outline here, and we're gonna roll right through. Does anybody have any questions about that, about dynamic shifts at all? What they mean, or what they're… what they're about?

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Jerry Corley: Nope, right, yeah, yeah, nope, nope. Brennan? Nothing?

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Jerry Corley: Good? You're good? Okay, cool.

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Jerry Corley: So let's take a gander at,

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Jerry Corley: the first, at the outline I have set up for you guys.

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Jerry Corley: It's so funny, too, because, it is… Zoom has also changed what it shares on the screen.

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Jerry Corley: Right? So it's like, when I have my window open and say, you know, click share, it's not showing it in the selection, unless I have it isolated. So it's just really… they've changed their setup, too, all based on…

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Jerry Corley: you know, their implementation. It happened right after the implementation of AI. Even talking to them, they were like, oh, we don't know what you're talking about.

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Kaz Okamoto: Okay, it's up.

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Jerry Corley: Alright, so here we go. Now, right there at the quote, I always like to put a quote dealing with the particular, piece of information we're covering, the, the structure or whatever. So it says, yesterday I was,

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Jerry Corley: Wait, that wasn't me. So…

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Jerry Corley: for that character, Charlie Stone, which is a, this is an alter ego character that I play, I don't know if you guys know this, a lot of you don't know it, some of you do, that when I was on the road touring, I'd be going out as me, but I would open.

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Jerry Corley: do 30 minutes of this character named Charlie Stone, who was kind of like, he had to, you know, had a wig, he had, you know, faded sunglasses, and kind of like a surfer type of dude,

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Jerry Corley: And his name was Charlie Stone. He would come on stage and do about 30 minutes, and then I would…

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Jerry Corley: go off, the MC would come up for a few minutes, and I would change, and come out in my blazer, and my bald head, and, you know, I would come out as me. And for the most part, I think, like, 99% of the people didn't know that Charlie Stone was me.

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Jerry Corley: So, and a lot of them would be like, dude, where's Charlie Stone?

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Jerry Corley: And this taught me a big lesson. They'd be like, I could… Jerry could get my… because I take on socio… socio-political material, right? And so, at the end, it's like I could sometimes get a standing ovation with some big, you know, bringing people together through making fun of each other type of… type of deal. And I can get a standing ovation, but so many people were like, dude, where's Charlie Stone? I want to meet Charlie Stone.

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Jerry Corley: And I figured out it's… it was… they identified with the character.

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Jerry Corley: Right, so the character was so unique, and they've seen a character like this, and he was kind of like, how can he get through life being just kind of, no way, dude. You know, that kind of, like, character. And so, but he would do… I would do 30 minutes, and everybody wanted to go smoke out with Charlie Stone.

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Jerry Corley: And I'd say, well, you know, Charlie's kind of weird, he likes to go to bed early and read a book, you know? So, but they… it was really… it's fascinating, worked an entire, like, 3 years doing it. It was exhausting, but it was a lot of fun, right? So this character would be like, you know, yesterday I was,

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Jerry Corley: Oh, wait, that wasn't me. And it's like, and so that little dynamic shift, even how subtle it is right there on the inside of the setup.

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Jerry Corley: It's just a quick way to, you know, make the audience, like, jump a little bit. You know, by, so let's take a look at what a, like, dynamic shift is. The definition of a dynamic shift is.

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Jerry Corley: Any change in character, energy, information, perspective, status, emotion, sound, or circumstance that changes the audience's experience of a joke or a story. A punchline is a dynamic shift, but only one kind. Greek comedy, continually changes

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Jerry Corley: what the audience is seeing, hearing, thinking, anticipating, or feeling. Like, when you're regularly telling stories, you've got to ask yourself, how can I add some sort of shift in dynamic? The question isn't always, like, what's the next punchline? It's sometimes, like, more powerful. It's like, what changes next?

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Jerry Corley: what is changing next? So a lot of times when I'm performing, I'm always, like, anticipating some sort of change, especially when you're live, whether you're doing… going out to crowd work, making it part… an organic part of the act. Like, I'll go, I have kids, I have 5 kids, how many people have kids? You got kids? Kids? Kids? And so now, that's a dynamic shift, because we're taking… taking the perspective

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Jerry Corley: from me just talking to… now it's inclusion, right? Now it's, like, including the audience, and they get to participate.

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Jerry Corley: in what's happening. One of my students, she was coaching with Jason Rowland, there you go, Kaz, Jason Rowland, and she coached with him, and Jason, her opening was this.

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Jerry Corley: She's a… she's new at comedy, right? She's this 6-foot-tall Polish woman, and blonde, but she, she comes out, and she wanted to… she wanted to play The Wedding March.

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Jerry Corley: As the opening. And then come out the wedding marching, she's holding this box, and the box is basically her ex-boyfriend's ashes.

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Jerry Corley: He died last year, and so her joke was in a Polish action, she goes, maybe you're wondering where the groom is. He's right here. Right? And, and it's like, you know, and then she does the story about it. And so Jason Rowland said, that's not funny.

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Jerry Corley: I hate comedy coaches who say that's not funny.

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Jerry Corley: Really? That's not funny? The audience could fucking tell me that.

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Jerry Corley: Tell me how to fix it.

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Jerry Corley: How do I make it funny?

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Jerry Corley: And so this is… that's one of the things that annoys me so much. That's not funny. You're one person. To say that, that's not funny. It is so ignorant.

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Jerry Corley: You could say, that's not funny to me.

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Jerry Corley: But maybe somebody else could see it as funny. I said, okay, so, let's get rid of the music, because I don't want you to require a musical cue for a 5-minute showcase set.

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Jerry Corley: That seems to me that it's… you should be self-contained. So let's make it self-contained!

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Jerry Corley: Right? Let's make it self-contained, let's add a little crowd work to it. So what if you walk out there and you go, hey, look, before I get started, I need some help from you guys, alright? You know the Wedding March song? And they… right, okay, good. Now, I would like to… I want you to sing that. I'm gonna call out, like, I'm gonna count of three, you're gonna start singing it, and then I want… and I want… and I'm gonna come out to that, okay? Are you ready to do this?

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Jerry Corley: That's not gonna work, because let's practice. 1, 2, 3. Now, when you say 1, 2, 3, what's gonna happen? Are they gonna come in on the beat, or are they gonna come in kind of scattered? Kind of scattered, right? You already know that, and that's kind of what you build in. You go, you know, ready, 1, 2, 3, and you do it on purpose, you come in too early.

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Jerry Corley: And so now they're all scattered, and you go, okay, that really sucked.

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Jerry Corley: My fault.

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Jerry Corley: Let's try it again, because you should be 1, 2, 3, and done, dun-dun. Okay, so let's try it that way. Ready? 1, 2, 3, and dun, and then they'll all come in right on cue. I said, you know what would be better? If we had a conductor.

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Jerry Corley: Excuse me, what's your name? You know, would you come up and be kind, Sukhan, come up here and conduct this, right? So the gal comes up and conducts it, and now it's like, no, okay, now, ready to go? We know it's 1, 2, 3, and. You ready? I'm gonna go over there. And so she goes over behind the curtain, and you hear from the back, go, 1, 2, 3, and! And they all come in right on cue.

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Jerry Corley: Alright, so she comes out, and she's holding the ashes, and then she does the gag.

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Jerry Corley: So, does that change the dynamic of how that presentation worked, from the music playing in the background to her now engaging the audience?

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Kaz Okamoto: Yes.

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Jerry Corley: Totally.

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Jerry Corley: Totally and completely flipped that thing, and the audience is giggling, laughing, that they got to participate.

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Jerry Corley: The only thing the audience wants to do is be a part of something.

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Jerry Corley: They want to have connection, they want to have community, right? And that's scientifically proven through sociologist Dr. Brene Brown. The reason why we're here is to connect.

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Jerry Corley: So… Help your audience to connect!

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Jerry Corley: Right? Some comedians just get out there, they go, a little something about me. They didn't even acknowledge the hello from the audience, which is…

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Jerry Corley: They're communicating, hello, thank you, welcome to our… thanks for coming, thanks for… welcome. And so, you get up there, you gotta say something, acknowledge that.

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Jerry Corley: Most comics that get up there, and they're just like, something about me, they don't even say, I'm so glad you're here, oh my gosh, and mean it, make eye contact.

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Jerry Corley: It's all like, you know, just kind of straight ahead. People who have experience learn to do that, but when we first get out there, wow, that's so nice. Or, sometimes you can do an interesting entrance, like the guy with the coffee comes on with a styrofoam cup.

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Jerry Corley: He walks on, doesn't say a word to the audience after his intro, they're applauding, he sets the coffee down on a stool, still not facing the audience. He takes out a couple of sugar packets, a couple of creamers, and a stir stick. Opens the sugar, pours it in the coffee, takes a creamer, pours it in the coffee, stirs. Tastes.

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Jerry Corley: Puts it back down, takes another creamer, puts it in there, takes another sugar, puts it in there, stirs.

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Jerry Corley: Turns to the mic and goes.

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Jerry Corley: What? Do you guys get started right away when you go to work?

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Jerry Corley: Gets a huge laugh, right? And an applause. They're so… they were so surprised by what a quirky, interesting opening. At first, they're giggling as well as he starts the… as he goes to the second packet, right? Even goes to… I think he goes to a third.

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Jerry Corley: taste, or something like that. It kind of escalates that a little bit. So that's a dynamic shift, because we expected him to come out and start talking. Instead, he comes out in silence, and he doesn't act out right away. So the audience is engaged, because they're interested in what's going on, so they're brought into the focus of what's happening.

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Jerry Corley: And then he talks right to them. Hey, you guys get started right away when you go to work, right? And they laugh at that, and they're like, wow, that was kind of fun, we never saw that before. So they're applauding the feet.

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Jerry Corley: They're not necessarily applauding the funny.

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Jerry Corley: Right? The feet, the effort, the bit, right? So, it's like one of the things they do. Jimmy Carr says, like, if you do a pun.

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Jerry Corley: You do one, you get a chuckle. You do two, maybe a little better than a laugh. But if you do three, it's an applause break, because the audience is applauding the feat, how many puns you did off of one premise.

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Jerry Corley: Right? So, you'll see that often happen, like, Stuart Francis, there's a video I have on YouTube that shows Jimmy Carr saying this, and Stuart Francis didn't doing… but he does 4 puns, and he gets an applause break on the 4th pun.

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Jerry Corley: So, it's… it's interesting, a pun doesn't sound like it's gonna be good, but he does four, and he gets an applause break. So, it's really kind of a… it's stacking the coincidences of the joke. So, you ask yourself what changes next? It's like, by that rule alone, the three-way buildup is a pattern disruptor, right? So, the three-way buildup can be, like, it changes that… you give two set… two lines that will…

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Jerry Corley: That, addressed the premise. And then that third one.

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Jerry Corley: is a reverse of what we thought you were gonna say. So, you're like, I play all the biggest cities, New York.

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Jerry Corley: LA, Fresno.

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Jerry Corley: And then just that simple change of what we expect becomes its own dynamic shift. So adding more of those into your act, not just punchlines, but shifts in the direction. Now, there's the 18-minute rule. When I was in school… oh, Kaz, you had your hand up.

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Kaz Okamoto: Yeah, I wanted to talk about, Annie Kaufman's alter ego, Tony Clifton, because he never came out of that character. You didn't know he was that character in, for the longest time. And I knew his makeup artist, and…

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Kaz Okamoto: They never told me that they did it. Like, everyone was in this secret thing, and he never broke character on that character.

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Kaz Okamoto: Which was pretty amazing. Yeah. He was at Vegas Lounge Act, but that was taking it to the nth degree, I think.

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Jerry Corley: Yeah, you know, Andy Colpin was anti-comedian, right? He was like, let's see how wacky and bizarre I can be. And he… it was just like a com… he was almost like, what's his name, who does the, Borette.

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Kaz Okamoto: Oh.

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Jerry Corley: Right? And it's like, he just… but we know who that is, but, it's like, Andy Coppin would take on this character and would just, like… he did it to intentionally disrupt

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Jerry Corley: It was a disruption type of effort. Taxi, you talk about all the actors on Taxi, and they're like, he was nuts, he was a pain in the ass.

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Jerry Corley: Right? So it's like, but, for us, it was so unique and original and different and so committed.

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Jerry Corley: We applauded the feat.

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Jerry Corley: You know, and it was just like, when we found out that Tony Clifton was Andy Kaufman, that was quite a scandal, right? So yeah, I like, being able to play that character. When I did, when I was doing Charlie Stone, like, it was so interesting. My booker, one of the bookers that used to book me all the time.

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Jerry Corley: I remember he had lunch with me at the World Series of Comedy.

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Jerry Corley: Where I was a judge, and he was like, he was like, Jerry, so whatever happened to that comedian Charlie Stone you used to work with?

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Jerry Corley: And I was like, you didn't know, Dave? He goes, what, did he die?

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Jerry Corley: I go, no, I was Charlie Stone.

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Jerry Corley: He goes, what are you, what are you, what are you talking about? I was Charlie Stone. I, I, me, I was Charlie Stone. And he was like, what do you mean you were Charlie Stone? I played Charlie Stone. I dressed up, and I came out as Charlie Stone.

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Jerry Corley: He goes, you mean I paid you twice? I go, that's correct. But he goes, oh, man, that was… people have been asking about Charlie Stone. Are you bringing him back? But anyway, so it was like a fascinating experiment.

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Jerry Corley: So it's still, still a character. My kids love the characters. In fact, they wanted me to do, America's Got Talent. I said, the only way I'm doing America's Got Talent, if I do, if I'm Charlie Stone, right? So, and I thought I had this, I, I was gonna do it, I would go do Charlie Stone.

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Jerry Corley: And then, what was interesting, he didn't use drugs. That was the interesting thing about the character. Like, I don't use drugs, you know? There's one gal who says, you don't use drugs? Well, how did you get this way? And I said, well, the 101 to the 405, how else? You know? And so, so,

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Jerry Corley: I did this for my audition on AGT. First of all, they accepted the video, and I got called in for a secondary audition. I did it in front of producers, and so they were like.

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Jerry Corley: The main people think that I promote drugs.

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Jerry Corley: I go, we clearly say I don't do drugs!

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Jerry Corley: And she was, like, fighting for me, she was like, I know, right? I've been trying to tell them that, it says clearly, but they were like, oh, he's a druggie, we don't… it's a family show.

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Jerry Corley: I said, no, they're not listening.

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Jerry Corley: So, it was like, they got, because I was so mad, because I had the whole thing ready, because if I didn't get, like, if I was on the TV spot, and they X'd me, right? And, you know, I'd be like, I would take off the wig and go, damn, my manager said this would work, right? And I would sort of, like, kill the whole thing. That was another dynamic shift, isn't it? So, 18-minute rule. Now, when I was in college, I took, theater classes. That was when I was really hardcore

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Jerry Corley: Core 100% into acting.

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Jerry Corley: And and so I took a… in the class, there's a… there was… I was… we were taught this theater science of the audience, and the audience can only sustain the same dynamic for up to 18 minutes. Now, that was back then, so it's even shortened since then, right? But if you watch a play, there's always, like, about 18 minutes is the max they will go without something changing. A phone ringing, a scream, an entrance.

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Jerry Corley: somebody, like, some secret is revealed, so something suddenly happens. So, because the dynamics have to shift, or the audience starts to get a little restless.

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Jerry Corley: This is carried forward, now we've seen that in TED Talks. They don't… they're… usually the sets are 18 minutes, because they've done the science behind it, and they realize it's enough to get information out without, you know, and it's like, how long the audience can hold attention. So they still use that today in TED Talks. So in your comedy, in stand-up, that time even shrinks even more. And we've seen it in YouTube videos.

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Jerry Corley: It's like, sometimes people, they'll change that perspective, zoom in, zoom out, a card, some sort of a different take on something, an insert, a B-roll that's happening every 3 to 5 seconds.

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Jerry Corley: So… so we… when we see it stone Comedy, we go up on stage, we don't have to be 3 to 5 seconds of changes, but change your dynamic. When you're just delivering that third-person narrative, it can get a little bit…

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Jerry Corley: mundane, right? So…

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Kaz Okamoto: Because what nowadays, when we look at social media and stuff, it's clips, little tiny clips. Nothing… you know, they tell you, put 30 seconds of your comedy up, a minute at the most. Like, they just want, you know, that dopamine hit thing.

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Jerry Corley: Sure, well, there's two… there's also two different types of audiences out there. The younger audience is like the quick hits, some of the older audiences actually watch YouTube on their TVs now.

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Jerry Corley: With all the smart TVs, and they'll, like, let it play while they're cleaning.

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Jerry Corley: Or something like that. So, those longer videos, and YouTube loves the longer videos, they get some, so if you have something… like, if some… I have some of my teaching videos that are shorts, and some of my teaching videos, they go 14, 15, 17, 22 minutes. One of my longest-watched videos is a 48-minute video.

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Jerry Corley: So it's like, and so, and it's… it got, you know, so I'm surprised that, I always thought that, oh, shorter is better, but some people are like, I like the longer one, man. So I've even gotten that, so it depends, but I… those shorts are super popular, and you know, also, that, YouTube is pimping them, they put them, if you open the YouTube, you know, app on your phone, they're at the top.

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Jerry Corley: And then, also, you look at MSNBC, CNN, they're using shorts right there on their website, so it's now a popular thing, that short clip. And that 30-second clip of you, 15 seconds to 30 seconds, and you have more… keep putting a bunch up there like that, that's where you get that exposure. You look at those crowd work videos, and that's one of your best tickets to notoriety, is social media.

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Jerry Corley: You know, even Bill Burr became super famous was through that Philadelphia rant.

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Jerry Corley: that's almost just all audio, but we hear him take on that rant, that take on that Philly audience, for… for basically, it's 10 minutes. And, that thing went viral. Now, comedians, a lot of comedians knew who Bill Burr was, but the public was not really Bill Burr, he wasn't really a household name.

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Jerry Corley: after that video came out, about a year after it came out, more and more people knew who Bill Burr was, right? And that's when his… that's when his numbers went up. So…

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Jerry Corley: So it's like, but modern online video can change the visual auditory experience, right? Real short times. And it's like, it's the… you think about the same thing. Voice, rhythm, energy, perspective, physicality, right? So all these things come into play. You know, whenever I performed, I'd, you know, I'd come out, there's always a… I look back at a lot of my video, too. There's a lot of dynamic shifts happening.

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Jerry Corley: And I think…

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Jerry Corley: you know, I was like Johnny Carson, Jerry Seinfeld, George Carlin, Robin Williams, oh, those are the big influences in my comedy career, for the most part, Richard Pryor, and so there are a lot of dynamic shifts in their act. So, here's the dynamic shift toolbox. We're gonna take a look at a quick

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Jerry Corley: what we call some of these quick names for these, dynamic shifts. And then we're gonna take a look… start with Robin Williams and take a look at him, and then you guys are gonna do an exercise. So, so we have a dynamic shift. What changes? Act out, it's a… from a narration to an experience, right? So, character switch, one POV to another POV. You know, I was talking to my wife. So, say, for example, if you write a joke.

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Jerry Corley: and you're doing, like, today I'm gonna do some exercises, I'm gonna write blonde jokes, I'm gonna write, oh, yo, I know how… oh, she was so dumb. I'm gonna write, top 10, she was so dumb jokes.

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Jerry Corley: Top 10 Reasons You Know She Was So Dumb. And so one of the jokes I come up with is, she was so dumb that she thought, she thought capitalism was texting in uppercase.

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Jerry Corley: Right? So, that's a funny line, so I was like, but I'm not gonna do a she-was-so-dumb joke, I wanna couch it now in a story. So I was like, my wife and I had a glass of wine the other night. Well, my…

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Jerry Corley: former wife, now ex-wife, divorced me on Valentine's Day last year. That's a power move right there, isn't it? So anyway, when we were married, she… we were having a glass of wine, she goes, you know what, you never told me about any of your exes. You know, tell me about one of your exes.

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Jerry Corley: No, I wasn't gonna tell her, you know, one of my exes, like, you know, I was gonna tell her, you know, maybe make her… I gotta make her feel good about one of the exes, you know, that's a trap, isn't it? We don't wanna… we don't wanna tell her just about the ex, so I was like, oh, well, I remember one ex I dated, she wasn't very bright, like, she thought capitalism was texting in uppercase.

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Jerry Corley: And my wife was like, huh, that must not have lasted very long. I said, 6 years, she was hot.

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Jerry Corley: Now, it speaks to my inse… my, like, shallowness, right? But, and also saying this in front of my wife.

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Jerry Corley: At the time, so it… you see how that works? It's like, once you couch it in the story, now there's a he said, she said going on.

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Jerry Corley: the catalyst was imposed on the main character, so I didn't just say it out of the blue.

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Jerry Corley: Right? So, tell me about one of your exes, now I have to say something, so I chose to say this. So it takes the onus off of me of saying something negative about a woman the audience doesn't even know yet, right? They know she was an ex. But they know I was pushed into the situation, and I had no choice. So, you see what I'm saying? Have something imposed on the main character. That's why so many jokes start with, my therapist said.

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Jerry Corley: My wife said, my in-laws said, my teacher said, you know, my boss said, you know, or they put us in a situation. I was in my… I was interviewing for a job, and they asked, where do you see yourself in the next 5 years? Hopefully not in this shithole.

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Jerry Corley: Right? So, like, you know, it's so… because when they ask you a question, especially in a job setting, there's a certain type of answer that the audience is expecting. And it gives you an opportunity to take it outside of that

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Jerry Corley: perspective to shatter the assumption, right? So, so he said, she said is one, a catalyst, someone imposes the problem on you. Status shift, power changes hands, right? So, I'll demonstrate that power changing hand with the example of, from Steve's joke, as, like, comedic irony.

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Jerry Corley: Love comedic irony. It's subtle.

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Jerry Corley: It's when… it's from Romeo… it's like, if we go back to Romeo and Juliet. The audience knew Juliet was deeply asleep.

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Jerry Corley: Romeo thought she was dead. So the audience feels superior to Romeo.

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Jerry Corley: Right? And comedy, we want the audience to feel superior, that's why we self-deprecate, right? So in this case, we can say the audience wants, you know, so the audience, like with Romeo and Juliet, if that monologue, that soliloquy where he's gonna kill himself because his wife is… the love of his life is dead, to his mind.

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Jerry Corley: When the audience knows she's still alive, there's a lot of tension in that crowd. People are like, no, don't kill yourself, she's just sleeping, dude, don't fucking do that, right? It's like, that's why I'll never get a tattoo.

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Jerry Corley: So it's like, so comedic irony, when the audience knows, but the character doesn't, right? We do this all the time. Like, if I do a joke, I was dating this, dating this gal who was an identical twin, but she didn't think I knew it.

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Jerry Corley: that sets up tension, doesn't it? We're going, okay, what happened next?

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Jerry Corley: So I go to pick her up on a second date, and I open the door, and she thought it would be funny if she had her sister answer the door just wearing a towel. So I go to the second date.

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Jerry Corley: Door opens, There is her sister, Jennifer.

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Jerry Corley: And she said… and a towel! And she says, I'm ready for you.

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Jerry Corley: So I walk in the door. About 15 minutes later, Stephanie comes home, and she goes, so, did I fool you? And I said, no, you don't have that birthmark on your labia.

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Jerry Corley: So, now, since the audience is in on the joke, because as the narrator, Jerry, I gave them that information.

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Jerry Corley: She didn't think I knew about it, so I go over to the house. Now, as I'm going over to the house, here's me walking to a scenario that I don't know, necessarily, but the audience knows.

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Jerry Corley: And then with that… and then the whole thing plays out, so in the end, the joke is on Stephanie, not on me, and not on Jennifer. So the audience still feels superior to one person in the crowd. So, the audience knows, but Stephanie did not know.

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Jerry Corley: that I knew.

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Jerry Corley: So that's… so one of the characters is out on it, but the audience knows. So it's a great way to build up, when you're writing, like, a longer-form story, and you're trying to do… go from Act 1 to Act 2,

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Jerry Corley: Give the audience something they know, but the main hero, the main character does not, and it really builds to that moment

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Jerry Corley: Then you could have that reveal, and it takes us into the second act. So it's something to consider as a structure, and I'll have to demonstrate that for you, for you to get it, but I think you'll get it if you're starting to write some long form. Emotional shift. Confidence, fear, calm, anger, excitement, like, a shift in dynamics. For example.

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Jerry Corley: the… something called Bethos. So Bethos is a, literary device.

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Jerry Corley: Where we lead the audience down… it's almost like a three-way build-up, where we lead the audience down, a path, we'll make them think we're being completely serious, and in the end, it's frivolous.

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Jerry Corley: So, that's a great way to have a dynamic shift. Like, for example, so I went to dinner with him last night, and oh my gosh, babe, he took my hand, he looked me deeply in the eyes, and he said.

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Jerry Corley: Are you gonna eat the rest of those fries?

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Jerry Corley: So, you see what I'm saying? You take that… take us down that road right there, and there's a dynamic shift right there, and it's done in a three-way build-up, but it's through emotion rather than just words, right? So that's the emotional shift. There's the diegetic interruption, right? So something…

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Jerry Corley: Within the story interrupts using a sound effect.

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Jerry Corley: So, diegetic interruption, Maria Banford uses this all the time. I remember watching her, and I hadn't… I wasn't a big fan of Maria Banford, so then we did a character breakdown, we did a comedy… a comedian breakdown on her, and I fell in love with her… her… her abilities. She's so talented. She's got, like I said, polyvocality, you know, dialects, like, sound effects. It's really… we're gonna take a look at some of the video.

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Jerry Corley: And it's really amazing. I mean, almost, I would say almost as good or better than Robin Williams in some cases.

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Jerry Corley: Right? So, but diegetic interruption is using sound effect to get the laugh, right? We use… we'll see this in sitcom.

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Jerry Corley: In movies, a lot of times in sitcoms, there's a noise that keeps interrupting, or a repeated noise, or dog barking, a cat meowing, something that continuously interrupts, right? So, it's called diegetic interruption. Voice or dialect, like a sound effect, description, sensory experience, physicalization, words, visual… words to visual information. So.

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Jerry Corley: It's like saying words, and then acting out those words, showing how somebody might have done it, physically, that, takes at a sudden stop.

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Jerry Corley: Like, when I said right at the beginning. Like, so yesterday I was,

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Jerry Corley: wait, that wasn't me, right? That little sudden stop… in music, it's called a tacit, right? You just stop all of a sudden, it creates tension, and then we see that in EDM music, where they'll take that sound and bring it…

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Jerry Corley: almost feel like you're floating on air, and then thump, thump, the big drop, right? So they do that, they do that in music, and it creates tension. So, silence is like we, that's the sudden stop and the silence, similar techniques. A tempo shift, going fast, slow, speech to song.

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Jerry Corley: speech to song is, like, you know, I was listening to,

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Jerry Corley: You ever listen to the song, It's a Small World? It's a world of joy, it's a world of laughter, a world of tears, a world of hope, and a world of fears. It's like laughter, tears, hope, fears. Isn't this a song about being bipolar? Right, so if you add that song in there.

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Jerry Corley: That song changes the audience's perspective and makes them really focus on what's going on.

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Jerry Corley: Right? So, using a little bit of song is often helpful, just a… and it doesn't have to be long song, you don't have to be a great singer. Just adding a little bit of quick little lyric in there. Like, listen to some of the songs. You do a… you can do a jingle for a commercial, pop that in there, you know. George Carlin used that all the time in the 70s and 80s.

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Jerry Corley: when he was doing more of the DJ approach towards his comedy. So speech to music, a lot of fun.

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Jerry Corley: Rhymes, a lot of fun. Internal rhymes, are a lot of fun. Revelation, new information changes meaning. Now, when we have conversations at home, or conversations in a party, we have revelations all the time. You know, so anyway, oh my god, did I tell you about Brian? You know what happened to him? Holy shit, he got, you know, he got arrested by ICE.

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Jerry Corley: You know? Yeah, he's a white guy. He's been here, like, they've got generations of people here in the family, you know? So, but he wanted to change his name to, you know, to, to Rivera, so now… so they arrested him.

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Jerry Corley: So anyway, something like that. We were just coming out, that quick revelation.

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Jerry Corley: Oh my god, I forgot to tell you guys.

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Jerry Corley: You know, that kind of thing is a great dynamic interruption. So then, the escalation. The stakes absurdly intensify.

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Jerry Corley: As we go along. Now, we did that with… we also did that with one of Steve's pieces during Notes yesterday, when you were talking about being a narcissist. I go, how can you act that out?

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Jerry Corley: And take that further.

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Jerry Corley: So we're like, he takes out the phone, turns the phone's camera on now, right? Turns in reverse, looks at himself, and I want you to really do this, because when you really do it, you have to look at it, and the audience is focused, what the hell's going on? Then you're like, you know, we've seen people use their camera to fix their makeup and stuff like that, and then we'd be like, you know.

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Jerry Corley: And then, like, yeah, run your fingers through your hair and go, and then you go like this, and you just go, yeah…

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Jerry Corley: Take a picture of yourself, and people are like… You know, and if you did that right in the middle of your set.

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Jerry Corley: That little shift is gonna be… is gonna…

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Jerry Corley: get that audience to pay close attention, go, are you kidding me? Yeah, I can't believe you just did that. So, people have had techniques, like, sometimes I'll be like, my ex who cheated on me, well, first let me tell you the story. Does anybody switch to the iPhone from Android? Did you switch from Android to iPhone? I did that. You know why I did it?

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Jerry Corley: the pictures. I kept seeing those billboards taken with the iPhone. And I was like, oh man, that's a beautiful picture. I want one of those. So I got the iPhone, I got my phone!

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Jerry Corley: For the pictures. Do you realize how stupid that is?

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Jerry Corley: I got a phone. Where'd you get the phone? Pictures.

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Jerry Corley: Who does that? That's where we are today, ladies and gentlemen, getting a phone for pictures. And it's like, iPhone's got great pictures. 27 megapixel pictures.

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Jerry Corley: That's a lot of pixels, man, for a phone, right? I remember getting my Canon single lens reflex digital, and that was 10 megapixels back in the day, and I was like, that was a great picture, but 27 on a phone? You gotta be kidding me. So the day I get the phone with the great pictures, my ex, who cheated on me.

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Jerry Corley: Booty texted me.

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Jerry Corley: Yeah, she sent me a picture of her ass, and she's got a great ass, but at 27 megapixels? Oh, dude, it is a great ass, right? And she writes, wanna come over?

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Jerry Corley: I write back, sure.

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Jerry Corley: The iPhone auto-corrected it to, go fuck yourself.

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Jerry Corley: smartphone.

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Jerry Corley: So, that joke is not as funny without the phone.

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Jerry Corley: just doesn't carry the same weight. Same thing with the picture. So, you're gonna have people, Jason Rowland.

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Jerry Corley: Who will say, oh, yeah, you can't do that, music sucks, don't do that opening, it won't work, it's not funny. But can't provide you a way to fix it.

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Jerry Corley: And also, don't use props.

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Jerry Corley: That's another big one with him.

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Jerry Corley: And… That… is a prop.

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Jerry Corley: And yet it works. If I was doing the MC work, I'd come up on stage and do something like this. Oh, quick,

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Jerry Corley: I got a, special announcement. There is a silver Toyota down in the parking lot, parked in, Carlos Mencia's parking spot. You don't have to do anything, but don't be surprised when you go down there and find that some upholstery is, missing, because he stole the material.

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Jerry Corley: So, so… so in that joke, if I don't use this.

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Jerry Corley: They don't think it's a special announcement.

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Jerry Corley: But using this makes it a special announcement, and makes people riveted now. You know, there's another special announcement. Somebody has been doing… oh, you're kidding me, some… really? Somebody's been doing cocaine off the left sink in the men's bathroom.

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Jerry Corley: Guys, come on.

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Jerry Corley: Everybody knows you don't do cocaine.

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Jerry Corley: Off the left sink in the men's bathroom.

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Jerry Corley: The right sink is the cocaine sink. Now, You have a quick joke.

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Jerry Corley: That's… next comedian coming to the stage right now knows all about cocaine.

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Jerry Corley: please… but he calls it Cocaine, please help me welcome Carlos Alvarez, you know, and he comes up there and does his thing, but what you've done there is a little interruption.

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Jerry Corley: You see what I'm saying? And it's a dynamic shift, and you're using a prop, so don't be afraid, don't… be aware of those things, Kaz, when you get Jason Rowland telling you how to do comedy. Jason is like, I'm gonna tell you what club owners want, and club managers want. No, you're not.

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Jerry Corley: You can't tell me what club owners and club managers want as a collective.

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Jerry Corley: Because everybody's an individual.

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Jerry Corley: This guy has never been a comedian, he's never auditioned for anything.

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Jerry Corley: And he's up there telling you with blanket statements how things are. Not true. And that's typical of somebody who doesn't have a lot of knowledge in comedy, is they'll say, this is the way it is because they heard a sound bite from somebody else.

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Jerry Corley: For example, when I auditioned for the improv, Mark Lanao is who I auditioned for first. He was the co-owner of the improv. He passed on me 3 times, and I thought he was full of shit.

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Jerry Corley: And… because I was getting laughs, I was getting a… I was getting a bunch of laughs, and I was like, some people go, well, he said it's got to be that way, so it's gotta be that way, because he's a club manager, right?

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Jerry Corley: You know, it's like, I was like, horseshit. So I went the next day, after the third pass, I was like, no, fuck this bullshit. And I went to Bud Friedman the next day.

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Jerry Corley: And I begged him to do a showcase. I said, if you tell me I don't have what it takes, I'll never bother you again, man. And so he said, tonight you get 12 minutes, Mr. Corley, it's your lucky day. I said, thank you very much, appreciate it, I won't let you down. I went up that night, did my set.

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Jerry Corley: Afterwards, he booked me on TV and gave me 4 spots in Vegas that year. Nobody else was getting 4 spots in Vegas, they were getting 1 to 2. So I was like, how did I get 4? You know, I was like, does Bud Friedman want to fuck me? Because that's a lot of… he was putting me to work a lot, right? But…

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Jerry Corley: He booked me right away.

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Jerry Corley: His co-partner, his partner, the co-owner of the Improvs, Didn't think I was ready.

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Jerry Corley: So, and then I went and did the TV spot and crushed it.

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Jerry Corley: So, and I got a whole bunch of work after that. But, you're gonna tell me what club owners and club managers want? No, you're not.

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Jerry Corley: You're gonna tell me what you want.

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Jerry Corley: So, and be aware of that, any club owner, don't take their statements for blanket statements. Like, I was working with, in Laps Unlimited in Sacramento way back in the day, and I had shifted my… my material from being a…

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Jerry Corley: Seinfeldian comedian.

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Jerry Corley: to being a socio-political comedian. So I met George Carlin, George Carlin started to guide me, and George Carlin was saying, take the shit that drives you crazy, make it funny. And so I started, he goes, you ever watch the news? You read the newspaper, and you say, that's bullshit, and you're called bullshit? You ever do that? And I said, all the time. He goes, make that your comedy.

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Jerry Corley: But make it funny.

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Jerry Corley: And one way to do that is raise your eyebrows, raise the bridge.

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Jerry Corley: If you raise the bridge, you can only talk about it as being absurd. This is judgmental. This is absurd.

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Jerry Corley: So you'll notice, who does that? Jon Stewart. Often, the eyebrows are up. This is great, this is ridiculous!

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Kaz Okamoto: Joe Coy does it too.

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Jerry Corley: Joe Coy, right? So instead of this, which is judgmental, you're judging somebody's ideals, you go… now, I'm not sure what take I have on either side of this argument, but I'll tell you what, this is what I see.

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Jerry Corley: Why would they do this sort of thing? Bill Burr is always, like, incensed, like, somebody explain it to me, doesn't make any sense!

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Jerry Corley: Right? So it's like, he's still running into obstacles that he doesn't understand why people make these decisions, whatever it is. So it's still like, look at the absurdity of it, not judgmental side of it. Sometimes that's hard to do, but that little piece of information from Carlin.

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Jerry Corley: made me capable of being able to talk about almost anything, as long as I keep the bridge up.

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Jerry Corley: Right? Once I do this…

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Jerry Corley: Again, I do this sometimes, I catch myself furrowing my brow, and I can feel the change in the energy of the audience. So, so, so tempo ships, songs, revelations, escalations, and reactions. So, that means… that means, what do I mean by reactions? Every time you do a joke, the audience is gonna react.

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Jerry Corley: Now, you have to react on their reaction.

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Jerry Corley: Or you react to your own thing you say. And so many comedians just say what they're gonna say, you know, but the oldest, like, one of the oldest things in the world, like, you know, did you know that a woman's uterus swells to 400 times its normal size during pregnancy? Yeah.

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Jerry Corley: So the yeah is a reaction to that statement. No, yeah, yeah, I know, you're looking at me weird. You know, a woman has 400 times the hormones men have? I mean, think about it. Who's getting on all the road rage arguments? Men. Men. Right? You know, it's like, women have 400 times

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Jerry Corley: And the reason we get in road rage? Hormones.

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Jerry Corley: Just hormones, that's hormones. That's all it is. Hormones. Racing through our bodies and making us go crazy, right? I'm gonna kill that motherfucker! That's… that's hormones.

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Jerry Corley: Women have 400 times those hormones. We're lucky they're holding it together at all.

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Jerry Corley: Now, that point of view…

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Jerry Corley: Right? You're now taking that reaction, and yeah, I'm totally serious. So, you're reacting off your own statements, and off the audience's

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Jerry Corley: furrowed brow, tilt of a head, shrug, laugh, you know, so a lot of comedians just sort of deliver straight, linearly. You have to engage and work off the dynamics of the audience. Let's take a look at Robin Williams. Yes, Kaz, you have your.

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Kaz Okamoto: So, real quick, so the statement you just made about the hormone thing, then, can you go into, after you make that statement, but, you know, men's hormones, the biggest one is testosterone, and women's is estrogen. That's why women cry all the fucking time, and are sensitive about stuff, and men aren't like that, you know? Theirs is a…

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Kaz Okamoto: Really driven, testosterone-ragey kind of thing.

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Jerry Corley: Yeah, and they also had the other thing working against them, the Y chromosome.

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Jerry Corley: Yeah. Right? So, it's like a Y chromosome. Men are involved in 80-85% of all the violent crime, right? And women aren't. But, I mean, it's the Y chromosome and the testosterone. You're right, absolutely. You can definitely go in deeper with that subject matter, which is like, you know, you talk about testosterone being the rage driver, and estrogen being more of the motion driver, and it's like.

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Jerry Corley: And it's like, and it's like, why would we, why would we, you know, worry about women crying at work? Maybe because they care.

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Jerry Corley: You know, I'd rather have a team of caring people than a team of raging guys who want to fight each other.

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Kaz Okamoto: They can't handle whatever's going on, and that's their release. The rest of us just do drugs and alcohol, and…

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Jerry Corley: Berger people. See, now you got a good pivot right there, right? That's a good pivot when you're telling the story. All right, let's get in and watch a little Robin Williams and watch how much he changes.

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Jerry Corley: this, and I've got this over on, Temi, so we can take a look at the, take a look at the transcription at the same time.

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Jerry Corley: As we're watching the video, and you can see the mechanics of the words and his video. Can you all see that?

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Jerry Corley: Yeah, okay, we're gonna start playing here.

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Audio shared by Jerry Corley: I don't understand the whole fundamentals tendency.

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Jerry Corley: It's tiny, and let's see if I can enlarge it out a little bit for you.

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Kaz Okamoto: The transcription is bigger.

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Jerry Corley: That's the best I can do.

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Kaz Okamoto: Okay.

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Jerry Corley: Yeah, okay, that's so bad, let's see… Add to anything?

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Kaz Okamoto: Hmm. Can you…

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Kaz Okamoto: I don't know, maybe it doesn't bother people, but I'd rather see the picture bigger, and then…

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Jerry Corley: Oh, cool, come back and look at that.

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Kaz Okamoto: Wanted to see the transcript at the same time.

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Audio shared by Jerry Corley: Joe Weston, a man who set guns.

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Kaz Okamoto: Read it?

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Jerry Corley: We'll go this way.

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Jerry Corley: Let's start right here.

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lina alva: I agree with Kaz.

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Jerry Corley: Here we go. Okay, hey Lynn.

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Kaz Okamoto: Hi, lina!

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lina alva: Huh?

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lina alva: How are you?

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Audio shared by Jerry Corley: I understand the whole fundamentalist thing, you see, I'm an epistle.

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Jerry Corley: Did you guys hear that okay?

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Jerry Corley: Okay.

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Audio shared by Jerry Corley: That's Catholic light.

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Jerry Corley: So, what did he do here? He said, I'm an Episcopal.

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Jerry Corley: He could have just gone on with the story.

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Jerry Corley: Right? He said, I'm an Episcopal. That's Catholic light. You know, I'd say, I'm a Lutheran. That's like the drive-through church. That's like Unitarian. What is that? You know?

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Jerry Corley: It's like, we see that, once in a while, we see those signs. It's not like Southern Baptist, where you see one on every… you know, you see one on every corner in Alaska, or, you know, in Missouri, and it's like, there's a Southern Baptist church, or a Baptist Christian church, or something like that. They're everywhere. They're like the Starbucks of religion.

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Jerry Corley: You know, now you have a little comment on it, and that's a dynamic shift in the joke. So, it's moving that along. Listen to how many he has in here, and listen to… he'll pivot out of the entire subject.

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Jerry Corley: and go a whole mile down the road, then come back, right? So, watch how he does this.

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Audio shared by Jerry Corley: Kind of like same religion, half the guilt. It's frightening.

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Audio shared by Jerry Corley: You know, Catholics have confession, Episcopals have Thanksgiving, your dad has a couple of gin and tonics.

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Audio shared by Jerry Corley: I ain't never loved your mother, you know that, don't you?

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Audio shared by Jerry Corley: No, I didn't, Dad, and she's right there. Tell her again.

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Audio shared by Jerry Corley: Because you have to realize, Episcopal is basically Church of England, which was Henry VII's breaking away from the Catholic Church, going, I'm the fucking Pope now!

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Audio shared by Jerry Corley: He broke away, and then people broke away from that church. There were Calvinists. They found him to be too loose, and then there were the people who broke away from the Calvinists. They were the Puritans, our ancestors. People so uptight, the English kicked them out.

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Audio shared by Jerry Corley: How fucking anal do you have to be for the English to go, get the fuck out?

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Audio shared by Jerry Corley: No, take your pimp shoes and go! And they land here in America going, hello! We bring you guilt, syphilis, and alcohol.

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Audio shared by Jerry Corley: I hope you don't mind. Here, Chief, try this, and once you've drunk it, just keep moving till your feathers float. There you go!

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Audio shared by Jerry Corley: And the Indians go, oh, but we have a gift for you. For us, it's a sacred herb, but for you, it'll be an addictive carcinogen. I hope you enjoy it. Tobacco is a lot of fun.

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Audio shared by Jerry Corley: And a good cash crop in the end.

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Audio shared by Jerry Corley: Seven! Hurry,

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Audio shared by Jerry Corley: Welcome to Custer's, a casino that cares. This is my wife, sits with a full house.

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Audio shared by Jerry Corley: It is now time for the white man to get drunk, and we will get back the land you took from us. Thank you.

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Audio shared by Jerry Corley: Here's the thing. All those people, the Puritans, they stayed here, and then their groups broke away from them, and then you get the people that really become severe, and the people who knock on your door.

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Jerry Corley: Now, you see what he did there when he went to the Puritans meeting the Indians. He goes, like, eating the Native Americans, right? He goes on this whole thing with the… with the Indian casinos, and, you know, and he just… he pivots down a mile, and then he comes back to, now, the history of Christianity, or religion. It's really an interesting shift. Let's, so, and this is only 2 minutes in.

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Jerry Corley: And look at all of the stuff he does within that 2 minutes.

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Audio shared by Jerry Corley: door at 6.30 in the morning on Sunday, going, have you found Jesus?

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Audio shared by Jerry Corley: And you just want to come to the door nude and go, no, help me look for him, come on!

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Audio shared by Jerry Corley: You get people like Pat Robertson and Jerry Falwell said, this was brought upon us by our sinful ways, I want to put them on a plane, take them over to the Ayatollah, and have worldwide fundamentalist wrestling! One time only, a life after death match for all of our souls! Let's get ready to humble! Because, here's the drill, fundamentalists take it to be the word, not translatable, not metaphorical, the word, in the beginning.

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Audio shared by Jerry Corley: Genesis, let there be light. Could that be a metaphor for the Big Bang? No, God just went click.

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Audio shared by Jerry Corley: So you're saying we're all descended from Adam and Eve, then we're all cousins? That's right.

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Audio shared by Jerry Corley: Here's the thing, there are miracles, though, there's miracles in the Bible, like when Moses, and I'm not talking guns and Moses, no, I'm not talking…

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Audio shared by Jerry Corley: Not Charlton Heston going, let the Jews go, the pharaoh gets two in the head! No!

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Jerry Corley: So, you see what he did there? He's had, like, two, like, cliche reformations, right? Guns and Moses. What was the other one he did before that?

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Jerry Corley: Just before he had a… just a little, like, I forget what it was.

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Audio shared by Jerry Corley: That's fart.

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Jerry Corley: Oh yeah, it's like, let's get ready to humble.

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Jerry Corley: Right? So, let's get ready to humble, and then Guns N' Moses. So he's using cliche reformations, which is another dynamic shift, right? So, within that, while he's doing the character act-outs. But this is, like, barely 3 minutes in, and he has all these shifts and dynamic.

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Jerry Corley: Right? So it's like, you don't have to be this drastic, but you get… kind of get the idea of how he keeps the attention of that audience shifting constantly. And notice how much he's sweating.

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Jerry Corley: That's what's called cocaine sweat. Look at it, what, 20 bottles of water right there? Come on, in one hour? Come on, bro, right? So it's like, so it's like, that's, but that's, it's fascinating to watch him work, especially when he was at his peak, this one Broadway thing. He's just going, and it's like, it doesn't stop, so…

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Jerry Corley: That's, like, bringing in dynamic ships make it so interesting, right? So that's one way to take that along. So, that being said, let's jump out of here and go back to…

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Jerry Corley: beyond the punchline, and then it's like, here we go, here's an exercise. Now, this is gonna be difficult. So, if I start with, I went to the grocery store yesterday because I needed milk.

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Jerry Corley: Right, so I went to the grocery store yesterday because I needed milk.

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Jerry Corley: And, so I could change some… what can I change in here to make it more interesting, shift that dynamic? What is there anything I can do in there? So, think about 3 different dynamic shifts from this toolbox we have.

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Jerry Corley: Right? So, physicalization, diegetic interruption, voice dialect, sound effect, act out, he said, she said, silence, tempo shift, song, Revelation, you know. Like, I went to Albertson's to get a gallon of milk yesterday. It's Joe Albertson's supermarket, but the half gallon of milk is mine, you know? So, right there, I could say something like that, that's an old

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Jerry Corley: It's an old, jingle from Albertsons, right? So it's like the dynamic shift, act out, character switch. He said, she said. The other thing that comes to mind when I'm thinking about, I went to get a… I had to get a gallon, I went to the grocery store to get a gallon of milk. I can maybe put this in a he should, she said. You know, yesterday, you know, my wife's like, hey, can you go to the grocery store? We need a gallon of milk.

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Jerry Corley: We're out of milk.

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Jerry Corley: Right? And it's like, we're out of milk. How did we run out of milk? Like, we had milk yesterday, and all of a sudden there's no… there was, like, half a gallon yesterday, and now it's gone? You know, well, you know, I made cake, or whatever. You know, it's like, what is the change? Like, not just your regular milk. Homo milk.

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Jerry Corley: You ever notice, you ever see that… you ever see that label on a cap in a milk, it made homogenized milk? They wanted to shorten it, and they call it homo milk?

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Jerry Corley: You know? Shouldn't that be in a rainbow box?

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Jerry Corley: You know, now we have… but anyway, I went to go get a gallon of milk.

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Jerry Corley: So, you see how you can just shift around on that? So, I want you to choose, like, 3 different dynamic shifts. You can do it from a character, someone tells… enters the story.

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Jerry Corley: Circumstance, something happens, Bergency, information, we discover something, which version creates the strongest desire to hear what happens next? That's the key. Which version creates the strongest desire

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Jerry Corley: For us to pay attention to what happens next.

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Jerry Corley: Anybody have any questions?

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Jerry Corley: So I want you to take something as simple. I went to the grocery store yesterday because I needed milk. You can rewrite that opening line to, you know, make it, imposed on you by an outside force, a character, right? You can, you can name the grocery store you went to.

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Jerry Corley: What time of day it is?

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Jerry Corley: Right? And, you know, when I say yesterday, I mean, like, 11.30 at night, or 12.30 in the morning.

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Jerry Corley: You know, because my kid needed milk for cereal, and I didn't know we were out of milk, because we had a half gallon, I know we had a half gallon, all of a sudden it's gone. Did that ever happen to anybody? You see how we're shifting dynamics? I'm asking questions now?

391
00:58:51.320 --> 00:58:52.520
Jerry Corley: To the audience?

392
00:58:52.760 --> 00:58:55.270
Jerry Corley: So I want you to write me a quick

393
00:58:55.850 --> 00:59:02.189
Jerry Corley: version of how you would deliver. I went to the grocery store yesterday because I needed milk. That's the generic statement.

394
00:59:02.990 --> 00:59:09.259
Jerry Corley: And write it, and I'll, you know, I don't know if you need that list, I think you can… I think you got the idea.

395
00:59:09.380 --> 00:59:22.729
Jerry Corley: I don't think, I don't know if you need the list. So, that's what I want you to do. Take that… I'll give you 10 minutes to write that, 7 minutes to write that. Went to the grocery store yesterday because I needed milk, and I want you to shift around with what that is.

396
00:59:22.730 --> 00:59:24.700
Pappy: Could you put the list up, that'd be great.

397
00:59:24.890 --> 00:59:31.029
Jerry Corley: Yeah, okay, gotcha. Now, I would have to shrink it… let me just do the first part of it, because I think…

398
00:59:31.530 --> 00:59:35.900
Jerry Corley: If I, I don't know if it's able to get it all on one document here.

399
00:59:36.250 --> 00:59:48.929
Kaz Okamoto: I have a question. Yes, ma'am. Normally, you tell us just to write and don't think about… because I can't think about, okay, what dynamic shift am I going to use to change this? You know what I mean? So is it better just to write what I think?

400
00:59:48.930 --> 00:59:51.300
Jerry Corley: Write what you… write what you feel. Write what you think.

401
00:59:51.300 --> 00:59:51.880
Kaz Okamoto: Yeah.

402
00:59:51.880 --> 00:59:54.110
Jerry Corley: The, the list is for going back.

403
00:59:54.420 --> 00:59:55.330
Kaz Okamoto: Okay.

404
00:59:55.330 --> 00:59:59.009
Jerry Corley: and saying, okay, how can I punch this up? Maybe if… what if I added…

405
00:59:59.040 --> 01:00:08.429
Jerry Corley: What if I added an act-out? Like what I did with doing the top 10 reasons, you know, she's dumb. You know, she thought capitalism was texting in uppercase. So I go, hmm…

406
01:00:08.430 --> 01:00:30.120
Jerry Corley: And I'm not just gonna do that joke. I'm gonna be like, oh, I'm gonna couch it in a story. So, my wife and I having a glass of wine, and right there I can go, you know, red wine, not white wine, because white wine's for… white wine is for, non-wine drinkers, right? So we got a glass of wine, Merlot, because it's got that buttery flavor. You know, we got the, we got the Behringer.

407
01:00:30.120 --> 01:00:46.389
Jerry Corley: You know, it's like, you ever, you know, are you getting into these wine… these names of wine… wineries? Like, the 14 Kites. Like, three hands. Like, I don't know if I want… there's one called… there's a label called 14 Hands. I don't know if I want all those hands on my wine.

408
01:00:47.810 --> 01:00:52.929
Jerry Corley: Right? So anyway, my wife and I are having a glass of wine, and she says, tell me about one of your exes.

409
01:00:53.200 --> 01:00:55.210
Jerry Corley: See what we can do with that story?

410
01:00:55.580 --> 01:01:10.819
Jerry Corley: So, yeah, so write it first, Kaz, and then come back and enter the list. It doesn't matter how your approach is. The idea is just to take… yesterday, I went to go get a gallon of milk, or went to go get some milk. Went to the grocery store to get some milk.

411
01:01:11.490 --> 01:01:14.529
Jerry Corley: I'll check out for a few minutes, and I'll come back in with you guys.

412
01:11:12.940 --> 01:11:14.939
Jerry Corley: Alright, Janet, what do you got?

413
01:11:25.280 --> 01:11:30.990
Janet Rapala: Okay, I have the 3. Alright, I went to the grocery because I needed milk.

414
01:11:31.300 --> 01:11:38.549
Janet Rapala: Because my pet Highland Cow, I just got my hair styled, so there's no way you're touching my titties.

415
01:11:40.780 --> 01:11:51.879
Janet Rapala: And then I went to the grocery because I needed milk, and I remembered I was lactose intolerant, and they didn't have the fat-free, lactose-free milk in stock.

416
01:11:52.460 --> 01:11:54.699
Jerry Corley: Nice, there you go, there's a good shift.

417
01:11:55.220 --> 01:11:59.159
Jerry Corley: Yeah, I like to just keep it short at the lactose intolerance, you know?

418
01:11:59.160 --> 01:11:59.480
Janet Rapala: Yeah.

419
01:11:59.480 --> 01:12:02.649
Jerry Corley: So I not only had to ask for milk, I had to ask for a bathroom.

420
01:12:03.080 --> 01:12:07.450
Janet Rapala: Yeah, yeah, there you go. I went to the grocery store because I needed milk.

421
01:12:07.880 --> 01:12:10.780
Janet Rapala: But I went the whole paycheck, otherwise known as Whole Foods.

422
01:12:11.510 --> 01:12:15.320
Janet Rapala: And it was $50 a gallon, which is outside of my damn budget.

423
01:12:15.810 --> 01:12:21.999
Jerry Corley: Yeah, you know, at one point, I knew they were gonna say milk is gonna be more… gas… milk is gonna be more expensive than gasoline.

424
01:12:23.160 --> 01:12:28.549
Jerry Corley: Right? Now, sometimes water is more expensive than gasoline, right? You get the smaller bottles, like…

425
01:12:28.560 --> 01:12:46.399
Jerry Corley: $3, $4 each for those, you know, if you add that up to a gallon, like, you've got 4 of those for a gallon, you're now more expensive than gasoline. I remember my 6th grade teacher saying that back in social studies class and going, no way, Mr. Zagorski, that's ridiculous! And here we are, he was right.

426
01:12:46.500 --> 01:12:48.610
Jerry Corley: So, Pappy, what do you got?

427
01:12:49.920 --> 01:13:00.799
Pappy: Okay, I came in late to class, so I don't know if this is along with the lesson, but here's what I have. I went to the grocery store yesterday because we needed milk.

428
01:13:01.400 --> 01:13:03.330
Pappy: I hate these little trips.

429
01:13:03.970 --> 01:13:05.610
Pappy: So I brought home a cow.

430
01:13:08.500 --> 01:13:09.960
Jerry Corley: Good, yeah, yeah.

431
01:13:10.420 --> 01:13:11.069
Pappy: I like that.

432
01:13:11.070 --> 01:13:13.180
Jerry Corley: that a lot.

433
01:13:13.180 --> 01:13:15.030
Pappy: Yesterday, we needed milk, but…

434
01:13:15.220 --> 01:13:29.739
Jerry Corley: But my wife was in the passenger seat, and I was like, move over. Cal was like, move up. This is something silly, right? If you did that for kids, they would love it. Like, and it comes out of nowhere, because we don't expect you to do something as silly as that, right?

435
01:13:32.380 --> 01:13:48.110
Pappy: Yesterday, we needed milk, but I gotta go to 3 grocery stores, because my son likes organic almond milk, my daughter wants 2%, my dog likes biscuit milk, and my wife just wants me to get… forget my way home.

436
01:13:48.290 --> 01:13:52.479
Jerry Corley: There you go, nice 3-way build-up there, too, Pappy. Nice job.

437
01:13:53.190 --> 01:13:54.380
Pappy: And I got one more.

438
01:13:55.130 --> 01:13:56.500
Pappy: I'm pissed.

439
01:13:56.950 --> 01:14:00.080
Pappy: My wife is supposed to do the grocery shopping.

440
01:14:00.500 --> 01:14:03.119
Pappy: We were out of milk, again.

441
01:14:04.330 --> 01:14:08.000
Pappy: Yesterday, we were out of milk, so I went to the bank.

442
01:14:08.100 --> 01:14:10.720
Pappy: Took all our money, and left town.

443
01:14:12.410 --> 01:14:14.229
Pappy: Milked her for every cent.

444
01:14:14.230 --> 01:14:23.710
Jerry Corley: It's like, yeah, that's it. Milked her for every cent. There you go. Yeah, it's like, you know, homogenized, pasteurized, and goodbyes, right?

445
01:14:23.850 --> 01:14:42.060
Jerry Corley: So you get to have that… that's good, I like that, nicely done. And you notice how, even when we get to rhyme, so rhyme, alliteration, also adds a layer of coincidence, can also be a dynamic shift, because it makes people curious, like, like, where'd that come from? So it's like, that was really good. I liked… I really liked the…

446
01:14:42.120 --> 01:14:45.019
Jerry Corley: Everybody in the family wanted a different kind of milk.

447
01:14:45.040 --> 01:15:03.140
Jerry Corley: Right? And it's like, all the milks they have, can you call it rice milk? When did we get away from the definition of what milk was? But now we gotta be like, milk, it comes from almonds, so it's milk. It comes from rice, so it's still milk, you know? You know what, I have… I have milk that comes from barley and hops.

448
01:15:03.450 --> 01:15:28.410
Jerry Corley: You know, that's the milk I drink, right? So now it's like, since milk comes from everything else, it really expands the definition of milk. Wow, so in that… just that note, and the first two, comedians have not even done… gotten specific on the grocery store yet, except for the Whole Foods, right? The whole paycheck, right? So in that case, we have just, like, just in that, so very creative.

449
01:15:28.410 --> 01:15:31.230
Jerry Corley: Where you took this one sentence.

450
01:15:31.230 --> 01:15:37.050
Jerry Corley: So, I hope everybody's seeing how you take that one little simple sentence that had to go to the grocery store and get milk.

451
01:15:37.050 --> 01:15:39.919
Jerry Corley: I had to go to the grocery store yesterday and get milk.

452
01:15:39.920 --> 01:16:01.280
Jerry Corley: You know? And it's like, and all of a sudden, like, really opened up what you can do with that. So, a lot of times as comedians, we don't take our time with one sentence and expand upon it and hit it from all the points of who, what, where, why, when, how, what type of milk. How many, you know, different types of milk are there? And it's like, imagine just writing down all the different types of milk.

453
01:16:01.380 --> 01:16:12.879
Jerry Corley: And evaporated milk, condensed milk, and then just going through a list, going in the grocery store, and so I got it all, right? And so, and just in case, I brought a cow, you know? You know how hard it is to get a cow into a Honda?

454
01:16:13.240 --> 01:16:20.059
Jerry Corley: You know, and now you have a nice, fun, you know, piece. I like that. A really good.

455
01:16:20.060 --> 01:16:26.020
Pappy: Just real quickly, one thing you just now touched on, and I'm starting to realize, is

456
01:16:26.330 --> 01:16:30.260
Pappy: You can… you can get so deep into

457
01:16:30.720 --> 01:16:41.089
Pappy: one word or small phrase, I mean, you know, it doesn't have to be this elaborately built thing, like you're just saying. It can be a sentence, but it can be a word.

458
01:16:41.090 --> 01:16:56.630
Jerry Corley: Right, right, and if we take that back to, like, the basic joke writing, like, you're sitting down trying to write a joke, and you're like, where do I start? Just write it down to… write down your… write down your to-do list from yesterday, you know? And to start with that, like, I had to go to the mil… I had to go to the store yesterday and get milk.

459
01:16:56.710 --> 01:17:21.679
Jerry Corley: You know? And it's like, and that turned into 40 minutes, or it turned out an hour and a half, because I had to go, you know, my son wants rice milk, my other son likes, you know, my daughter likes almond milk, soy milk, then I had to go get the regular milk, so, do I get the fat-free, or do I get the… is she drinking fat-free, or is she drinking home milk? I'm not really sure. So, and then you can go the, but then there's rice milk, there's this milk, there's that milk, condensed milk, there's evaporated milk.

460
01:17:22.390 --> 01:17:23.310
Jerry Corley: So I got it all.

461
01:17:23.310 --> 01:17:25.960
Pappy: Not drinking non-fat.

462
01:17:25.960 --> 01:17:33.230
Jerry Corley: Yeah, it's like, exactly, she's definitely not drinking nonfat, you know? You don't get those thighs from nonfat.

463
01:17:33.380 --> 01:17:35.110
Jerry Corley: You know?

464
01:17:35.210 --> 01:17:38.270
Jerry Corley: Kaz, what do you got?

465
01:17:39.720 --> 01:17:43.990
Kaz Okamoto: I got a fucking headache. I hate these things, man, I really do.

466
01:17:43.990 --> 01:17:46.769
Jerry Corley: Yeah, putting the challenge to you.

467
01:17:46.770 --> 01:17:58.969
Kaz Okamoto: I know, it's just like, oh… Okay, so I changed the original sense a little bit. So, my mother told me to go to the grocery store because we needed milk. Why me? Why can't you go?

468
01:17:59.050 --> 01:18:14.310
Kaz Okamoto: You're doing nothing. That's what I'm thinking as I hear, here's the money, get half a gallon of low-fat milk, the 1%, not the 2%. You got it? The low-fat 1%, not the 2%. Okay, okay, I get it.

469
01:18:14.330 --> 01:18:28.970
Kaz Okamoto: Repeat, repeat it. Oh, Jesus Christ, really? The low-fat 1%, not the 2%. What does she think? I'm stupid? Oh, my God, and hurry up, your brothers will need it for their cereal! Don't dilly-dally.

470
01:18:29.150 --> 01:18:31.929
Kaz Okamoto: Who the hell uses the term dilly-dally anymore?

471
01:18:32.050 --> 01:18:35.450
Kaz Okamoto: So I got the 2% low-fat milk.

472
01:18:35.830 --> 01:18:45.490
Kaz Okamoto: And I came back, and she yelled at me, and I said, do I look like I'm a direct descendant of Einstein? Meaning I'm not very smart,

473
01:18:46.410 --> 01:18:49.529
Jerry Corley: Because why? Because you got the 2%, not the 1%.

474
01:18:49.530 --> 01:19:06.529
Kaz Okamoto: Yeah, and she goes, I told you to get 1%, not 2%. Oh, man, I gotta tell ya, next time you go, besides, not only am I 32 years old, I'm also lactose intolerant. It was, like, the worst chore I could ever have done.

475
01:19:06.830 --> 01:19:11.170
Jerry Corley: Then you say, no wonder I became an alcoholic. Yeah.

476
01:19:11.170 --> 01:19:13.550
Kaz Okamoto: Sorry, I know that was long, it may not be the thing…

477
01:19:13.550 --> 01:19:37.619
Jerry Corley: That exactly works what we were talking about, taking that bit, and you had dynamic shifts in there. You had the act out, you had the different types of stuff, you could have maybe added… I liked when Janet added, because I'm lactose intolerant, you know, and that little, just little sing-song way of delivering such a negative vibe with the lactose intolerance and what that can cause to your stomach.

478
01:19:37.620 --> 01:19:48.040
Jerry Corley: That was to lactose, and you're almost saying it without saying it, because you know what happened next, right? So it's like, I thought that was really fun. So think about those possibilities as well.

479
01:19:48.040 --> 01:19:57.029
Jerry Corley: Because you still are so… even though you're adding now act-outs and interactions, you're still very linear with the storytelling.

480
01:19:57.030 --> 01:19:57.350
Kaz Okamoto: Okay.

481
01:19:57.520 --> 01:20:11.159
Jerry Corley: shift the dynamic a little more, like, add a little bit of a… because I've heard you talk normally, and you sometimes add that sing-song in your voice when you're saying something, so I think you could add something there. Jack Day, what do you got?

482
01:20:12.870 --> 01:20:18.309
Jack Day: I used to get in trouble with my wife because I would listen to what she said and not what she meant.

483
01:20:18.440 --> 01:20:26.940
Jack Day: Go to the store and get milk. And if they had lemon, to pick up 6.

484
01:20:27.540 --> 01:20:28.830
Jack Day: Lots of mail.

485
01:20:29.680 --> 01:20:34.559
Jerry Corley: So, I missed you, dropped off there at the last second there, Jack. What'd you say at the end was the punch?

486
01:20:35.490 --> 01:20:36.850
Jack Day: Yeah,

487
01:20:37.380 --> 01:20:44.560
Jack Day: I went to the store, and she said if they got lemon, get 6. And so I came home with 6 quarts of milk.

488
01:20:45.510 --> 01:20:58.519
Jerry Corley: Got it, got it, got it, good, nice, nice job. And it's like, once you set up, you've got a whole premise to work with. She's like, I listened to, you know, I always made the mistake of listening to what she said, not what she meant.

489
01:20:58.560 --> 01:21:08.790
Jerry Corley: Right? And that's, like, I do a whole bit about how the ex-wife used to be passive-aggressive. Like, I'd call her up, and she'd like, if you're like, what do you want to have for dinner? She goes, well, I can cook if you want.

490
01:21:10.680 --> 01:21:23.569
Jerry Corley: what is she saying? I don't want to cook, right? But she doesn't say she doesn't want to cook, she says, I could cook if you want, which is very passive-aggressive. And I said, well, you want to order out? That'd be great. Well, what do you want? Well, we had sushi Monday.

491
01:21:26.060 --> 01:21:51.050
Jerry Corley: still not saying what she wants, right? But still, like, we had Sushi Monday, so you're saying you don't want sushi, and anything else I might not want to eat. But I don't know it yet, because you haven't told me, you haven't communicated a damn thing! Right? So instead, it's like, so what do you want, you know? Well, you decide. - never works that way. Never you decide.

492
01:21:51.050 --> 01:21:54.349
Jerry Corley: every time I decide something, no, I don't want pasta.

493
01:21:54.350 --> 01:22:00.790
Jerry Corley: then what the fuck are you asking me for? Make a goddamn decision. I'll be flexible.

494
01:22:00.830 --> 01:22:02.699
Jerry Corley: Just say something.

495
01:22:02.880 --> 01:22:27.680
Jerry Corley: You know? And it's like, but it never really… you know, you can go down that whole rabbit hole of passive-aggressiveness, and that's a fun way to take that, too. But I love that premise, like, always, you know, Tommy, I gotta, you know, I should… I always listen to what she said, not what she meant. Man, that could be a whole running gag of not just the grocery store, but then, in a relationship, what she expects of you as a husband.

496
01:22:27.680 --> 01:22:52.269
Jerry Corley: In the bedroom, at dinner time, with the kids, at a soccer game for the kids, going to somebody's wedding, what, instead of, I've got to listen to what she said, I listened to what she said, not what she meant, right? There could be a whole bit in there about that, and I think, wow, you got a nice premise there to work with, because I think that's… we all have encountered that.

497
01:22:52.790 --> 01:23:01.830
Jerry Corley: And we… so how… and the different ways you can interpret it could take us down a whole different, you know, something we can all relate to.

498
01:23:01.840 --> 01:23:15.489
Jerry Corley: And yet, in your unique situation, yet we've heard a lot of that stuff. I mean, we've seen or heard versions of that, but you're giving us a specific example. I think that's a brilliant piece that you can expand upon. Brennan, what do you got?

499
01:23:17.470 --> 01:23:22.739
Brennan Murphy: I, I had a dream yesterday where I went to the grocery store because I needed milk.

500
01:23:23.240 --> 01:23:24.680
Brennan Murphy: Anyone else ever do this?

501
01:23:25.240 --> 01:23:29.950
Brennan Murphy: Have incredibly mundane dreams, because that's just where you are in your life.

502
01:23:30.220 --> 01:23:36.860
Brennan Murphy: You know, you go from your job of being an accountant to dreaming about making sure that your fridge is stocked with milk.

503
01:23:37.070 --> 01:23:48.889
Brennan Murphy: And, like, the worst part about this dream, you know, besides it being so lame, is I can't even drink milk. I'm lactose intolerant. So it went from a dream about my boring life to a full-blown nightmare.

504
01:23:51.420 --> 01:23:53.289
Jerry Corley: Because I literally shit the bed.

505
01:23:54.680 --> 01:24:14.030
Jerry Corley: It was a vivid dream, too, because when I woke up, it turns out I shit the bed, right? So talk about dream… if you dream lactose intolerance, do you also dream diarrhea? That's a great… you could even say that as the part of the joke. Instead of saying you shit the bed, you can say… and the big question is, if you dream lactose intolerance, do you also dream diarrhea?

506
01:24:14.030 --> 01:24:15.650
Kaz Okamoto: Because they go hand in hand.

507
01:24:15.650 --> 01:24:30.709
Jerry Corley: Yeah, they go hand in hand, right? So that could… that could… so that would be a fun… and makes the audience ponder, now, another dynamic shift, send out a ponderable to the audience. So sometimes we… if we say something, and it's like,

508
01:24:30.840 --> 01:24:45.250
Jerry Corley: like, and if you allow the audience to think about it, it's funnier if you just say it directly. For example, like, if I take a… if I take one of those things of hand soap, if I take a thing of hand soap and I wash my balls, is that masturbation?

509
01:24:45.400 --> 01:25:00.090
Jerry Corley: So instead of just saying it flat out, you're now asking it the ponderable, and it allows the audience to go, huh, I never thought about it that way, and they still laugh at it, right? So sometimes if you say a joke and it's not quite working, see about asking it as a question.

510
01:25:01.160 --> 01:25:05.999
Jerry Corley: So… and it could change the entire dynamic of that joke, so now the audience is…

511
01:25:06.150 --> 01:25:20.480
Jerry Corley: is now involved in the solving of the problem, rather than you saying this is the way it is, and they're going, that's ridiculous, but instead you ask them, they go, huh, maybe, in some interpretations, possibly, right? So that's a fun way to do it. Lina, what do you got?

512
01:25:21.630 --> 01:25:24.789
lina alva: Yes, this was a little uncouth, but here we go.

513
01:25:26.170 --> 01:25:34.309
lina alva: So, I went to Erewhon, how LA of me, how annoying. I went to Erewhon earlier today for 3 gallons of milk.

514
01:25:34.830 --> 01:25:39.979
lina alva: When I got there, I realized my best friend is still lactating, so why am I here? I should just…

515
01:25:46.620 --> 01:25:47.700
lina alva: Was that good? Or…

516
01:25:47.700 --> 01:25:53.909
Jerry Corley: No, that's good, too, because… and it's like, so why am I here? Oh, wait, look, Erewhon does have breast milk!

517
01:25:54.960 --> 01:25:56.570
lina alva: I prefer macadamia.

518
01:25:56.570 --> 01:26:12.230
Jerry Corley: Yeah, so that would be funny. So it'd be like, so that's, that's funny, though. It's like your, your friend is lactating, so it would be like, and wouldn't it be up, wouldn't it be right down the alley of Erewhon to have…

519
01:26:12.420 --> 01:26:19.589
Jerry Corley: breast milk in there, because, you know, you can buy it, right? In the UK, you were selling breast milk ice cream for a while.

520
01:26:19.600 --> 01:26:34.049
Jerry Corley: So, I mean, and I don't know if you know this, like, breast milk has all those, like, it has a lot of, like… if you actually have breast milk… how many people have had breast milk? Anybody? Breast milk? I have, right? Breast milk? Anybody? Yeah, I've had breast milk.

521
01:26:34.080 --> 01:26:35.699
Jerry Corley: Amazing energy.

522
01:26:36.130 --> 01:26:36.920
lina alva: Yeah.

523
01:26:36.920 --> 01:26:43.200
Jerry Corley: You get a little bit… you get, like, one ounce of breast milk, and you're like, damn, all of a sudden I feel energized. It's better than fucking Adderall.

524
01:26:43.200 --> 01:26:45.669
Kaz Okamoto: Good for your… What's that?

525
01:26:45.670 --> 01:27:00.690
Jerry Corley: wonderfully for immune system. You know what else gives you… never won't get into stem cells, and how you can get stem cell therapy, every month, every 28 days. True story, you know.

526
01:27:00.690 --> 01:27:02.630
Kaz Okamoto: Bloody shake is what they call it.

527
01:27:02.630 --> 01:27:20.730
Jerry Corley: you know, shedding the uterine lining, loaded with stem cells. And that's all going in the trash? Are you kidding me? You know how much it, like, how anti-aging is, like, it's a $26 billion a year market, growing 27% year over year? It's like, you're throwing away money, people.

528
01:27:20.920 --> 01:27:26.370
Jerry Corley: Like, women are the gold mine. Like, why… they are the fountain of youth, what are we doing?

529
01:27:26.680 --> 01:27:37.240
Jerry Corley: So, I mean, imagine talking about that on stage. I kinda do sometimes. Freaks people out, but it's funny as hell. So, good, I like it, good work. So, everybody's got some good stuff. Steve-O, what do you got?

530
01:27:39.330 --> 01:27:43.159
Stephen Berger: I went to the grocery store yesterday because I needed milk.

531
01:27:43.420 --> 01:27:49.610
Stephen Berger: And so I could see… so I could see who else was missing this week while eating my Lucky Charms.

532
01:27:53.340 --> 01:27:54.000
Stephen Berger: the missing.

533
01:27:54.000 --> 01:28:04.289
Jerry Corley: Oh, missing kids! Yeah, got it, yeah. It's like, oh, you know, so what if we do that now? You did third person, right? Third person narration. That's your habit.

534
01:28:04.290 --> 01:28:20.560
Jerry Corley: So, we're trying to get you into first-person interpretation, first-person dynamic shift. So, it's just like, you know, it's like, so right there would be like, you know, while eating my Lucky Charms, I'm able to see, who's been missing. Oh, look! You know, you could say, like,

535
01:28:21.460 --> 01:28:22.990
Stephen Berger: That kid lived down the street.

536
01:28:22.990 --> 01:28:32.519
Jerry Corley: Isn't this the kid from down the street? Yeah, that's funny. You know, it's like, last seen in my backyard! Wait a minute!

537
01:28:32.970 --> 01:28:35.199
Kaz Okamoto: Could you tell… because he's the kidnapper?

538
01:28:35.520 --> 01:28:36.730
Jerry Corley: You know… What's that?

539
01:28:36.730 --> 01:28:40.279
Kaz Okamoto: Could you do it if Steve was the kidnapper and he wants to see…

540
01:28:40.280 --> 01:28:40.920
Jerry Corley: Sure.

541
01:28:40.920 --> 01:28:45.900
Kaz Okamoto: If those kids are missing, oh, he's not missing, he's in my basement, Jesus!

542
01:28:46.310 --> 01:28:46.830
Stephen Berger: It's not…

543
01:28:46.830 --> 01:29:03.809
Jerry Corley: Shut up down there! He's in my base. So you see how you're adding all the different shifts and dynamic? Right? So, yeah, that's… I want you to get out of the box of that linear… the linear thought is how you get there. Then I was like, hmm, how can I shift the dynamic right here? What would I see if I was looking at this picture?

544
01:29:04.000 --> 01:29:04.679
Jerry Corley: Wait, I know.

545
01:29:04.680 --> 01:29:06.059
Kaz Okamoto: And it goes really dark.

546
01:29:06.060 --> 01:29:07.409
Pappy: being noisy or anything.

547
01:29:07.410 --> 01:29:09.809
Jerry Corley: He's like, this is the kid that's in my basement.

548
01:29:09.810 --> 01:29:10.880
Pappy: Do what you're doing.

549
01:29:10.880 --> 01:29:13.169
Jerry Corley: That's kind of funny, too. Well, I don't know if he's a kid anymore.

550
01:29:13.170 --> 01:29:13.859
Pappy: What's that?

551
01:29:13.860 --> 01:29:15.139
Jerry Corley: Like, he's a cadaver.

552
01:29:15.140 --> 01:29:16.160
Stephen Berger: Last I saw.

553
01:29:16.160 --> 01:29:16.799
Pappy: What happens?

554
01:29:17.790 --> 01:29:23.299
Jerry Corley: Yeah, last I saw, right? Oh, oh, that's right, I got the milk for him! You know, so…

555
01:29:23.530 --> 01:29:27.519
Jerry Corley: So that could be a way to approach it. Sara, great to see you, what do you got?

556
01:29:28.590 --> 01:29:34.560
Sara: Hello, everybody! Not much, but, yeah, I missed you a lot.

557
01:29:34.800 --> 01:29:36.410
Jerry Corley: Yeah, we missed you, too.

558
01:29:36.410 --> 01:29:38.080
Sara: Yes, I know, I feel it.

559
01:29:41.050 --> 01:29:42.550
Sara: Soap!

560
01:29:43.640 --> 01:29:48.240
Sara: I went to the grocery store yesterday, because I needed milk.

561
01:29:49.660 --> 01:29:52.890
Sara: Because, yeah, I need to, grow up still.

562
01:29:53.050 --> 01:29:54.330
Jerry Corley: Another one.

563
01:29:54.570 --> 01:29:57.630
Sara: No, I'm… I'm still growing up.

564
01:29:58.490 --> 01:30:05.700
Sara: So, I… when I arrived there, I realized that I have only 2 euros.

565
01:30:06.170 --> 01:30:08.869
Sara: Yes, because I'm French. I have Euros.

566
01:30:09.930 --> 01:30:11.550
Sara: You don't, right?

567
01:30:11.770 --> 01:30:17.950
Sara: So… I have absolutely no, idea for this story, because I just…

568
01:30:18.070 --> 01:30:21.730
Sara: you know, I just went to the store, and there was no milk.

569
01:30:22.380 --> 01:30:24.430
Sara: And there was not even a store.

570
01:30:25.930 --> 01:30:30.089
Sara: And… where… wait, who… where I am?

571
01:30:31.740 --> 01:30:34.980
Sara: I don't know, I'm… I'm making up, I'm just… I have no idea.

572
01:30:34.980 --> 01:30:51.829
Jerry Corley: So that, actually, sometimes in having those dynamic ships there, there were a couple of my comedians that went up for their… did their showcase, right? A whole, you know, we had, like, 15 get up and do a showcase, and some of them were a little bit scattered, but the scattered part of it, because they're performing live now, they

573
01:30:51.910 --> 01:31:10.159
Jerry Corley: they worked through their being scattered, and they played that as part of the gag. Like, oh my god, I forgot… what was I saying about this joke? And the audience was laughing at the fact that they were kind of getting lost on the way, so it's a perfect comedic character. I'm trying to get from point A to point B and encountering obstacles.

574
01:31:10.800 --> 01:31:27.029
Jerry Corley: So it seemed to work, because you keep your sense of humor about, you know, not knowing where you're going in the joke. I like that idea, it's like, there was no milk, there wasn't even a store, because we were in Russia, right? Or whatever, you know how sometimes the food lines, you know, it's like, you know…

575
01:31:27.030 --> 01:31:35.149
Sara: And I had no reason why there was no store, but I was just… I don't know, I just don't eat milk, I just don't drink milk.

576
01:31:35.150 --> 01:31:48.050
Jerry Corley: They say, milk does a body good. You go, milk? They say, milk does a body good? Look at me. I don't drink milk. Well, they could say something like that as a self-deprecating line, right? Like, so that kind of thing.

577
01:31:48.050 --> 01:32:02.639
Jerry Corley: So, yeah, so as you're improv-ing the story, a lot of new, different approaches can come as well. So it's like, it doesn't need to be trapped in one version. You know, we saw what Robin Williams did, and it was like, he can go… he can go deep.

578
01:32:02.640 --> 01:32:27.619
Jerry Corley: He just, like, pivoted out of that one thing and talked about, you know, the Indians for a while, and then came back into the history of religion, so you can take it in different directions. At this moment, I thought that was pretty good. It was fascinating to watch you guys take one sentence and figure out which direction you can go. Some of you added an actual brand, like the name of a store. Erewhon was a good choice, too.

579
01:32:27.620 --> 01:32:50.580
Jerry Corley: for LA, and then, because now it gives a filter, like, the type of person that shops Air One. You know, I went to go get a gallon of milk, I went to go get some gallon of milk at Airwan, that was $27, you know, and be like, because it was breast milk. It's like, you can't really get breast milk at the, you know, at the corner grocery store. You have to go to Airwan for breast milk, right? So it's like, and then I remembered.

580
01:32:50.580 --> 01:32:53.849
Jerry Corley: I just wasted my money, because my best friend is lactating.

581
01:32:54.970 --> 01:33:08.669
Jerry Corley: So it's like, so, imagine… imagine that if we had… if we could mass produce that and then sell it for $27 a gallon. It's like, I should do that by… and just put it on Craigslist. Want breast milk? You know, I can make a fortune.

582
01:33:09.130 --> 01:33:20.510
Jerry Corley: Right? It's like a… you'd be… it's like a pumping machine all day long, that'd be funny. Right? So it's like, so I think there's definitely something there, especially when you talk about the UK selling breast milk ice cream.

583
01:33:20.680 --> 01:33:30.909
Jerry Corley: You know, that's wild. Let's take a break, we're gonna take a screen break for about 10 minutes, and then, we're gonna come back, and we're gonna look at Maria Bamford, and we're gonna do a couple more exercises.

584
01:42:03.990 --> 01:42:04.650
Jack Day: Yes.

585
01:42:08.910 --> 01:42:10.549
Jack Day: Oh, interesting.

586
01:42:11.640 --> 01:42:13.030
Jack Day: My residence?

587
01:42:20.500 --> 01:42:21.470
Jack Day: Okay.

588
01:43:07.110 --> 01:43:08.170
Jack Day: an import.

589
01:43:34.370 --> 01:43:36.290
Jack Day: How long have you been with her?

590
01:43:47.420 --> 01:43:48.500
Jack Day: Okay.

591
01:43:53.490 --> 01:43:54.320
Jack Day: Okay.

592
01:44:17.390 --> 01:44:19.090
Jack Day: What about him?

593
01:44:19.300 --> 01:44:20.270
Jack Day: Central.

594
01:44:39.670 --> 01:44:42.530
Jerry Corley: Okay, let's get back to it. That was a nice little break.

595
01:44:43.010 --> 01:44:45.279
Jerry Corley: Okay, here we go.

596
01:44:45.860 --> 01:44:47.190
Jerry Corley: --

597
01:44:47.550 --> 01:45:01.609
Jerry Corley: So we're gonna take a look at, Maria Bamford. Here's another one, like, get out your notebooks, because, like I said, Maria's loaded with her. This particular bit… this bit in particular, it's, like, so many layers of…

598
01:45:02.000 --> 01:45:16.940
Jerry Corley: diegetic interruption, sound effects, characters, and it's, it's a lot of fun. It's just a lot of fun to watch her, watch her do this. So, let me jump up to Maria on the sheet.

599
01:45:17.340 --> 01:45:19.330
Jerry Corley: I'll share that with you, and we'll…

600
01:45:27.530 --> 01:45:32.340
Jerry Corley: Alright, so, let's go to this link here.

601
01:45:37.660 --> 01:45:44.270
Audio shared by Jerry Corley: I've been fired a lot, I prefer to call it just another stop on my Burning Bridges tour, and

602
01:45:44.270 --> 01:46:06.770
Audio shared by Jerry Corley: I was working for a giant corporation, and I can't say the name of what it is, because it's the umbrella under which I may be sheltered at this time. And, so let's just call it Jubblygoop. And, my supervisor, let's call him Green Bean, said that there were certain bigwigs who you should NEVER put on hold, certain VIPs who you should NEVER put on hold, and I could never remember

603
01:46:06.770 --> 01:46:08.480
Audio shared by Jerry Corley: who those people were!

604
01:46:08.490 --> 01:46:14.860
Audio shared by Jerry Corley: So I put everyone on hold, and I conferenced them, and I let them sort it out amongst themselves, huh?

605
01:46:15.080 --> 01:46:16.180
Audio shared by Jerry Corley: But,

606
01:46:17.380 --> 01:46:28.850
Audio shared by Jerry Corley: Green Bean fired me, and he said, You are never gonna work for Tubblygoop again! And I didn't want to tell him, but I had actually been fired from there 14 times before.

607
01:46:29.020 --> 01:46:33.329
Audio shared by Jerry Corley: Dude, I'm a temp. I'll be back.

608
01:46:39.850 --> 01:46:50.769
Audio shared by Jerry Corley: Right now, I'm here, but next week, I'll call you from accounting, huh? Yeah. Don't put me on hold. You know what? Go ahead. That gives me more time to read my illustrated book of sea cows.

609
01:46:51.340 --> 01:46:59.950
Audio shared by Jerry Corley: They're beautiful creatures. I am a business person, I have pens, and wow.

610
01:47:01.310 --> 01:47:02.429
Audio shared by Jerry Corley: I was,

611
01:47:02.770 --> 01:47:13.150
Audio shared by Jerry Corley: Like, I travel a lot, and so now, I like to bring my cell phone, you know, when they have a conference at the hotel, that's nice. I can go down and mingle with my fellow business people. Yeah,

612
01:47:13.330 --> 01:47:15.059
Audio shared by Jerry Corley: Yeah, I just got out on bail.

613
01:47:15.100 --> 01:47:29.859
Audio shared by Jerry Corley: Yeah. No, I did it. No, I did it. Yeah. I think 900 billion of those jillion, billion, trillion, billion, jillion. Butterscotch. Yeah. On my desk. No, in it. No, on it. Yeah, in it, you're right, you're right. Bye.

614
01:47:29.860 --> 01:47:41.439
Audio shared by Jerry Corley: By twilight. Hey, before you, transfer me to the Albino Baby Hippo Department, could you cancel my flight out of JFK? Yeah, I'm just gonna walk.

615
01:47:41.440 --> 01:47:47.060
Audio shared by Jerry Corley: Mama's just gonna hoof it. All right.

616
01:47:47.250 --> 01:47:54.959
Audio shared by Jerry Corley: I, I was staying at a very fancy hotel recently, I don't want to brag, but it rhymes with shmubbletree.

617
01:47:58.810 --> 01:48:14.270
Audio shared by Jerry Corley: I know she didn't like me personally, because she'd talk to anybody else about anything. I'm gonna take the free peanut butter packets, and I'm gonna blow myself out of the water, and then I'm gonna succeed at it, and then I'm gonna go up to my hotel room, and shotgun a Diet Coke.

618
01:48:14.480 --> 01:48:14.870
Jerry Corley: Here it is.

619
01:48:14.870 --> 01:48:37.149
Audio shared by Jerry Corley: called me, my mom, and a monster. And, monster has no credit history, so we all gotta live together. And my mom's like, honey, we can't live with a monster! He's 80,000 pounds! And he has his little hind… you know, tiny little claws up in the attic, and then his giant hindquarters in the garage, and there's no place to sit down. Mother, he has nowhere to go.

620
01:48:42.540 --> 01:48:43.280
Audio shared by Jerry Corley: I took off.

621
01:48:49.610 --> 01:48:58.180
Audio shared by Jerry Corley: And then, Monster starts borrowing my clothes, right? And he's like, I'm like, you can't wear my capri pants, you're totally stretching them out.

622
01:48:59.640 --> 01:49:00.450
Audio shared by Jerry Corley: Holy crap.

623
01:49:07.320 --> 01:49:22.830
Audio shared by Jerry Corley: And then, you know, he and my mom start hanging out, and I'm like, where are you guys going? And she's like, honey, we're going to church. Mom, the monster doesn't understand religion. Honey, he loves to sing.

624
01:49:26.600 --> 01:49:28.310
Audio shared by Jerry Corley: Jesus…

625
01:49:40.420 --> 01:49:43.410
Audio shared by Jerry Corley: And the monster will be played by Dame Judi Ditch.

626
01:49:45.900 --> 01:50:03.449
Jerry Corley: So it's like, you can see how she's just all over the place with that, with, her sound effects. And let me see if I can really kind of isolate the original piece I was wanting you to see, and, see if I can just pop it in here, because it seems to take… it took me to a different clip.

627
01:50:03.720 --> 01:50:10.469
Jerry Corley: Let me see if it loads the right one, but that's basically… you see all the stuff she adds in there.

628
01:50:11.320 --> 01:50:15.410
Audio shared by Jerry Corley: I've been fired a lot, I prefer to call it just another stop on my burning bridge's.

629
01:50:15.410 --> 01:50:30.880
Jerry Corley: Nope, that's not it. Okay, well, she does the thing about her dad, and it's hysterical, you know, she basically… but it's still… you get the idea. She does, like, all kinds of voices, and she's just talking… sometimes talking about a normal situation.

630
01:50:30.930 --> 01:50:48.519
Jerry Corley: And, you know, she'll be like, oh… and I was saying… and so I went down to this… I was staying at this fancy hotel, and I… and I go to this fancy hotel for breakfast, and I sit there, you know, they're the kind that have that, you know, they have the, have the orange juice machine that makes… that basically takes the oranges and makes the juice…

631
01:50:50.950 --> 01:50:57.509
Jerry Corley: Yeah, so I sit down, and I'm having some cereal, and there's a business guy sits down, so, where are you from?

632
01:50:57.520 --> 01:51:16.319
Jerry Corley: she keeps, like, bringing back this machine as a running gag. So she often does stuff like that. So all kinds of places, like, you're asking yourself who, what, where, why, when, how. Where are the colors? What are the smells? What are the textures? What's in the… what's in the… what's in the room? And so you can take a simple.

633
01:51:17.080 --> 01:51:19.230
Jerry Corley: Breakfast at a hotel.

634
01:51:19.340 --> 01:51:26.380
Jerry Corley: and create this entire life behind it. So when you take it, don't just look at the main story.

635
01:51:26.450 --> 01:51:40.760
Jerry Corley: Look at all of the little things that could be part of that story. Even the littlest interruptions can become wildly funny, given the right situation, especially if people recognize that moment.

636
01:51:41.190 --> 01:51:53.830
Jerry Corley: She gets a little silly, she allows herself to get silly, so allow yourself the same leeway. Let's investigate this further. Don't worry about being just linear. Take it to another level.

637
01:51:54.430 --> 01:52:06.060
Jerry Corley: investigate it a little more. Is the person you're talking to has an accent. So, sometimes you go through a process, and then the problem with all of these dynamic shifts is there's so many.

638
01:52:06.060 --> 01:52:17.179
Jerry Corley: Right? So we can get information overload. So a lot of times, we go through, like, step by step. So, right here, we have, like, we can take, like, a catalyst situation as far as storytelling.

639
01:52:17.280 --> 01:52:20.350
Jerry Corley: Right? So let's go up here.

640
01:52:20.720 --> 01:52:23.459
Jerry Corley: To narration versus experience.

641
01:52:23.880 --> 01:52:42.360
Jerry Corley: So in narration, and that's… I'm taking this right from Steve's, experience. He was doing a bit about saying… he originally said this moment, and the moment was, so we've kind of come on, hard… financially, we've come on hard times.

642
01:52:42.530 --> 01:52:47.670
Jerry Corley: And so I had to get a second job. So I said, what if you take this…

643
01:52:48.400 --> 01:53:01.510
Jerry Corley: that moment, and you turn it into sort of a he-said-she-said moment, and turn it into, like, it was imposed on you by your wife. Now, Steve's wife…

644
01:53:01.840 --> 01:53:04.840
Jerry Corley: is Filipina. She's an immigrant.

645
01:53:05.190 --> 01:53:10.500
Jerry Corley: So that adds another layer to it. He can do her voice with the accent.

646
01:53:10.790 --> 01:53:24.659
Jerry Corley: Right? And now that gives it a little more, you know, verb. So, if we give her a dialogue here, it can totally change the dynamic of what's being said. So, say, for example, let me make sure I'm sharing this with you.

647
01:53:29.100 --> 01:53:54.080
Jerry Corley: Like, he says, so instead of narration, third-person narrative, we go into experience. We're sharing the experience of it. We're giving the audience a mini sitcom, if you will. Any opportunity you get to do that act-out and create a little moment, that's very Jim Gaffigan, very, Maria Bamford takes it to the next level, or Brian Regan, who's very act-out oriented, you know, that's how he delivers all of his jokes is through characters.

648
01:53:54.080 --> 01:54:02.850
Jerry Corley: So, but in narration, my wife told me I needed to make more. So, in this case, it's like, my wife told me I needed to make more money and get a second job.

649
01:54:02.910 --> 01:54:07.700
Jerry Corley: We understand what happens, but if we put it into an experience, that means act out.

650
01:54:07.860 --> 01:54:18.800
Jerry Corley: He said, my wife said, and after he talks about being married to a Filipina, he could say, she said, you need to make more money, you need to be a better provider, you need to be a… get another job.

651
01:54:19.010 --> 01:54:33.670
Jerry Corley: So now, really, you need a better… you need a… you need to be a better earner. Like, it's almost like, oh my gosh, I see… I see how she sees me now. I'm an earner, right? You need to make more money. So now we have set her up as more of an antagonist, correct?

652
01:54:33.670 --> 01:54:56.570
Jerry Corley: Right? So now, so something's changed. So what could be his way of getting back at this? Now, Steve, this gives you a chance to rewrite that bit and do it as part of this exercise, but it gives other people another way to say something. What has been imposed on you by a boss, a teacher, an ex, an in-law, a principal,

653
01:54:56.570 --> 01:55:04.550
Jerry Corley: the, TSA, a cop, like, what has been imposed on you? Character A wants something from you.

654
01:55:04.650 --> 01:55:19.000
Jerry Corley: And now you find a way to get it back by turning it into… to create the scenario, so instead of saying, you know, we kind of hit financial hard times, so my wife said, and that's Steve making it, so take a scenario.

655
01:55:19.590 --> 01:55:25.909
Jerry Corley: and have something imposed on you. You can use this very idea itself, or you can create another moment

656
01:55:25.910 --> 01:55:50.899
Jerry Corley: when, in this case, it's money, so it heightens it, right? Like, anything in Maslow's hierarchy of needs, money, shelter, food, sex, takes us through, like, safety, life versus death, you know, in the… like, that's why I said TSA, because TSA is, like, you have something that could, you know, jeopardize the flight. Nobody wants to fall from 38,000 feet. That's heightening the… that's escalating

657
01:55:50.900 --> 01:55:52.569
Jerry Corley: The moment or the tension.

658
01:55:52.570 --> 01:56:10.619
Jerry Corley: So, create a situation, and then find out something like, how could you respond? We did that with the milk, in a sense, but take it even to the next level. So, and add some friction to it. So, in this case, what I said is, like, my student had a situation, his wife's an immigrant.

659
01:56:10.620 --> 01:56:23.580
Jerry Corley: And which gives them a chance not only to do her voice, but also her accent. Is accent another form of escalation? And dynamic shift? Check the list. Yes, so we have the list of all the dynamic shifts.

660
01:56:24.100 --> 01:56:33.429
Jerry Corley: And so now we can take that to the next level. So I want you to create a moment where we have something like that going on. Does everybody understand the exercise? I know I went a little fast.

661
01:56:35.250 --> 01:56:38.110
Jerry Corley: Y'all got it? Y'all got it? You're good? All right, all right.

662
01:56:38.110 --> 01:56:39.090
Stephen Berger: Again.

663
01:56:39.800 --> 01:56:40.770
Jerry Corley: What's that, Steve?

664
01:56:40.770 --> 01:56:43.970
Stephen Berger: I'll take your explanation again.

665
01:56:44.020 --> 01:56:44.869
Jerry Corley: Alright, so…

666
01:56:44.870 --> 01:56:46.840
Sara: I didn't get it either.

667
01:56:47.120 --> 01:57:00.249
Jerry Corley: So, in… we have this in a third-person delivery, right? So, when Steve originally said, my wife told me I need to… so, in this case, we didn't even have that at first, like, I need to make more money.

668
01:57:00.800 --> 01:57:14.669
Jerry Corley: we've encountered some hard times financially, so I needed to get a second job, was your original statement from your bit. And I said, what if you change this to sort of an act-out, and it's imposed on you?

669
01:57:14.700 --> 01:57:22.189
Jerry Corley: So, we've hit some financial hard times. My wife says, you need to get a job, you need to make more money.

670
01:57:22.870 --> 01:57:25.070
Jerry Corley: So… Now.

671
01:57:25.600 --> 01:57:39.679
Jerry Corley: Given the fact that she's also an immigrant, she's a Filipina, he can now do an accent as well. So we've fallen on a little financial hard times, things slowed down in my business, so I needed to get a second job. My wife was like.

672
01:57:39.680 --> 01:57:46.299
Jerry Corley: You need to be a better earner, you need to get more money, you know, you need to provide better for me, you need to get a second job.

673
01:57:46.810 --> 01:57:48.839
Stephen Berger: Alright, so now it seems to be poor.

674
01:57:48.840 --> 01:57:57.329
Jerry Corley: What's that? Yeah, exactly, right? So I didn't come here to be poor, that's funny, right? So now…

675
01:57:57.330 --> 01:57:58.030
Stephen Berger: Cool.

676
01:57:58.030 --> 01:58:11.320
Jerry Corley: Now it gives us more impetus when you come up with the punchline. I'm not gonna reveal the punchline right now, you will later, after, in the exercise. But I'm showing you how to take this from your third person, your tendency to deliver third-person narration.

677
01:58:11.530 --> 01:58:20.269
Jerry Corley: And turning it into, like, more of a first-person dynamic, you're giving that character a voice. Does that make sense? And we're escalating it

678
01:58:20.270 --> 01:58:31.620
Jerry Corley: So somebody's really imposing something on you, and now gives you a chance to investigate that and have a response. And it doesn't have to be money, it could be anything. You know, you need to perform better in the bedroom.

679
01:58:32.270 --> 01:58:50.039
Jerry Corley: you need to, you know… is that all you got? It's like, that's all I got, right? It's like, how are you… there's, like, some cases, a man can't give you any more, right? You know what I'm saying? It's like, it's like, when it's at the hilt, it's at the… it's at the hilt, you know? So, I'll let you give you guys some time to… does everybody get it?

680
01:58:50.040 --> 01:58:50.610
Stephen Berger: pardon.

681
01:58:50.710 --> 01:58:55.050
Stephen Berger: So we're doing it with… Just a fresh one, or…

682
01:58:55.050 --> 01:58:56.790
Jerry Corley: You do… you do yours.

683
01:58:58.510 --> 01:59:08.270
Jerry Corley: And I'm pointing to you. You're over here in my, in my gallery right now, so I know the camera looks weird. So you do yours, but I want you to add the accent.

684
01:59:08.660 --> 01:59:28.339
Jerry Corley: And make it come alive, because that will heighten… and this is, like, it was such a good example last night when we were doing the review, and I was able to see that and go, oh man, what if we heightened that with an act-out that would really give us some influence? Especially when the Punchline comes in for you, because it's really a benign retaliation scenario, and it changes the entire dynamic.

685
01:59:28.340 --> 01:59:30.739
Jerry Corley: So I decided to get a job

686
01:59:32.050 --> 01:59:44.919
Jerry Corley: Especially when she's, like, you just say she's an immigrant, she's demanding of you, and I decided to get a job, blank, boom, that's the payoff, and then you get to do the rest of the joke after that. Does it make sense?

687
01:59:44.920 --> 01:59:58.340
Jerry Corley: So, you know, so we're using your kind of setup as an example, but… so you can now do it, act it out, while everybody can come up with their own version of this, or another scenario where somebody imposed something on you.

688
01:59:58.340 --> 02:00:07.139
Jerry Corley: Like, if, you know, boss says, you know, you know, you, you're not, your performance, you know, is, is down, you're not giving me what we expected.

689
02:00:07.140 --> 02:00:29.430
Jerry Corley: of you. And it's like, what would be your response to that? You know, because we all want to get back at the boss, right? Or if somebody says something ridiculous, to you, like, like re-nigs on a deal, that, you know, or does a bait and switch at a grocery store, the price over there is at $4.79 a gallon, you get to the, you get to the

690
02:00:29.430 --> 02:00:39.010
Jerry Corley: either the clerk, the cashier, and they're like, that's $6.79 a gallon. You're like, well, wait a second, it said $4.79 a gallon over there. You know, well, inflation.

691
02:00:39.100 --> 02:00:45.799
Jerry Corley: It's happening really fast these days. You know, that kind of payoff, it seems that way, but you see, you can have fun with…

692
02:00:45.910 --> 02:00:50.650
Jerry Corley: you know, investigate that even further. Anybody need any more explanation? You got this?

693
02:00:51.320 --> 02:00:54.909
Jerry Corley: You know, okay, good, let's do it, I'll give you guys 10 minutes.

694
02:00:55.350 --> 02:00:57.630
Jerry Corley: And… go.

695
02:05:46.440 --> 02:05:47.549
Stephen Berger: You're confusing me.

696
02:05:48.060 --> 02:05:49.350
Stephen Berger: No, that's slow.

697
02:13:00.750 --> 02:13:04.050
Jerry Corley: Alright, let's see what you come up with. Who's got something?

698
02:13:04.570 --> 02:13:05.870
Jerry Corley: What do you got, Pappy?

699
02:13:07.920 --> 02:13:14.050
Pappy: Alright, my wife, Adeline Kumquat.

700
02:13:14.210 --> 02:13:17.999
Pappy: She said, we need to make more money!

701
02:13:18.180 --> 02:13:20.340
Pappy: You need to get a second job.

702
02:13:20.620 --> 02:13:24.769
Pappy: And I said, honey bunny, I'll get a second job.

703
02:13:24.920 --> 02:13:31.060
Pappy: When you get a first job, Adeline says, I did!

704
02:13:31.430 --> 02:13:33.809
Pappy: I just gave you a blowjob!

705
02:13:35.710 --> 02:13:39.420
Pappy: That only counts if you gave it to Preacher Harley.

706
02:13:40.460 --> 02:13:44.129
Pappy: And, I can be your second job.

707
02:13:44.570 --> 02:13:48.580
Pappy: And our money troubles will be saved by the preacher.

708
02:13:49.150 --> 02:13:50.969
Pappy: Thank you, Jesus Christ.

709
02:13:55.120 --> 02:14:01.059
Jerry Corley: Jesus, saving lives, right? So, it's like, nice. Alright, good one. Lina, what do you got?

710
02:14:02.140 --> 02:14:02.690
lina alva: S.

711
02:14:02.830 --> 02:14:06.939
lina alva: My boyfriend told me… sorry, my husband told me last night

712
02:14:07.760 --> 02:14:12.359
lina alva: If we're gonna keep living this way, lina, you're gonna have to make more money.

713
02:14:13.520 --> 02:14:20.160
lina alva: And I thought to myself, That actually requires me to show up to work.

714
02:14:23.100 --> 02:14:25.069
lina alva: So, we came to a compromise.

715
02:14:25.970 --> 02:14:28.079
lina alva: I got a new boyfriend.

716
02:14:29.140 --> 02:14:30.640
lina alva: Did that hit, or no?

717
02:14:30.640 --> 02:14:32.089
Jerry Corley: Well, because you changed it from husband.

718
02:14:32.090 --> 02:14:32.530
lina alva: Oh my gosh!

719
02:14:32.530 --> 02:14:44.310
Jerry Corley: in the end, so you gotta keep it consistent. But I like where you're going with it. Yeah, so a compromise, I got a new boyfriend. So, it's like, yeah, it's like, it's like a queen like you shouldn't be working.

720
02:14:46.480 --> 02:14:55.989
Jerry Corley: Right? So, yeah, definitely, that's good. That's a fun way to take that. That's… I like that. I like that. Especially when you kind of do a little bit of an airhead thing, that would require me to…

721
02:14:57.040 --> 02:14:58.529
Jerry Corley: Show up to work!

722
02:14:59.230 --> 02:15:03.779
lina alva: Yeah, I was supposed to do the voice different, like… If you want to make more money, if you want to…

723
02:15:03.780 --> 02:15:22.729
Jerry Corley: Yeah, yeah, yeah, yeah, add that dynamic. His voice would have been good, yeah, yeah. And sometimes when we just write the bit, right, it's in our head, we'll forget, you know, some of the other added things, which is why when you get it on the page, you can add those dynamic shifts. Hey, look, Jack Rain is here, you can tell, because the camera keeps moving.

724
02:15:22.910 --> 02:15:24.110
Jerry Corley: Right? So…

725
02:15:24.110 --> 02:15:26.869
Jack Rain: Hey, man, don't make fun of my Parkinson's at 13.

726
02:15:26.870 --> 02:15:44.469
Jerry Corley: So, yeah, So yeah, good… that was a good bit. So it's like, if you just clarified, like, the boy from boyfriend, do the voice, that would add… that adds some dynamic shifts, it changed the benign retaliation. Remember, all we're trying to do is get into the practice of going from narrative…

727
02:15:44.780 --> 02:15:56.400
Jerry Corley: to first-person act out into an experience. So if you can share with the audience the experience, and I think, like, Brennan did a good version of it, too, because he showed… he said the same joke two different ways.

728
02:15:56.910 --> 02:16:21.270
Jerry Corley: And each one got a laugh, which is very, Jim Gaffigan. He'll say it one way, then say it another way, and then maybe do a third approach to it as the act out, and actually the same joke is getting 3 different looks, right? So it's, it's… Bill Berr does it with analogy. He'll take the same premise, give it 3… give it sometimes one… one bit he did most recently, I think was at Live at Red Rocks.

729
02:16:21.270 --> 02:16:26.000
Jerry Corley: Where he did, like, he had 9 analogies with one premise.

730
02:16:26.710 --> 02:16:40.659
Jerry Corley: And he was like, I just gave you 9 different jokes with that one bit, right? And it's, like, at the end of it, so it's like, it's just 9 different analogies, so every one is a different look. So it's like, you say it one way, and then say it in a more, sort of, basic approach.

731
02:16:40.660 --> 02:16:53.939
Jerry Corley: and then do the act out, and then say again what you just did. So it's like, that's very Gaffigan that way, and so it's like Brian Regan does a similar thing, but he does it more through the voices. So it's like, that's, you know…

732
02:16:53.940 --> 02:16:56.720
Jerry Corley: A lot of people just do one Punchline and leave.

733
02:16:57.090 --> 02:17:02.510
Jerry Corley: Rather than hitting it from all different aspects, and going that way. Janet, what do you got?

734
02:17:04.940 --> 02:17:05.950
Janet Rapala: Alright.

735
02:17:06.070 --> 02:17:16.159
Janet Rapala: My significant other told me I'm not making enough money, maybe I could consider a second job. I already pay all the bills, cook and clean and him. Pew, pew!

736
02:17:16.270 --> 02:17:18.029
Janet Rapala: Good doctor now can't be here!

737
02:17:18.680 --> 02:17:26.209
Janet Rapala: I'm trying to get to this next level of battle junkies, and these… pew, pew, these guys online are killing me! Pow, pow, pow!

738
02:17:30.280 --> 02:17:37.669
Jerry Corley: That was really good that time. I liked it, especially when you go, you know, if you set him up, what if you set him up as, like, and I understand, because he's a very busy man.

739
02:17:38.930 --> 02:17:51.020
Jerry Corley: And that would be like, you know, we set up, we expect the busyness to be at work, or, you know, in a job, and you just started… he's like, pew, pew, pew! Oh, you got me in the head, you know?

740
02:17:51.020 --> 02:18:03.800
Jerry Corley: So you can have fun, like you're doing, that was a good video game act out. And, you know, I feel the inspiration from Maria Bamford, allowing you to have the freedom and creative license to…

741
02:18:03.959 --> 02:18:07.640
Jerry Corley: You know, be wildly creative with the voices and the sound effects.

742
02:18:08.440 --> 02:18:09.849
Jerry Corley: Nicely done, Janet.

743
02:18:10.639 --> 02:18:12.910
Jerry Corley: Kaz, what do you got? You got your hand up.

744
02:18:17.110 --> 02:18:19.619
Kaz Okamoto: Sorry, didn't have anything on. Okay, how you doing?

745
02:18:19.620 --> 02:18:21.569
Jerry Corley: So, I didn't…

746
02:18:21.570 --> 02:18:25.860
Kaz Okamoto: Don't use that premise, don't ask me why, because it's just me.

747
02:18:25.860 --> 02:18:27.680
Jerry Corley: You don't have to, you can use a different premise.

748
02:18:27.680 --> 02:18:29.899
Kaz Okamoto: Oh, that is perfect, so,

749
02:18:32.090 --> 02:18:51.789
Kaz Okamoto: my mom asked me to get the ingredients to make my dad's favorite salad dressing for his birthday, and she said, oh, Kellen, you know, you get everything and make a French dressing that your dad likes, and we'll have that for a salad, you know, and if you want to add

750
02:18:51.790 --> 02:19:02.400
Kaz Okamoto: relish, you can make, like, a thousand islands. I said, oh, Mom, I am in Las Vegas, on a work thing. I don't have time to go to the store and do all that.

751
02:19:02.500 --> 02:19:11.730
Kaz Okamoto: Oh, you know, just go to the free breakfast, and get those little packets, and you make it from the little packets. I said, how am I supposed to do that?

752
02:19:12.020 --> 02:19:23.330
Kaz Okamoto: Jesus Christ, how much… oh, God. Oh, come on! Karen, you can do it. You smart, you're good at math. So, you do that, and then it's free. You don't have to pay for anything.

753
02:19:23.330 --> 02:19:42.430
Kaz Okamoto: So I went, alrighty. So I went, figured out how many tablespoons to 1 cup, and then got the recipe, and the recipe is 1 cup of mayo, half a cup of mustard, 1 tablespoon… oh, sorry, half a cup of ketchup, 1 tablespoon mustard, two tablespoons of oil, salt and pepper to taste.

754
02:19:42.430 --> 02:19:49.059
Kaz Okamoto: And if you want to add relish, you can make Thousand Island with that. Same base, though, for this French dressing my dad used to make.

755
02:19:49.120 --> 02:19:59.680
Kaz Okamoto: And so, I had to measure it all out. I had to open every little stinkin' packet and then put it into a container that measured it all out, and by the time I was done.

756
02:19:59.700 --> 02:20:14.929
Kaz Okamoto: It was 16 to 20 packets of mayo, 8 to 10 packets of ketchup, 1 packet of mustard, 2 packets of olive oil, and 2 to 3 packets of salt, and 4 to 6 packets of pepper.

757
02:20:14.930 --> 02:20:21.260
Kaz Okamoto: And then, once again, if I want to make 1,000 onion, I use… I just add relish. And so she,

758
02:20:21.260 --> 02:20:31.450
Kaz Okamoto: I called her back and said, okay, made it. Oh, see, it was free! You had no idea. That's really great. So, I said, it wasn't free, it took me 3 fucking hours to make that graph.

759
02:20:31.850 --> 02:20:51.800
Kaz Okamoto: Oh, it's okay, you're not doing anything anyway. And so, she says, how'd the recipe turn out? And I told her the recipe. 16 to 20 packets of mayo, 8 to 10 packets of ketchup, and then, it turned out to be pretty good. So, that's what I did while I was working.

760
02:20:52.040 --> 02:20:56.579
Jerry Corley: So instead of Thousand Island Dressing, we called it Three Fuckin' Hours Dressing.

761
02:20:56.580 --> 02:21:06.349
Kaz Okamoto: Yeah, and, you know, and, well, the part I forgot, didn't write at the end was, you know, I could have just gone to the store and bought a bottle of Thousand Island dressing. I mean, it's a lot better.

762
02:21:06.350 --> 02:21:09.070
Jerry Corley: Save yourself that embarrassment. That's so funny, though.

763
02:21:09.480 --> 02:21:15.789
Jerry Corley: We can definitely… but can we relate to it? Can we imagine somebody doing that, taking all the packets? Yes, right?

764
02:21:15.790 --> 02:21:16.160
Kaz Okamoto: Yeah.

765
02:21:16.160 --> 02:21:21.190
Jerry Corley: And in making, making a homemade dressing, who would have thought? I think that's that. Plus, you also.

766
02:21:21.190 --> 02:21:27.870
Janet Rapala: Where'd you find the Tupperware? Where'd you find the Tupperware, and did it meet the 4-ounce rule coming back through TSA?

767
02:21:28.050 --> 02:21:31.100
Kaz Okamoto: I'm sorry, I'm having problems hearing you, Janet, so anyway…

768
02:21:33.330 --> 02:21:35.309
Janet Rapala: Where was the Tupperware?

769
02:21:35.310 --> 02:21:48.860
Kaz Okamoto: Yeah, I heard you. So, what I thought about was, how many packets of peanut butter does it take to fill a whole jar of peanut butter? Like, I'm so bored at this hotel that I would do that and measure it out, and then I thought.

770
02:21:49.230 --> 02:21:54.880
Kaz Okamoto: that with all the condiments, and then it came across my mind about doing the recipe thing.

771
02:21:55.150 --> 02:22:06.710
Jerry Corley: So one of my, friends used to… he was, like, Mr. Sound Effect, like, he'd go, so I got in the car, so, you know, I, you know, got in the car, and it's like, no, no, you know, put in the gear…

772
02:22:07.530 --> 02:22:08.970
Jerry Corley: Defin un.

773
02:22:09.140 --> 02:22:17.040
Jerry Corley: And so it always makes a weird, like, vibrating sound when I put it in reverse, and then he's like, and then he's like, and then he's like, so I went to make a left turn.

774
02:22:18.690 --> 02:22:30.360
Jerry Corley: So I could see him, like, you know, I, like, you know, I always want to see how many packets of peanut butter it would take to fill an entire jar. You know, sometimes I'll spend my entire day doing that, and be like, you know.

775
02:22:32.150 --> 02:22:36.369
Jerry Corley: Oh, And he'd do that for, like, 8 times, right? He goes, like,

776
02:22:36.620 --> 02:22:38.879
Jerry Corley: 30 more packets left.

777
02:22:39.520 --> 02:22:54.420
Jerry Corley: no, I'm not gonna continue that, don't worry. And then he'd do something like that, so, like, we would get into the rhythm of him squirting out these packets of peanut butter, and then he goes, oh, 20 packets left, and then we think, oh my god, is this gonna continue? Then he would change, shift gears with that.

778
02:22:54.460 --> 02:23:06.870
Jerry Corley: And so… and sometimes I'll add a little more oil, because, you know, that's what they do. If you get it… when it says… it says… when it says, like, no stir, that's because it's oil, you know? It's an emulsifier. And the guy…

779
02:23:06.870 --> 02:23:19.460
Jerry Corley: talks you through this way of doing that sort of thing, and it's like, I think that's great, and it's like, so with that, how many packets, we've got to fill up a jar. I'm… now I'm super curious. I want to see how that… what's the answer?

780
02:23:19.460 --> 02:23:29.880
Kaz Okamoto: Well, it comes from, like, when you drive, and you don't have music on or anything else, and you're in LA traffic was just probably the most fun thing you could ever do, so those who don't live in LA.

781
02:23:29.880 --> 02:23:31.049
Jerry Corley: Please come on in.

782
02:23:31.050 --> 02:23:36.879
Kaz Okamoto: Because, boy, oh boy. But you think about the bizarrest thing, so I think about weird shit like that.

783
02:23:37.040 --> 02:23:39.799
Kaz Okamoto: You know, like, oh, I wonder how long…

784
02:23:39.800 --> 02:23:44.930
Jerry Corley: That's weird, because I think about how can I write… how can I take a scenario and make it…

785
02:23:45.270 --> 02:23:48.390
Jerry Corley: Ambiguous enough to create a reverse.

786
02:23:49.120 --> 02:24:00.319
Jerry Corley: So, I'll be going like that. So, my doctor, called me and wanted to urgently talk to me, about how important it was to lose 30 pounds in the next 6 months.

787
02:24:01.230 --> 02:24:03.879
Jerry Corley: So I was like, dude, you should try GLP once.

788
02:24:04.080 --> 02:24:17.320
Jerry Corley: So, in the way I say that, it's ambiguous who needs to lose the weight. My doctor called me urgently, telling me how important it was to lose 30 pounds in the next 30… in the next 6 months.

789
02:24:17.570 --> 02:24:26.140
Jerry Corley: He didn't say, I needed to lose 30 pounds, he just… how important it was to lose 30 pounds. So, sometimes just remove a pronoun.

790
02:24:26.900 --> 02:24:50.150
Jerry Corley: from the statement, and now you have an ambiguous statement where you can just flip a reverse instantly, and you can do that all day long. So that's… sometimes I'll be driving and go, wait a second, you know, okay, and I'll pick up my phone and start dictating it into the phone, you know? And it's like, okay, here's a technique to be able to make something ambiguous on the fly. Just remove a pronoun. So while you're thinking about how many packets in a peanut butter jar.

791
02:24:50.150 --> 02:24:55.030
Jerry Corley: I'm always thinking about, okay, how can I take… so it's like, you're right, I use that to stay awake.

792
02:24:55.030 --> 02:25:00.010
Kaz Okamoto: So, if I was to take that joke, and then say, okay.

793
02:25:00.010 --> 02:25:19.609
Kaz Okamoto: So, because I'm half Japanese, kind of anal retentive, and you need to, like, really prove your science, so now I'm going to take a peanut butter jar and measure out a tablespoon, because it's approximately a tablespoon in each packet, to tell me how many packets that it really is. So, it needs to come out as equal, right?

794
02:25:19.610 --> 02:25:20.460
Jerry Corley: Yeah, yeah.

795
02:25:20.840 --> 02:25:25.449
Jerry Corley: that what's interesting, because anytime you set up an equation for an audience.

796
02:25:25.450 --> 02:25:25.880
Kaz Okamoto: Yeah.

797
02:25:25.880 --> 02:25:38.430
Jerry Corley: We want a resolution, because resolution, we're hardwired for resolution, it's like a… it's mathematical, it's like a major scale. If you want, do re, mi fazzolati…

798
02:25:39.100 --> 02:25:51.129
Jerry Corley: Unite, everyone. Yeah. They're gonna go, dough, so anytime you set up something with tension, it needs resolution. So, analogies are the same way. Those are verbal equations. My girlfriend's like an egg.

799
02:25:52.080 --> 02:25:58.429
Kaz Okamoto: Okay, so if I do that, and then to take it one step further, The packets of peanut butter.

800
02:25:58.530 --> 02:26:10.489
Kaz Okamoto: doesn't necessarily match the jar of peanut butter, so when it didn't come out correct, I had to go find the jar of peanut butter, which was the same brand as the packets of peanut butter, to redo the experiment.

801
02:26:10.530 --> 02:26:11.750
Jerry Corley: Sorry.

802
02:26:11.750 --> 02:26:13.239
Kaz Okamoto: That's where I go.

803
02:26:13.240 --> 02:26:20.599
Jerry Corley: So that's great, because I think people can recognize certain places in their own lives where they get OCD.

804
02:26:20.730 --> 02:26:26.110
Jerry Corley: About something. They have to do it to its most fulfilled, you know, spot.

805
02:26:26.110 --> 02:26:27.930
Kaz Okamoto: You have to prove the science.

806
02:26:27.930 --> 02:26:34.329
Jerry Corley: Yeah, yeah, yeah, I like that idea a lot. And if you tell us that you gave us the game of the scene about you.

807
02:26:34.490 --> 02:26:48.789
Jerry Corley: at the beginning, now when you actually see it actually coming to fruition later on in the story, so then I realized I had to go back to the store, and then look… because we already set up, like, when you do something, you have to do it

808
02:26:48.960 --> 02:26:51.800
Jerry Corley: You have… you have to make the math work. You're Japanese, so…

809
02:26:51.800 --> 02:27:00.420
Kaz Okamoto: And I wouldn't say OCD, I would just say, from being Japanese, like, anally retentive, like, it has to be frickin' perfect.

810
02:27:00.420 --> 02:27:03.619
Jerry Corley: Right, exactly, got it. That's good, I like it, that's a.

811
02:27:03.620 --> 02:27:05.120
Kaz Okamoto: The black and white thing, you know?

812
02:27:05.120 --> 02:27:05.670
Jerry Corley: Yeah.

813
02:27:05.670 --> 02:27:06.690
Kaz Okamoto: Okay, thanks.

814
02:27:06.690 --> 02:27:07.230
Stephen Berger: Right.

815
02:27:07.230 --> 02:27:07.560
Jerry Corley: Yes.

816
02:27:07.560 --> 02:27:11.579
Stephen Berger: Regarding the, sound effects, Fluffy does a lot of that.

817
02:27:13.050 --> 02:27:35.129
Jerry Corley: And so those dynamics, those are shifts in dynamics, and so the audience loves to see that, you know, because it takes them all over the place, so it's fun to… it's fun to do. And it's fun to see you guys, like… I've never heard Janet. Janet doesn't do a lot of sound effects, and she's at a whole bunch today. So that was fun to watch, right? To see it come alive like that. It takes us out of our comfort zone, too.

818
02:27:35.130 --> 02:27:44.630
Jerry Corley: Right? So it's like, so it's just something like you said something about, you said, somebody said, oh, it was one of my students said something about…

819
02:27:44.630 --> 02:27:53.589
Jerry Corley: Going to Japan. His wife is from Japan, he loves to go to Japan, especially this time of year, it's always warm and breezy. He's like, really? That's weird, because I just…

820
02:27:53.670 --> 02:28:07.020
Jerry Corley: Why did I say, warm and breezy, that also describes a fart, you know? I didn't mean to say Japan is like a fart, you know? That would be weird. Every time you land to support, you're like, you know, that kind of… that would be embarrassing, you know? Welcome to Japan.

821
02:28:07.140 --> 02:28:13.849
Jerry Corley: You know, like, you can just… now he has act-outs he can do with that, you know, because when he said warm and breezy.

822
02:28:14.330 --> 02:28:18.270
Jerry Corley: Your brain goes, as a comedian, you go, that kind of defines a fart, you know?

823
02:28:18.520 --> 02:28:34.320
Jerry Corley: It'd be weird, like, come to Japan! You know, tourist bureau putting out billboards, you know, the best time to be in Japan. It's just like a fart. You know, that could be a fun commercial to do. And it's like, now, from that just saying warm and breezy, what else is warm and breezy?

824
02:28:34.650 --> 02:28:50.919
Jerry Corley: Now, you know, now you have something you can expand upon. And he didn't see that when he wrote the… did the original joke, so just hearing it, sometimes you hear it a little different, right? And he never delivered it that way before, he just added that live and in the moment with the crowd. So…

825
02:28:50.920 --> 02:29:04.919
Jerry Corley: if I was performing, I went warm and breezy, I've never said that before. That sounds like I could have defined… that sounds like I'm a defining a fart, you know? And now you can take the whole thing, juxtapose Japan, going to Japan, tourist bureau, advertising.

826
02:29:04.960 --> 02:29:11.130
Jerry Corley: and a fart idea, concept, that's how it elevates and escalates. Alright, here we go, moving along, Brennan.

827
02:29:13.830 --> 02:29:21.240
Brennan Murphy: Hey, I also went a little off-topic, but here it goes. So, when I was 22 years old, I was living in Boulder, Colorado. I was young, dumb.

828
02:29:22.220 --> 02:29:25.240
Brennan Murphy: Just those two. And one day…

829
02:29:25.540 --> 02:29:32.170
Brennan Murphy: One day, I was running around in my backyard, I rolled my ankle, ended up spraining it super bad. Unsure what to do, I called up my lawyer father.

830
02:29:32.660 --> 02:29:36.280
Brennan Murphy: I have a lawyer dad who's old and wise.

831
02:29:36.620 --> 02:29:40.320
Brennan Murphy: and ask him if he thinks I need to go to the hospital. All he said was.

832
02:29:40.680 --> 02:29:47.350
Brennan Murphy: You know, Brennan, when I was your age, basketball players in the NBA sprayed in their ankles all the time.

833
02:29:48.230 --> 02:29:49.970
Brennan Murphy: And that was the entire conversation.

834
02:29:51.580 --> 02:29:52.810
Brennan Murphy: But my dad had a point.

835
02:29:53.050 --> 02:29:56.750
Brennan Murphy: You know, I didn't need to go to the hospital. I needed to join the NBA.

836
02:30:01.400 --> 02:30:05.470
Jerry Corley: So you get to go, so now, I'm applying to join the NBA, right?

837
02:30:05.510 --> 02:30:23.040
Jerry Corley: Yeah. So they could, like, so that's a good, like, you give them… so now, anytime you just do it that way, so I, it allows the audience to sort of fill in the ending, you know, and then you, like, decided to join the NBA. Really good, that's a funny line. Nice, because… and it was… I didn't…

838
02:30:23.110 --> 02:30:24.880
Jerry Corley: It's a simple.

839
02:30:25.440 --> 02:30:40.039
Jerry Corley: turn, right? Because you almost gave us the answer, but we didn't see it coming, so it reminds us, like, almost like what I try to tell, especially when you're first writing comedy, almost all the answers to the joke is in the setup.

840
02:30:40.260 --> 02:30:45.170
Jerry Corley: And so right away, your dad says NBA, and he said, so I…

841
02:30:46.000 --> 02:30:55.300
Jerry Corley: went and joined the NBA. That's just really funny. What a fun conclusion. Based on your wise father's advice…

842
02:30:55.420 --> 02:30:57.759
Jerry Corley: That was good. I, like, good joke.

843
02:30:57.760 --> 02:30:58.370
Brennan Murphy: Thank you.

844
02:30:58.510 --> 02:31:09.540
Jerry Corley: And the dilemma was right there. It didn't have to be the money thing. You could take it anywhere, and somebody's imposing something on you. Nice job. Good creativity. Jack Raine, what do you got? Good to see you, Jack.

845
02:31:10.360 --> 02:31:23.720
Jack Rain: Yeah, alright. So, visiting my grandma's pretty hard, because she has violent dementia, which pretty much looks like a sweet old lady like Benny White reaching for her 12-gauge shotgun and cocking it.

846
02:31:23.970 --> 02:31:31.539
Jack Rain: Hey, Grandma, just here to see ya. How you doing? Oh, you sweet ol' thing, wait right here, I've got a little gift for you.

847
02:31:32.650 --> 02:31:35.150
Jack Rain: GET THE FUCK YOUT THE HERE, YOU MOTHERFUCKER!

848
02:31:35.460 --> 02:31:48.719
Jack Rain: 23 years old and talking about me, bitch! Oh my god, I just came to give you love! I came to give you blitz!

849
02:31:50.680 --> 02:31:52.210
Jerry Corley: Bullets are,

850
02:31:52.210 --> 02:31:56.580
Jack Rain: Or is it butt shot? Buckshot, yeah.

851
02:31:56.580 --> 02:31:57.949
Jerry Corley: Could be a slug, right?

852
02:31:57.950 --> 02:32:01.169
Jack Rain: Yes, it was one of those two. Buckshot, I was going… That's good.

853
02:32:01.170 --> 02:32:05.869
Jerry Corley: Alright, alright, tone down the screaming. You don't need to do the screaming, you don't need to…

854
02:32:05.870 --> 02:32:07.009
Jack Rain: I'm in plot, I don't.

855
02:32:07.010 --> 02:32:07.390
Jerry Corley: Don't do that.

856
02:32:07.390 --> 02:32:08.210
Jack Rain: Wow, man.

857
02:32:08.210 --> 02:32:09.249
Jerry Corley: Volume does not…

858
02:32:09.250 --> 02:32:14.190
Jack Rain: I mean… I was gonna pull out of Gene Simmons, too, towards the end.

859
02:32:14.540 --> 02:32:17.900
Jerry Corley: Yeah, yeah, that's good, motherfucker. Right? It's like…

860
02:32:17.900 --> 02:32:24.129
Jack Rain: I am the imagery of an old, sweet old lady doing that, thinking she's 23, violent dementia.

861
02:32:24.130 --> 02:32:28.480
Jerry Corley: Right, and that's, like, I think I have that, image from my book, right? Yes.

862
02:32:28.480 --> 02:32:29.560
Jack Rain: Yes, yes.

863
02:32:29.560 --> 02:32:33.290
Jerry Corley: The southern belle with the gun, right? It's like…

864
02:32:33.290 --> 02:32:51.020
Jerry Corley: Well, there's something funny about an older woman with a Southern Belle with a shotgun. I go, yeah, it's called incongruity Annie Potts, right? You take a woman that's dressed in a nice Southern Belle dress, and then she grabs a shotgun. You even went further and made it an old lady with violent dementia.

865
02:32:51.090 --> 02:33:00.759
Jerry Corley: And I like that, the way you set that up. I go, violent dementia. It got me curious. I go, what is that? So, so, like, when she… she could either say hello or grab her shotgun.

866
02:33:00.760 --> 02:33:11.370
Jerry Corley: Right? And it's like, and you don't know, because she doesn't remember you from the last time you were there. Hey, it's me, it's your grandson, Jack, you know? I have something for you, you know?

867
02:33:11.370 --> 02:33:16.329
Jerry Corley: Because it's like, you know, GET THE FUCK OUT OF MY PROPERTY! I know who you are!

868
02:33:16.970 --> 02:33:18.789
Jack Rain: Grandma, wait! Where's your friend?

869
02:33:18.790 --> 02:33:19.960
Jerry Corley: Precise!

870
02:33:20.580 --> 02:33:23.889
Jerry Corley: So yeah, that could be plenty. And you don't have to yell.

871
02:33:23.890 --> 02:33:29.170
Jack Rain: inspired by… by your, integrity with the… the shotgun thing after.

872
02:33:29.170 --> 02:33:30.060
Jerry Corley: It really works, right?

873
02:33:30.060 --> 02:33:36.020
Jack Rain: I saw the, thumbnail… not thumbnail, the cover of Robin Williams on there, and I was like, oh, I'll just go off, like Robin Williams.

874
02:33:36.020 --> 02:33:39.440
Jerry Corley: Yeah, yeah, it's like, it's like, remember, it's not volume.

875
02:33:39.700 --> 02:33:51.710
Jerry Corley: What does Robin Williams do? He always does the voices, but he does it with, he does the, the stage whisper type of thing, so he never yells, he just… he takes it a little higher, like this!

876
02:33:51.710 --> 02:33:54.369
Jack Rain: I did it as if I didn't have a mic on stage.

877
02:33:54.370 --> 02:33:56.799
Jerry Corley: Gotcha. Yeah. Alright, nice work.

878
02:33:56.800 --> 02:34:03.350
Stephen Berger: You know that, movie, Any Which Way But Loose, or Every Which Way You Can, with Clint Eastwood and Clyde, the,

879
02:34:04.380 --> 02:34:06.490
Stephen Berger: And the grandma there, with the shotgun.

880
02:34:06.490 --> 02:34:16.650
Jerry Corley: Yeah, yeah, yeah. So it's like an old person, old woman with a shotgun, old man with a shotgun is one thing, old woman with a shotgun is really heightening the incongruity there, so…

881
02:34:16.650 --> 02:34:18.290
Jack Rain: Yeah, it's escalated.

882
02:34:18.570 --> 02:34:23.940
Jack Rain: for a tag or an add-on topper. Damn that arthritis!

883
02:34:24.850 --> 02:34:45.150
Jerry Corley: Yeah, right? You could add that, definitely. Now you're listing everything, what would be an old person? What would be symptoms? Like, what kind of gun would she be shooting? What brand? Is it a Winchester? Is it a Remington? Is it a Smith & Wesson? Is it, you know, you could have,

884
02:34:45.150 --> 02:34:52.549
Jerry Corley: And is there some wordplay you can do with the brand of a, Smith N, Wesson?

885
02:34:52.550 --> 02:34:53.900
Jack Rain: Weston, I like that one.

886
02:34:53.900 --> 02:34:55.350
Jerry Corley: Something like you can add a second.

887
02:34:55.350 --> 02:34:55.730
Jack Rain: the guy.

888
02:34:55.730 --> 02:35:00.640
Jerry Corley: Second idea there. So yeah, definitely fun you could have with that. Jack Day, what do you got?

889
02:35:01.630 --> 02:35:06.809
Jack Day: I was thinking that, after I became a widower.

890
02:35:06.980 --> 02:35:10.140
Jack Day: I was very lonely and realized I needed another woman.

891
02:35:10.860 --> 02:35:19.709
Jack Day: I went on eHarmony, And I found out that women own eHarmony, but the whole thing on eHarmony.

892
02:35:21.200 --> 02:35:34.309
Jack Day: And then I got this email from a non-profit organization that said they had younger women with traditional values willing to marry older men.

893
02:35:34.990 --> 02:35:42.380
Jack Day: I mentioned that to my sons, and Son John said, yeah, Or, the more they are.

894
02:35:42.840 --> 02:35:49.009
Jack Day: And then my son… Tim said, Daddy, just get yourself a dog.

895
02:35:49.680 --> 02:35:58.000
Jack Day: And then I could spend out about 10 different advantages of a four-legged woman over a two-legged woman.

896
02:35:59.310 --> 02:36:11.780
Jerry Corley: Yeah, you can even go, you know, a four-legged bitch over a two-legged woman, right? It's like, so now the bitch is the name of a dog, so it's not dirty, right? Because we call female dogs bitches, and you're not calling the woman

897
02:36:11.780 --> 02:36:33.550
Jerry Corley: a bitch, you're calling her a woman. So the four-legged bitch versus a two-legged woman, right? So now you have a nice compare and contrast. One of my students did a joke, or did a… has a joke book, 50 ways a dog is better than a man. So now you're taking it the other way and go… you're going to 10 ways a four-legged bitch is better than a two-legged woman.

898
02:36:33.550 --> 02:36:56.579
Jerry Corley: Right. Oh, I think you have a sweet premise there. You're gonna get spanned on it, too. That could be a joke, that could be a whole book, like, 50 different jokes, and hire an illustrator on, you know, like, when we did our, our, zombie, riddles for kids, 301 zombie riddles for kids, we hired an illustrator from Italy who basically charged, like, I think it was, like.

899
02:36:56.580 --> 02:37:10.910
Jerry Corley: $10 an illustration. He did beautiful color illustrations, all these zombies of the… each joke we had. So it was easy to put together a nice book, and you know, and it sells on Amazon. So it's like, and I just did it

900
02:37:10.910 --> 02:37:17.389
Jerry Corley: for one of my students who came up with this idea, I said, well, we can write a bunch of zombie riddle jokes and put them in the book.

901
02:37:17.390 --> 02:37:31.340
Jerry Corley: And so we put them in the book, and then she sells the book on Amazon. I think she still makes about $300-$400 a month, comes in, like, passively. So, that's… I think that book would sell, definitely.

902
02:37:31.660 --> 02:37:44.360
Jerry Corley: Right? So, I think that's a lot of fun. I like… I like that a lot. A four-legged a four… a two-legged woman for a four-legged bitch. Or, like, how a four-legged bitch is better than a two-legged woman.

903
02:37:44.550 --> 02:37:50.440
Jerry Corley: That's a… that's a real funny idea. And especially the story behind it, my son said…

904
02:37:50.650 --> 02:37:53.660
Jerry Corley: Duh, Dad, just get yourself a dog.

905
02:37:53.940 --> 02:38:03.020
Jerry Corley: Right? So now, you know, that's really… that's… and it leads to that. It was a nice puzzle builder. Nice job. Steve-o, what do you got?

906
02:38:05.740 --> 02:38:10.809
Stephen Berger: So I didn't, I mean, I just kind of used the segment of that…

907
02:38:10.810 --> 02:38:12.780
Jerry Corley: Use the segment.

908
02:38:12.780 --> 02:38:17.080
Stephen Berger: the act-out part, I… I wasn't gonna tell the whole…

909
02:38:17.220 --> 02:38:20.429
Stephen Berger: Because there's a setup prior to it as well, but…

910
02:38:20.620 --> 02:38:29.620
Stephen Berger: birds, it really makes sense, but so my… my wife… my wife said… my Philippine wife said, Stephen.

911
02:38:29.750 --> 02:38:31.840
Stephen Berger: You need to make more money.

912
02:38:32.110 --> 02:38:34.530
Stephen Berger: You need to get another job.

913
02:38:34.750 --> 02:38:38.600
Stephen Berger: I didn't come 7,200 miles to be poor.

914
02:38:40.240 --> 02:38:45.019
Stephen Berger: And so, I said to her, You're right, love.

915
02:38:45.460 --> 02:38:47.130
Stephen Berger: I'm gonna go to work.

916
02:38:47.730 --> 02:38:48.960
Stephen Berger: for ice.

917
02:38:49.700 --> 02:38:51.500
Jerry Corley: We're just quiet.

918
02:38:51.500 --> 02:38:52.360
Stephen Berger: one year.

919
02:38:52.750 --> 02:38:57.410
Stephen Berger: I'm gonna collect the $50,000 signing bonus, then I'm quitting.

920
02:38:59.590 --> 02:39:02.999
Jerry Corley: You could just say, and then when I found out I was half Mexican.

921
02:39:03.380 --> 02:39:06.410
Jerry Corley: They said, I could work from home.

922
02:39:08.060 --> 02:39:11.459
Jerry Corley: That's still… the joke still works, right? Now it's more economized, right?

923
02:39:11.460 --> 02:39:12.480
Stephen Berger: Right, right.

924
02:39:12.480 --> 02:39:25.550
Jerry Corley: Yeah, so it's like, that's, that's really… you don't even need that, because they, you know, it's like, and I just didn't know, but my dad is from Guadalajara, Guadalajara, Mexico.

925
02:39:25.550 --> 02:39:44.189
Jerry Corley: Like, so I'm half Mexican. When they found that out, they decided that I could work from home. Yeah, so nice. Now I like it. I like her voice. Get her voice down, and you got it. Because when she says, I didn't come 7,200 miles to, you know,

926
02:39:44.190 --> 02:39:50.070
Jerry Corley: to be poor. And it's like, now we feel that, like, we feel that sort of, like.

927
02:39:50.310 --> 02:39:54.690
Jerry Corley: pressure on you. So who becomes the antagonist in that story?

928
02:39:55.760 --> 02:39:56.830
Jerry Corley: Anybody?

929
02:39:59.720 --> 02:40:00.510
Pappy: She does.

930
02:40:00.510 --> 02:40:12.610
Jerry Corley: Every story has an antagonist-protagonist. Yes, she does. She becomes the antagonist. Because she, like, I didn't do… she doesn't want to take any responsibility for the money, I didn't come 7,200 miles to be poor.

931
02:40:12.780 --> 02:40:16.529
Jerry Corley: Right? And it's like, well, wait a second, what about love? Fuck that!

932
02:40:16.650 --> 02:40:30.819
Jerry Corley: You know, I don't want to be poor, go to work, right? And you can really feel that pressure, right? And so now, you know, it's not she's not mean, she's not beating you, but she's still the antagonist in the story.

933
02:40:30.820 --> 02:40:31.330
Stephen Berger: Alright.

934
02:40:31.330 --> 02:40:38.689
Jerry Corley: And when you set it up that way, we yearn for you to win. So what happens if we want him to win?

935
02:40:39.490 --> 02:40:41.609
Jerry Corley: Do we have emotion invested in it?

936
02:40:41.980 --> 02:40:51.870
Jerry Corley: Yeah. And if we have emotion invested in it, and he gets her back, meaning a benign retaliation scenario, like, so I got a job with ICE.

937
02:40:53.040 --> 02:40:59.849
Jerry Corley: We laugh, sometimes applaud, because if we're emotionally invested and he wins, then we win.

938
02:40:59.930 --> 02:41:22.279
Jerry Corley: Do you see the energy there? How that changes? And that really changes the whole level of a story, if you can get the audience emotionally involved. That's why, when I deliver jokes, it's also my ex who cheated on me, sort of thing. I let the audience know there's a reason to root for me versus her, you know? Especially man talking about a woman. We gotta give the audience a reason, because men are at the top of the totem pole.

939
02:41:22.280 --> 02:41:25.699
Jerry Corley: We have to give the audience a reason why she's the antagonist.

940
02:41:25.910 --> 02:41:31.039
Jerry Corley: So, if we don't, they're like, why'd you… we don't even know this woman, why are you being so mean to her?

941
02:41:31.040 --> 02:41:31.940
Kaz Okamoto: Can you…

942
02:41:31.940 --> 02:41:33.120
Jerry Corley: stop first. Yes, Kaz.

943
02:41:33.120 --> 02:41:37.209
Kaz Okamoto: Can you make it where, the signing bonus and…

944
02:41:37.230 --> 02:41:48.670
Kaz Okamoto: once he was to deliver one, you know, I hate to call them illegal aliens, because not everybody's illegal, but once he delivers one.

945
02:41:48.670 --> 02:42:03.810
Kaz Okamoto: then he gets the money, and he can quit his job, even though it's a fictitious thing. So he turns his wife in, and they ship her back to the Philippines. Now she can be poor and happy, because she didn't come all this way to the United States to be poor.

946
02:42:03.810 --> 02:42:21.200
Jerry Corley: And that could be a callback, too. It's like… and you were like, she could be like, you know, so I called, you know, so I called ICE, and they picked up my wife. I said, what are you doing? Well, now you could go back to the Philippines, because you didn't come 7,200 miles to be poor, and use her line…

947
02:42:21.200 --> 02:42:23.839
Kaz Okamoto: Philippines, and so you could use that whole thing.

948
02:42:23.840 --> 02:42:24.560
Jerry Corley: Yeah.

949
02:42:24.560 --> 02:42:31.209
Kaz Okamoto: Okay, good, so you didn't come all this way to be poor, so we'll take you back to the Philippines, and you can stay poor there.

950
02:42:31.740 --> 02:42:32.100
Jerry Corley: institutions.

951
02:42:32.100 --> 02:42:36.399
Kaz Okamoto: And you get $50,000, and then you can just find a new Filipino bro.

952
02:42:36.400 --> 02:42:49.309
Jerry Corley: And Steve was like, I won't even do that joke, because she'll take that seriously, and I won't have my balls tomorrow. But that shit's funny. Still funny, right? Yeah. Alright, nice. Do you have anything, Sarah?

953
02:42:51.120 --> 02:42:53.569
Sara: I have nothing!

954
02:42:53.970 --> 02:42:55.820
Jerry Corley: And you sang it so that.

955
02:42:55.820 --> 02:43:00.450
Sara: Yes, because I struggle with the process.

956
02:43:01.160 --> 02:43:09.340
Sara: I don't know how you guys come up with so many things in 10 minutes, but after 10 minutes, I'm just trying to still remember what's…

957
02:43:09.460 --> 02:43:19.690
Sara: said to me, like, my boyfriend, my mother, whatever, and I came… I remember something that my boyfriend told me, and that really bothered me.

958
02:43:19.950 --> 02:43:23.630
Sara: But it was already over the 10 minutes, like, a long time.

959
02:43:24.060 --> 02:43:27.550
Sara: And he told me, like, you complain too much.

960
02:43:31.770 --> 02:43:32.560
Sara: And…

961
02:43:33.180 --> 02:43:40.379
Sara: I don't know, because I… in real life, I just don't know what to answer to people in general. Like, when they say things to me, it's like.

962
02:43:40.820 --> 02:43:48.360
Sara: So, comedy is fiction, so we can make up to make a revenge, maybe, but I have a question on the process, because

963
02:43:48.640 --> 02:43:57.919
Sara: from the moment he said to me, like, you complain too much, after I struggled with the reality of it, and how I…

964
02:43:58.040 --> 02:44:02.020
Sara: makeup thing, maybe I think too much, it's too complicated, but…

965
02:44:02.020 --> 02:44:11.970
Jerry Corley: So what do you… so now you have inventory, right? The inventory is like, what do you complain about? I said, I don't think I complain too much. I complain just enough.

966
02:44:12.850 --> 02:44:13.290
Sara: It is.

967
02:44:13.290 --> 02:44:17.259
Jerry Corley: It's like, so the problem isn't me, the problem is him.

968
02:44:17.680 --> 02:44:24.989
Sara: Yes, what I would like, yeah, that's what I would like to come up with, because he's complaining about me as well, so it's a complaint.

969
02:44:24.990 --> 02:44:27.689
Jerry Corley: I complained about today was, like, 8 things.

970
02:44:28.390 --> 02:44:37.269
Jerry Corley: Right? Today was my day… kind of my day off, and I was like, that's not even a lot, because it was my day off, right?

971
02:44:37.270 --> 02:44:37.910
Sara: That's true, yeah.

972
02:44:37.910 --> 02:44:52.440
Jerry Corley: Now we can even get into what they are that you complain about, and they're the most miniscule things. You know, they could be, like, the littlest things, you know, or… or you can start with the big things, and then drill down to the little things.

973
02:44:52.510 --> 02:45:04.439
Jerry Corley: You know, well, I love to complain, because complaining's where the jokes for me come from. Every time I hear a dumb commercial, I always, like, you're listening to it, you go, that's dumb. And it would come across as a complaint, but there's also a joke there.

974
02:45:04.440 --> 02:45:16.700
Jerry Corley: So I think that could be part of it, too. Like, you know, commercial that says, if you want to lose 20 or more pounds legitimately, call 1-800-555-1212. And I'm like, 20 pounds or more legitimately?

975
02:45:17.110 --> 02:45:30.670
Jerry Corley: That's ridiculous, you know? As opposed to illegitimately? Because think about it, if you're losing 20 or more pounds illegitimately, that's just a Texas abortion. Like, and now it's not weight loss, that's a felony. So now you have…

976
02:45:30.910 --> 02:45:44.079
Jerry Corley: Right? It comes from your complaining. So your complaining is actually good. Your complaining is where your creativity comes from. It's your perspective on the world. And I think that's where the jokes come from. Take the shit that drives you crazy, make it funny.

977
02:45:44.500 --> 02:45:49.870
Jerry Corley: Every one of your complaints becomes a potential setup for a joke. How's that, Sara?

978
02:45:49.870 --> 02:45:57.190
Sara: Yeah, so it's… it makes sense, so what you mean is, like, to dive into the real feeling of complaining.

979
02:45:57.720 --> 02:46:12.500
Sara: But the problem with this structure of he said and I said, to me, it's… it's like the outside of the box, and I don't know from where to find the fire back to write from there, because I just…

980
02:46:12.730 --> 02:46:14.459
Sara: the… he's… I don't know if you…

981
02:46:14.460 --> 02:46:32.610
Jerry Corley: So, but you're getting there because you're, like, sometimes drilling down into it. As soon as you get into what are you complaining about? Like, when George Carlin said to me, take the shit that drives you crazy and make it funny. So every day, I go around when I hear things on the news, or I hear things on a radio, or I hear a commercial, and it sounds ridiculous to me.

982
02:46:32.610 --> 02:46:42.930
Jerry Corley: I'm like, I'm gonna now do a bit about that, right? So it's like, any chance I can to… or the way sometimes people talk, like, you know, like, we're gonna give you a free gift

983
02:46:43.230 --> 02:46:48.570
Jerry Corley: As opposed to, what, a gift I have to pay for? That's the dumbest thing I've ever heard in my life, free gift.

984
02:46:48.580 --> 02:47:03.830
Jerry Corley: free gift? You know, hey, happy birthday, I got something for you. That'll be 35, right? And it's like, so, so in that case, you can expand on that further, like, just using redundant collocations. Well, we use those

985
02:47:03.830 --> 02:47:15.269
Jerry Corley: That's what we call them in America. In France, they just call it dumb Americans, right? That say the dumbest shit, right? Like, we're gonna use all available resources.

986
02:47:15.270 --> 02:47:27.629
Jerry Corley: As opposed to what? The not-available resources? You idiot, you American imperialists! Right? So you can have fun, like, making fun of,

987
02:47:27.750 --> 02:47:37.890
Jerry Corley: So I'm sure you hear shit from America, right, that, oh, it's dumb, right? And you comment on it. So that's sometimes where the jokes come from.

988
02:47:39.110 --> 02:47:40.969
Jerry Corley: Right? You could say, somebody said this.

989
02:47:41.160 --> 02:47:44.100
Jerry Corley: That's why we love today. The other day, Trump said this.

990
02:47:44.590 --> 02:47:49.359
Jerry Corley: And then, so we can take that… we used to do it all the time, presidents say this.

991
02:47:49.360 --> 02:48:05.740
Jerry Corley: And we make fun of the presidents, because we're punching up. These days, you do that, and people get… they want to fight you, right? Because everybody's so defending, you know, the president, what they say. It's like, because we're now so divided politically, when we've spent centuries making fun of our presidents, and now suddenly we can't.

992
02:48:05.740 --> 02:48:20.200
Jerry Corley: You know, it's really kind of changed a little bit. But we can make fun of other stuff, right? And so, so what are those things? Sit, you know, one day you'll sit down just as an exercise and write down those little pet peeves, those little annoyances.

993
02:48:20.230 --> 02:48:33.639
Jerry Corley: that you have, that you complain about. What are those things your boyfriend says you complain about? You know, what are they? Are they significant? Are they minor? You know? But you're complaining. If you complain too much, there's gotta be at least a few of them.

994
02:48:34.190 --> 02:48:35.030
Sara: Oh, yeah.

995
02:48:35.430 --> 02:48:43.109
Jerry Corley: So write those down! And it's like, now you have a whole list about complaining, and like, what really bothers you about those things?

996
02:48:43.170 --> 02:48:55.909
Jerry Corley: You know, that's where we want to hear. That's kind of, like, that gets the essence out, and I think other people would relate to that, because if they bother you, they probably bother a lot of other people, too. So that's where the relatability comes from.

997
02:48:55.960 --> 02:49:11.490
Jerry Corley: It's like you're having the… and what's happening there? There's a coincidence, a bit irony, that you, all the way in France, have some of the same complaints I do all the way here in Los Angeles, right? What a coincidence. Sirens, like, hates the same shit I do, you know?

998
02:49:11.780 --> 02:49:14.580
Jerry Corley: So that could be… that could be a fun way to approach stuff.

999
02:49:14.830 --> 02:49:23.950
Sara: And is it, does it play in the story, I would say, that he doesn't know… like, he doesn't… he's not annoyed?

1000
02:49:24.630 --> 02:49:26.929
Sara: Like, the person who sells me

1001
02:49:27.400 --> 02:49:31.309
Sara: Like, there is a contrast between the two characters, like.

1002
02:49:31.310 --> 02:49:44.800
Jerry Corley: Yeah, a little bit. Anytime you have a he said, she said, I think there's a contrast, there's tension, right? So that's why we… that's one of the quickest ways to add a dynamic shift, is to give a person a first-person voice and say they said something to you.

1003
02:49:44.980 --> 02:49:57.419
Jerry Corley: You know, so it's like, you know, another way to do it, like, is, you know, the benign retaliation scenario. Like, for my wife's birthday, I got her a gift certificate for his and her massage.

1004
02:49:57.850 --> 02:50:02.280
Jerry Corley: And she said, Jerry, this is a we gift, not a me gift.

1005
02:50:02.590 --> 02:50:06.260
Jerry Corley: Sara returned it, and got our gift certificate for dinner for one.

1006
02:50:06.350 --> 02:50:16.579
Jerry Corley: Right? So, in that case, you can have a simple joke, but I did add the act out in there of, she said this to me. Once she says it to me, it kind of heightens

1007
02:50:16.660 --> 02:50:32.900
Jerry Corley: the desire for the audience to see a resolution that works out in your favor, because it's the thought that counts. It's not the gift, right? It's not a me or he gift, it's a… it's the thought, right? It's like, for her birthday, I got her a vacuum. Then it would be my fault.

1008
02:50:33.490 --> 02:50:37.130
Jerry Corley: So, or if I got her a set of golf clubs, since she hates golf.

1009
02:50:37.210 --> 02:50:54.250
Jerry Corley: You know, I thought you wanted to do more things together, you know, so I got you a set of golf clubs so you can play golf with me. I hate golf, you know? So it's like, that was just you being selfish for her birthday gift, right? Some guys are like that. How many guys buy their ladies golf clubs and they don't want them?

1010
02:50:54.570 --> 02:50:57.280
Jerry Corley: Jack Rain, what do you got? Does that make sense, Sara?

1011
02:50:57.280 --> 02:50:58.780
Sara: Yeah, yeah, totally, yeah.

1012
02:50:58.780 --> 02:51:01.140
Jerry Corley: Very cool. What do you got, Jack?

1013
02:51:01.140 --> 02:51:10.879
Jack Rain: give potentially helpful advice on, like, figuring out dialogue. There's, like, two ways going about it, to, like, get natural dialogue.

1014
02:51:11.170 --> 02:51:16.030
Jack Rain: To write off from is, like, going to, like, an improv class.

1015
02:51:16.410 --> 02:51:24.990
Jack Rain: Or do, like, an exercise improv class. Or, number two, You can just, rant.

1016
02:51:25.100 --> 02:51:30.169
Jack Rain: To a friend that usually, you know, you're unfiltered with.

1017
02:51:30.580 --> 02:51:44.080
Jack Rain: And that's how I came up with the violent dementia grandma thing, at least last night. And… or, number three, if you don't have a friend, a loser, you can always just…

1018
02:51:44.170 --> 02:51:52.260
Jack Rain: You can always just, you know, rant at the beach. Rant out loud at the edge of a cliff.

1019
02:51:52.500 --> 02:51:57.349
Jack Rain: Rant out loud inside of an insane asylum.

1020
02:51:57.350 --> 02:51:59.790
Jerry Corley: You don't need any of those places if you don't yell.

1021
02:52:03.570 --> 02:52:05.149
Jack Rain: That's why I'm thinking about myself.

1022
02:52:05.320 --> 02:52:19.489
Jerry Corley: You're in the perfect rehearsal studio right now, your car, right? So it's like, how much… I can't even say how many pieces I've rehearsed in my car. So here's another thing to do, too, right? It's like getting that natural dialogue

1023
02:52:19.490 --> 02:52:30.389
Jerry Corley: filter the line you're saying through a character. Like, sometimes in… at Juilliard, during the summer, courses, there was something called mask class.

1024
02:52:30.390 --> 02:52:43.270
Jerry Corley: You go to mask class, and there's, like, a thousand masks, and you put on… you take the mask class, and for 15 minutes, or 5 minutes, whatever the assignment is, you put on a mask, and you play act.

1025
02:52:43.420 --> 02:52:58.179
Jerry Corley: everything. You look in the mirror and see what that mask inspires in you. Now, you give that character, that mask character, a voice, and now you play everything based on that case, so you're doing interactions with other people as that…

1026
02:52:58.180 --> 02:53:15.189
Jerry Corley: what character that mask inspires in you. So it really helps you to flex your, your dialect, and your voices, and how would this, like, you know, mouse character act, or how would this lion character act, or how would this evil mask character act?

1027
02:53:15.190 --> 02:53:33.040
Jerry Corley: You know, so it gives you a chance to really play around, and what would they say? You know, so it's like, a lot of times, what I say is, like, when you get, sort of like, you get a little, like, have a couple of beers with your friends, is usually when all your inhibitions come down, you start talking like you. Can you bring that person to the stage?

1028
02:53:33.410 --> 02:53:49.720
Jerry Corley: Because that's when we're at our, you know, we're the most natural, and we're ourselves. Eventually, you find how to be you, and you're like that in public situations. Like, you know, when we're… when we first meet somebody, we're very… we're courting them, so we give them our best mask.

1029
02:53:49.720 --> 02:53:57.650
Jerry Corley: Right? So, but can you be you in a public scenario, public situation, and treat the audience like all your best friends?

1030
02:53:58.100 --> 02:54:09.289
Jerry Corley: So it allows you that sort of relaxed environment to be whatever you want to be, because you know there's no rules. You just get up there and play. So that's… but those are good experiments. Like, I like to do, you know.

1031
02:54:09.600 --> 02:54:29.560
Jerry Corley: taking those characters and doing the mask, putting on something, putting myself on crutches, giving myself a pain, like kid… talking through a kidney stone. Try to, guys, like, try to fuck through a kidney stone. And, you know, and talk dirty while you're in a kidney stone. It's gonna give you a whole different, oh, god, damn it, you know?

1032
02:54:29.560 --> 02:54:48.900
Jerry Corley: It's like, you okay? No, I got a fucking kidney stone! Keep, keep sucking it, you know? You know, or whatever, you know what I'm saying? It's, like, such a weird place, but it's something that guys would do. It's like, guys, like, if they got an offer, they'd probably, if they had a kidney stone, they'd probably say yes to it, right? So anyway, so it's like, but you give yourself another impetus to…

1033
02:54:48.900 --> 02:54:53.189
Jerry Corley: To draw from, and it takes you out of your head of being

1034
02:54:54.000 --> 02:55:07.320
Jerry Corley: I would say syntactically and grammatically correct, because when we talk dialogue, we don't always talk with grammatic correctness, right? That's the way we learn to write creatively, is, you know.

1035
02:55:07.400 --> 02:55:15.389
Jerry Corley: proper syntax, proper punctuation, proper grammar, but when we talk, we don't speak that way at all. Does that make sense?

1036
02:55:16.190 --> 02:55:23.600
Jack Rain: I would say to add on to, with, with masks, putting on a mask and, putting it on personifully, great…

1037
02:55:23.690 --> 02:55:36.980
Jack Rain: A couple great visual examples of the result of that is Jim Carrey's Ace Ventura. He was portraying, basically, forgot the name of the bird, a,

1038
02:55:37.130 --> 02:55:50.849
Jack Rain: Pappy? I forgot what it's called. And, Anthony Hopkins with, Hannibal Lecter, he was, personifying another animal, so they were taking on the mannerisms of that… those masks into their hair.

1039
02:55:50.850 --> 02:56:07.859
Jerry Corley: Absolutely, yeah, absolutely. It's like, when you drill down to what's really going on, you know, so yeah, those are good practice techniques for, for comedians. It's like, try on different voices. And sometimes we have to practice the voices to feel comfortable doing the voices, especially if it's getting out of our skin.

1040
02:56:07.860 --> 02:56:17.229
Jerry Corley: Right? It's like, sometimes we're afraid to do a voice in front of an audience, you know? I love to practice different voices, see where I can… how can I stretch that when, you know.

1041
02:56:17.230 --> 02:56:20.699
Jerry Corley: with the audience, you know, what voice can I do?

1042
02:56:20.710 --> 02:56:32.190
Jerry Corley: You know, like, if I'm doing… my girlfriend called me on Halloween, my ex, who cheated on me, called me on Halloween, she's like, Jerry, I don't know what to pretend to be for Halloween. It's not… I don't even have to go deep with that voice, I just have to…

1043
02:56:32.220 --> 02:56:35.959
Jerry Corley: Sort of emulate, like, what her voice might sound like, you know?

1044
02:56:36.240 --> 02:56:43.120
Jerry Corley: And so, you know, but when I do try to do impressions, I try to hit a voice a little better than that, you know?

1045
02:56:43.870 --> 02:56:47.719
Jerry Corley: All right, let's get to,

1046
02:56:47.940 --> 02:56:58.669
Jerry Corley: The other thing I wanted to sort of look at as narration versus, you know, narration versus, like, the,

1047
02:56:58.980 --> 02:57:12.700
Jerry Corley: experience, so narration versus experience is mostly what we did. Like, with, Jack, you just introduced a version of that, that sort of dynamic shift, when you went, like, like, if you don't have any friends, loser.

1048
02:57:12.700 --> 02:57:20.709
Jerry Corley: A little aside, that's another way to do a dynamic shift. And the only thing we're looking for is, like, I give you a list of all these dynamic shifts.

1049
02:57:20.760 --> 02:57:26.060
Jerry Corley: Only 3, really, if you're doing a 5-minute piece, 3 or 4 dynamic shifts.

1050
02:57:26.330 --> 02:57:31.320
Jerry Corley: And it's like… and you'll realize the more that we talk about these dynamic shifts.

1051
02:57:31.570 --> 02:57:37.790
Jerry Corley: As you move forward, the more they show up in your regular conversation when you're talking to friends.

1052
02:57:38.190 --> 02:57:57.360
Jerry Corley: Right? You'll wind up doing something like that if you don't have any friends, loser. You know, and it's like, that's how we talk. So an aside is one of them. A voice sometimes is one of them, a dialect is one of them. You know, act out what the cop would say when he pulls you over. How does he pull you over? Hey, step out of the car. You have a driver's license.

1053
02:57:57.570 --> 02:58:11.840
Jerry Corley: you know, registration, insurance, proof of insurance. You know, it's like, you know, it's like… or you do a cop giving you a field sobriety test. You know, what do they say? We've had cops talk to us, right? And, you know, hey, you know, I stopped you.

1054
02:58:12.130 --> 02:58:18.649
Jerry Corley: You know, you was… you was talking on… I saw you talking on FaceTime, or whatever it was, you were talking on your cell phone, I saw it.

1055
02:58:19.000 --> 02:58:24.889
Jerry Corley: I remember that happened to me recently, as a cop pulled me over for that, they go, are you sure? You saw me talking on my FaceTime.

1056
02:58:25.170 --> 02:58:31.599
Jerry Corley: Like, you know, I saw you pick up your phone, you were talking at your FaceTime. Yeah, I saw it. I said, you sure you didn't hallucinate that?

1057
02:58:32.830 --> 02:58:39.219
Jerry Corley: He says, because I understand you're doing your job, but I think you may have made a mistake, because, you know, and this is what's gonna happen.

1058
02:58:40.070 --> 02:58:44.110
Jerry Corley: And remember, I say this out of respect.

1059
02:58:44.610 --> 02:58:46.679
Jerry Corley: What's gonna happen is we're gonna go to court.

1060
02:58:47.300 --> 02:58:51.410
Jerry Corley: And I'm gonna show the judge… My FaceTime app.

1061
02:58:52.170 --> 02:58:53.840
Jerry Corley: And it's gonna say zero.

1062
02:58:54.380 --> 02:58:58.619
Jerry Corley: As far as the time on the FaceTime call, And then…

1063
02:59:00.730 --> 02:59:08.229
Jerry Corley: you're gonna look like a fool, right? And he'll dismiss the case, because obviously there's no evidence, right? I wasn't on the FaceTime, you made a mistake.

1064
02:59:08.360 --> 02:59:14.880
Jerry Corley: And so that's basically what's gonna happen. I said, like, I don't want to save your time and my time, but I'll be there.

1065
02:59:15.090 --> 02:59:19.849
Jerry Corley: Right? If that's where you want to go. Right? And he's like, well, alright, well…

1066
02:59:20.810 --> 02:59:22.660
Jerry Corley: I'm gonna let you off with a warning.

1067
02:59:23.460 --> 02:59:34.350
Jerry Corley: I said, well, I appreciate that. He said, so you should be careful driving, I just spend way too much out here. Thank you very much. And by the way, nice haircut, because the guy was bald, and he had a goatee, just like me.

1068
02:59:34.350 --> 02:59:50.769
Jerry Corley: Right? And it's like, does anybody else say you look like Stone Cold to Steve Austin? I get that all the time. He goes, haha, all the time. I said, have a good day. So he goes on his way, I'm like, alright, babe, he's gone. So anyway, what I was trying to say is, right, so, but you give him a story.

1069
02:59:50.900 --> 02:59:54.380
Jerry Corley: And the story connects with something he could see happening.

1070
02:59:55.520 --> 03:00:03.510
Jerry Corley: Sometimes that happens, but as a character, it's kind of a character act out, right? So, now you can do the… now you can do the bit. So, we would say that with friends.

1071
03:00:04.280 --> 03:00:10.790
Jerry Corley: Now, getting in that state where you could take friends, so anytime you have a situation… doctor told me to reduce my stress.

1072
03:00:12.320 --> 03:00:14.239
Jerry Corley: So instead of just saying that.

1073
03:00:15.210 --> 03:00:17.090
Jerry Corley: How would a doctor say that to you?

1074
03:00:17.400 --> 03:00:19.130
Jerry Corley: Brendan. Brendan.

1075
03:00:22.440 --> 03:00:24.440
Brennan Murphy: One more time? How would I say what to you?

1076
03:00:24.440 --> 03:00:29.830
Jerry Corley: If your doctor told me to… if, like, the line is, my doctor told me I need to reduce my stress.

1077
03:00:31.080 --> 03:00:41.580
Jerry Corley: So, now, give me that, and how would we change the dynamic? We know, put it into an act-out, right? That's one way. So, put it out, you know, doctor Comey, I went to a doctor, and the doctor was like.

1078
03:00:43.760 --> 03:00:47.709
Brennan Murphy: I'd remove the pronoun, right? Make it a little more ambiguous.

1079
03:00:49.890 --> 03:00:57.490
Jerry Corley: Let's talk about… Achieving some sort of, like… let's talk about the importance of…

1080
03:00:58.290 --> 03:01:02.680
Jerry Corley: Having your day… having a day be less stressful.

1081
03:01:05.410 --> 03:01:11.319
Jerry Corley: Right? Like, something like that. Like, we're having a day be less… it didn't say your day.

1082
03:01:11.540 --> 03:01:15.460
Jerry Corley: You know, a day with… let's talk about a day with less stress.

1083
03:01:16.920 --> 03:01:17.570
Jerry Corley: And, like.

1084
03:01:17.570 --> 03:01:17.980
Brennan Murphy: Yeah.

1085
03:01:17.980 --> 03:01:22.419
Jerry Corley: You know, sounds like you got a lot going on, Doc. You wanna… you wanna save this for another day?

1086
03:01:22.540 --> 03:01:31.000
Jerry Corley: You know, something like that could be, you see what I'm saying? Like, that's kind of the key. How can you find that dialogue that makes that sound, like, unique and original, like it's actually happening?

1087
03:01:31.470 --> 03:01:53.700
Jerry Corley: So that's good. So, like, it's… so that was good. I like the fact you immediately said, let's take out a pronoun to make it more ambiguous. Nice job, right? So that creates a possibility for a reverse. You know, a reverse is the Anthony Cheselnik type of joke, right? You just, like, leave it vague enough that it's, like, when somebody says something… like, my girlfriend, asked me about,

1088
03:01:54.050 --> 03:01:58.739
Jerry Corley: getting… my girlfriend asked me about getting a Brazilian butt lift.

1089
03:02:00.660 --> 03:02:04.840
Jerry Corley: Who… who we… what's implied there? Who's getting the Brazilian butt lift?

1090
03:02:08.110 --> 03:02:22.119
Jerry Corley: The audience thinks it's her, but I didn't say it was her, did I? I said, my girlfriend wanted to talk to me. So that's the misdirection, the me. She wanted to talk to me about getting a Brazilian butt lift. And I was like, then none of my shorts would fit.

1091
03:02:23.700 --> 03:02:36.469
Jerry Corley: So now it's me, right? Now we spin the results. So that… now that you understand how to find that ambiguous line there, it's like you're gonna have a lot of fun with that. You know, we wanted to talk to him, you know, about getting, breast implants.

1092
03:02:37.230 --> 03:02:51.839
Jerry Corley: I go, do you really think I need them? You know? Because we obviously think it's her. Now, what are the other things that we might, might assume? Like, you know, my girlfriend was talking to me about getting a vasectomy.

1093
03:02:52.550 --> 03:03:08.220
Jerry Corley: I'm like, mmm… I think you're talking about tying your tubes, babe. Different… a whole different thing, right? So it's like… so you flip it back on her, like, in that way. So you see what I'm saying? You can have fun with that? And it's still the conversation, the audience can relate to it. Now,

1094
03:03:08.220 --> 03:03:20.129
Jerry Corley: this part of the lesson is over, we're at 1 o'clock, but I'm sending you a PDF, and it has a bunch of other exercises on there for you to work with. And now, I would implore you to try them.

1095
03:03:20.130 --> 03:03:35.100
Jerry Corley: Because it's like, we only… it only becomes second nature if we actually apply them and try them, right? So it's like… and that's one of the things I think comedians sort of mess up on, is learning a new technique and working on it, working on it, till they kind of own it.

1096
03:03:35.200 --> 03:03:54.940
Jerry Corley: Right? And it's like, when they own it, then all of a sudden it starts to show up in their dialogue, in their banter, in their… in their improv, like Jack was saying, like, it just shows up. Those little asides start to show up, practicing your asides. You know, and why do they call them asides? Because late night hosts had sidekicks, and they turn to the sidekick and make a comment.

1097
03:03:55.660 --> 03:03:58.719
Jerry Corley: And anytime you do that, it releases tension.

1098
03:03:58.820 --> 03:04:05.129
Jerry Corley: You know, they do a joke, the joke doesn't work. Johnny Carson used to go, you know, last night's audience was…

1099
03:04:05.940 --> 03:04:22.559
Jerry Corley: A lot better, you know? And everybody would laugh because he's commenting on the moment that just happened now, and just, like, takes that tension, releases it, and the audience laughs at the acknowledgement of him admitting a joke bombed, right? So, does anybody have any questions before we take off?

1100
03:04:24.040 --> 03:04:25.910
Jerry Corley: Did you get something from this?

1101
03:04:26.210 --> 03:04:27.010
Jerry Corley: Coarse.

1102
03:04:27.690 --> 03:04:37.069
Jerry Corley: Yeah, good, good. Adding that dynamic shift, and when you watch other comedians, you're gonna see, you're gonna see the good ones, you're gonna see the dynamic shifts. Even Steven Wright.

1103
03:04:37.220 --> 03:04:43.580
Jerry Corley: Who is, like, very monotone, On occasion, he does this thing where he'll go, I was…

1104
03:04:52.280 --> 03:05:05.890
Jerry Corley: Never mind. And he goes on, you know, he'll do something like that, or sometimes I've seen him, like, he walks back and forth on the stage. If you go see him live in a longer set, I remember watching him walk back and forth on the stage, and he stopped.

1105
03:05:06.060 --> 03:05:12.840
Jerry Corley: to say something, and then he continued walking. And then another thing he took, he had his… he had a glass of water.

1106
03:05:13.740 --> 03:05:19.349
Jerry Corley: And he put it on the stool, intentionally, with half the glass off the edge.

1107
03:05:19.580 --> 03:05:20.980
Jerry Corley: of the stool.

1108
03:05:21.340 --> 03:05:39.250
Jerry Corley: we're all saying that glass is gonna fall. Normally, somebody would push the glass forward to be completely on the stool. Instead, he grabbed the stool and pulled it under the glass. And so, another dynamic shift, and I'm like, fucking, that's genius, because it's so subtle.

1109
03:05:40.060 --> 03:05:55.650
Jerry Corley: But everybody in the room responded to it. I was like, man, that's really clever. So, and another thing, like, Brian Kiley, if you watch Brian Kiley, Brian is a great joke writer. Great joke writer, but he's very monotone. His emotional…

1110
03:05:55.650 --> 03:06:07.800
Jerry Corley: range is, like, like here, that's it, right? But… and so we hired them, worked with them to do… we do these, like, now, these, what we call freshman funny welcome shows.

1111
03:06:07.870 --> 03:06:26.949
Jerry Corley: for freshmen at the universities. And so we invited Brian to headline at Cal State Northridge. And so we're doing the show, and I was like, this is going to be interesting. I'm glad we asked Brian Kiley to do this, because he's very, kind of, one-note as far as his emotions. How is he gonna keep this audience engaged?

1112
03:06:27.000 --> 03:06:35.029
Jerry Corley: These 17, 18-year-old kids… How's it gonna keep these freshmen engaged for 45 minutes, 48 minutes?

1113
03:06:35.630 --> 03:06:49.880
Jerry Corley: You know, because he's just so monotone. At about 20 minutes in, about 18 minutes in, he goes, I'm gonna read for you right now the jokes that got rejected over at Conan, because he was the head monologue writer for Conan, and he reaches into his

1114
03:06:50.060 --> 03:06:52.909
Jerry Corley: Jacket pocket and pulls out these 4x6…

1115
03:06:53.100 --> 03:07:07.789
Jerry Corley: cards. Normally, we're used to 3x5s, right? He had 4x6 cards, and he starts reading the jokes that got rejected at Conan, and so those that got laughs, he goes, yeah, that's what I thought, too. And it's like, and then another one, like, doesn't get a laugh, he goes, yep.

1116
03:07:07.990 --> 03:07:20.109
Jerry Corley: They were right. And so, that little thing right there was a dynamic shift enough to reset the audience for him to go to the end, take it to the end. I was like, just so subtle.

1117
03:07:20.180 --> 03:07:38.159
Jerry Corley: But it was still a dynamic shift that was super effective. And for him, because he's just so… so one-note, that was big, right? Same thing with Steven Wright. One time he said, you know, he delivers it monotone, just kind of like no motion, and then one time he said something and he kind of chuckled to himself, he goes.

1118
03:07:39.570 --> 03:07:48.580
Jerry Corley: And the audience laughed really loudly that he had an emotion that was real. He was laughing at… that was a funny thought. And he just continues on.

1119
03:07:48.860 --> 03:07:51.350
Jerry Corley: And it was like, so, it doesn't have to be big.

1120
03:07:51.570 --> 03:07:54.680
Jerry Corley: Just has to be a change in what we're used to seeing. Kaz?

1121
03:07:55.260 --> 03:08:00.139
Kaz Okamoto: I went and saw Andy Kaufman, once, 40…

1122
03:08:00.540 --> 03:08:06.399
Kaz Okamoto: Five years ago, and, he got… brought the entire audience

1123
03:08:06.750 --> 03:08:13.730
Kaz Okamoto: onto these giant yellow buses, school buses, and drove them all, I think we were at the,

1124
03:08:13.830 --> 03:08:20.240
Kaz Okamoto: Palladium Palace? I don't know, anyway. Took them all to the spaghetti factory, and gave them…

1125
03:08:20.240 --> 03:08:21.110
Jerry Corley: Are you?

1126
03:08:21.110 --> 03:08:29.740
Kaz Okamoto: Amos Amos, chocolate chip cookies, and milk. And then everybody had that, and then they all got back on the buses and went back to the rest of his show.

1127
03:08:30.210 --> 03:08:30.880
Kaz Okamoto: So…

1128
03:08:30.880 --> 03:08:31.310
Jerry Corley: Oh, wow.

1129
03:08:31.310 --> 03:08:44.149
Kaz Okamoto: I had never seen that shit before, that was just amazing. Like, no one knew it was a surprise, like, nothing was ever said. It was, like a one-time show in LA, but I thought that was pretty amazing. Like, what?

1130
03:08:44.150 --> 03:08:46.409
Jerry Corley: Even, Steve Martin.

1131
03:08:46.510 --> 03:08:54.430
Jerry Corley: did this with an audience, I think, at, I don't know, what was it, the Ice House or whatever, but he says, we're going to McDonald's. Let's go.

1132
03:08:55.180 --> 03:09:01.720
Jerry Corley: And they all followed them out the door, and they went to McDonald's. And they ordered, like, 200 cheeseburgers.

1133
03:09:02.580 --> 03:09:16.370
Jerry Corley: And McDonald's was like, what? Yeah, we got 200 people who want cheeseburgers. And it was, like, just a really bizarre experience, you know? And, but it was memorable. It got… certainly got a lot of press.

1134
03:09:16.510 --> 03:09:28.889
Jerry Corley: Right? Steve Martin invites the entire crowd to go get cheeseburgers. And so, so that was, like, talk about… so when Andy Gauffman, I'm gonna one-up that. I'm gonna take this whole crowd, and we're gonna go to…

1135
03:09:29.090 --> 03:09:33.139
Jerry Corley: Take these famous Amvious cookies, and that'll be just my intermission.

1136
03:09:33.460 --> 03:09:43.350
Jerry Corley: And it's like, that's hysterical. What a way to do it. So there are no rules with, you know, comedy. Get creative, try something new. That's a massive dynamic shift, right?

1137
03:09:43.350 --> 03:09:53.019
Kaz Okamoto: And I don't know if it was because he was gonna come back when we got back as Tony Clifton, so he needed the time to go into his prosthetic makeup, you know?

1138
03:09:53.020 --> 03:09:53.420
Jerry Corley: Shit.

1139
03:09:53.420 --> 03:09:58.710
Kaz Okamoto: I don't remember seeing him at the restaurant, so that's my thought on…

1140
03:09:58.710 --> 03:10:01.130
Jerry Corley: Very interesting. Yeah, what a creative way to go.

1141
03:10:01.130 --> 03:10:08.389
Kaz Okamoto: Does that makeup, you know… I mean, they call it double-teaming. You got two makeup artists just jamming everything on, you got hairstylist.

1142
03:10:08.390 --> 03:10:12.199
Jerry Corley: Was that what they call double-teaming? Yeah. Okay, I had a whole different concept.

1143
03:10:12.200 --> 03:10:16.930
Kaz Okamoto: Yeah, that's called tag teaming, but that's okay, Jerry, you know, but…

1144
03:10:16.930 --> 03:10:17.590
Jerry Corley: Alright.

1145
03:10:17.590 --> 03:10:17.960
Kaz Okamoto: Yeah.

1146
03:10:17.960 --> 03:10:19.000
Jerry Corley: Let's wrap it up.

1147
03:10:19.000 --> 03:10:19.400
Kaz Okamoto: Done.

1148
03:10:19.400 --> 03:10:20.630
Jerry Corley: Good little story.

1149
03:10:20.630 --> 03:10:21.330
Kaz Okamoto: Yeah.

1150
03:10:21.560 --> 03:10:22.700
Jerry Corley: I gotta go.

1151
03:10:22.870 --> 03:10:24.270
Kaz Okamoto: It was really great, so…

1152
03:10:24.270 --> 03:10:26.339
Pappy: You're a big enough star, you get a threple.

1153
03:10:26.770 --> 03:10:29.590
Jerry Corley: Yeah, the threpel, that's right, get a threpele.

1154
03:10:29.790 --> 03:10:34.680
Jerry Corley: Alright, everybody, I hope you enjoyed that, and we'll see you guys again, real soon.

1155
03:10:34.870 --> 03:10:35.420
Kaz Okamoto: Bye!

1156
03:10:35.420 --> 03:10:36.320
Jerry Corley: Bye!