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Jerry Corley: There we go, here we go. The two diehards…

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Jerry Corley: I get so many emails, like, oh, I've got other commitments!

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Janet Rapala: Yeah, the people that don't observe any holidays, it's like, hey, it's just a day.

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Jerry Corley: It's, yeah, exactly, when you're working, you know, when you're a comedian, Every day is a workday.

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Jerry Corley: Right? Every day's a fun day, every day's a time to write. Like Leno used to say, and we're gonna talk about that a little bit, Leno used to say… and I always loved this when he said this, I remember when I first heard it, before he was writing on The Tonight Show, he said,

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Jerry Corley: I heard that he worked 51 weeks out of the year.

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Jerry Corley: And he was like, why take a vacation when you could work?

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Jerry Corley: And that was kind of my thought, too, because comedy is, like, that's what I love, you know? When you love what you do, you don't work a day in your life. Exactly. So every day is a vacation, in a way.

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Kaz Okamoto: That was Jay Leno, right?

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Jerry Corley: Yeah, it's Jay Leno. 51 weeks out of the year he worked. I mean, he's still… you hear about that today. He doesn't work as much as he used to, but, you know…

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Jerry Corley: You know, if he's not working, he's tinkering on his car.

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Jerry Corley: Riding a motorcycle.

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Janet Rapala: Car floral.

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Jerry Corley: Cars, plural, right? Working on these cars.

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Jerry Corley: Getting a steam engine to spew steam in his face.

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Jerry Corley: I mean, that's so funny to me, that here's a guy… that…

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Jerry Corley: at that level, he's still getting underneath a Stanley steamer.

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Jerry Corley: And doing some repair on it, you know? That's impressive.

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Jerry Corley: He still, like, stays active with that. That's something an old guy does when he's…

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Jerry Corley: broke. He's doing it, and he's rich. I still don't think he spent any of his Tonight Show money.

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Kaz Okamoto: No, he… when he goes to Flappers, he drives this smart car.

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Jerry Corley: That's so weird.

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Kaz Okamoto: And he almost hit me once. There's a driveway to go into parking, and I had parked up the street, and I was walking down the sidewalk.

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Jerry Corley: Kind of reversed there, haven'.

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Kaz Okamoto: And he didn't…

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Jerry Corley: hit me once, not with his car, with his fist.

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Kaz Okamoto: And then, There's, like, a big,

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Kaz Okamoto: mirror that you can see if you're the car coming out, and it's curved, right? So, I'm walking, and I don't hear it, the smart car, the little smart car, and I don't see it, because it's tiny, and then I start walking across the parking lot, because I didn't see it in the mirror.

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Kaz Okamoto: And then he slammed on the brakes, and he just goes…

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Kaz Okamoto: But it doesn't say anything, but through the window goes, like.

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Kaz Okamoto: you know, sorry. I go, oh man, I missed my opportunity to make some money. Shit.

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Jerry Corley: Yeah, get hit by… hit by Jay Leno in a smart car.

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Jerry Corley: Now, that's a story. That's a story you're gonna save, and you're gonna tell it later, and you're gonna find, opportunities. You just… I just gave you one. Like, I remember the time I saw Jay Leno at Flappers, he was driving a smart car.

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Jerry Corley: And, he hit me. He almost hit me. Not with the car, with his fist. But, you know, and that's… these are the… we're gonna learn about Adam Sandler. He likes to take those twists and build them into stories. And, I think he misses a lot of opportunities, but…

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Jerry Corley: He's still, you know, he's an interesting character because of the fact that he's probably the most… one of the most unique comedians out there who's actually successful.

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Jerry Corley: You know, doing what he does. I think he's a mediocre comedian. I think he's a mediocre comedy writer. But…

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Jerry Corley: Guy's worth millions. He is… was the most successful…

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Cliff Spenger: Excellent.

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Jerry Corley: enter… Comedic actor, highest paid actor of, 2025, I think.

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Jerry Corley: Is that unbelievable? I mean, that's… Adam Sandler?

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Jerry Corley: Is it?

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Jerry Corley: You're happy Madison, too.

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Kaz Okamoto: You know, musical parodies, the songs he writes, the parodies he writes, are pretty clever, and like, when he created those char- well, I don't know if he created… I assume he created the characters on Saturday Night Live, so, you know, his background is improv, right?

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Jerry Corley: I don't know if his background is improv. I mean, his background was… I just remember him at the Comedy Store.

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Jerry Corley: With his guitar, you know? Yeah. Playing his silly song parodies. And there's… and they're wacky. And why he gets away with it, he establishes at the beginning that these are absurd. This is…

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Jerry Corley: The craziest shit you'll ever hear, and it's like… and what he is, is almost like a drunk frat boy.

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Jerry Corley: And he's never stopped being a drunk frat boy.

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Jerry Corley: And even though he doesn't really drink, you know? So it's like, he's just, like, everything's kind of from the point of view of that silly kid who's looking for approval from his mom or dad.

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Jerry Corley: And, does these wacky things. I remember, if I go back and look at the wacky shit I did as, like, a 9- or 10-year-old, I remember my mom was feeling overwhelmed, my dad was in LA trying to…

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Jerry Corley: you know, get a foothold in LA, and she was at home in New York, taking care of 5 kids.

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Jerry Corley: So she felt overwhelmed, and she was… and she broke down crying at one point.

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Jerry Corley: And because we were all misbehaving, I guess, drove her crazy. And and I felt really bad, so what I did was I took the top hat from the Monopoly game.

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Jerry Corley: And, glued it onto the tip of my big toe.

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Jerry Corley: superglued it onto the tip of my big toe. I put smiley faces on all of the toes, with a little magic marker.

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Jerry Corley: And then I snuck into her bedroom on my knees, and I put my foot up at the end of her bed, and the big thumb was like, oh, yes, I'm the great!

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Jerry Corley: Pretender. And the other toads were like, and she fell out.

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Jerry Corley: just started laughing, that, you know, so I was like, that to me was the greatest thing.

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Jerry Corley: In the world, right? So, I was like, wow, that was really cool. And it's wacky, right? It's zany. But, we accept it for what it is, because it's a 10-year-old.

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Jerry Corley: Now, when you hear Adam Sandler build these stories, it's really fun to watch his structure. There's more going on than you think, right? It's the way he builds the stories. We're gonna actually look, we're gonna immerse ourselves in, like, the first 20 minutes of this Netflix special called I Love You.

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Jerry Corley: And it's, right from the beginning, everything is staged.

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Jerry Corley: to create chaos and obstacles. So, you've probably heard me say, you know, the essence of comedy, one of, like, the underlying fundamental, ideas of comedy is comedy is about a character point… trying to get from point A to point B, and encountering obstacles.

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Jerry Corley: So, he basically represents the kind of essence of that in… in the whole build-up to when he walks onto stage.

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Jerry Corley: And it's, it's really kind of interesting, because there is a segment he does about that, and I'm like, this is basically…

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Jerry Corley: David Letterman did a sketch, and it's like a… what they called a cold open.

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Jerry Corley: And a cold open, basically, is,

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Jerry Corley: Has nothing to do with anything, it's just this, like, interstitial, it's just a cold open, it's like a non-sequitur.

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Jerry Corley: And it opens with him, you know, here's the knock on the… on his… on his dressing room door, Dave, Dave, you have 5 minutes. And it's like… and we see the chaos before the beginning of the show.

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Jerry Corley: on how he's trying to get, going from his dressing room then to, the… right behind the curtain, and everybody's talking to him. Hey, we took this, and we had to, you know, cross that out, that's edited out, we're not doing this, and we're gonna do this instead. And by the way, it's, you know, it's, Achilles, not Achilles, right? So, it's like he's reminding him of… they're reminding him.

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Jerry Corley: I'm giving him all these notes right before that red light turns on.

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Jerry Corley: And he's like, okay, and he's, like, making mental notes of all this stuff as it's going on.

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Jerry Corley: And then, we got a couple of writers coming in, they go, Dave, why can't we do this segment right here? We can do it. I think we can squeeze it in and get the joke. And it's like, you know, and he's like, we're not gonna do the joke. It's, you know… and it, so… it's just this chaos before he takes the stage, and we get to see it from…

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Jerry Corley: the point of view of the people backstage, and I think it's such a cool…

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Jerry Corley: segment. I wanna see if I can find that segment, because I… if you see it, and we watch this next one, you're gonna… I think you'll go, you'll… you'll…

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Jerry Corley: you'll… you'll, appreciate it more. But it's still… he does a great job with the… just approaching the theater…

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Kaz Okamoto: But I think it's always great to be a voyeur, you know, the fly on the wall. Yes. You get that insight, and…

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Janet Rapala: Well, it puts you in the secret society, you're backstage, you're part of the part that nobody else gets to see.

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Kaz Okamoto: Yeah.

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Jerry Corley: Yeah, yeah.

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Kaz Okamoto: And how do you like the three of us being the geriatric groupies? Yeah, we are, yeah, definitely the.

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Jerry Corley: Geriatric groupies here.

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Cliff Spenger: Without…

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Jerry Corley: Without a date, without a doubt.

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Janet Rapala: That's geriatric with a J.

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Jerry Corley: Let me see if they… if I can find this segment.

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Kaz Okamoto: Sorry, Cliff, I stepped on what you were saying.

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Cliff Spenger: I was just saying, that's the porn view, the voyeur.

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Kaz Okamoto: Oh, yeah.

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Cliff Spenger: What point is that view?

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Jerry Corley: The porn view of the voyeur? Yeah, we all like that kind of view.

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Jerry Corley: It's kind of fun, because what is that? That's dramatic irony, right? The audience knows, but the hero does not.

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Jerry Corley: Right? We… they don't know they're being observed.

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Jerry Corley: But, you know, the audience knows, because the audience gets to see behind the curtain.

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Jerry Corley: And so I think that there's power in that. So that's one of those things that's underlying storytelling devices you can use. It's like, kind of the voyeur, the, how do we write dramatic irony, or put dramatic irony as that device, as the literary device, into a script.

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Jerry Corley: And it's… that's how… that's how you do it, right? So it's like,

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Cliff Spenger: Do act-outs? Are act-outs that?

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Jerry Corley: Yeah, and you could act it out, definitely, right?

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Jerry Corley: Oh, hang on a second, evelyn? Hold on.

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Jerry Corley: Evelyn needs, Evelyn needs the… the link.

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Kaz Okamoto: Yeah, one of the greatest ones from True Lives was Schwarzenegger.

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Kaz Okamoto: that he's… he… he gets… his wife doesn't know he's a spy, right? So he gets her to come, like, as a prostitute into this room, hotel room. He sits in the corner in the dark, in a chair, and all you see is the cherry of his cigar, right? Nothing… everything's black.

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Kaz Okamoto: And I thought, that's one of the, like, epitomies of… Sitting as a voyeur.

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Jerry Corley: Hi, Evelyn.

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Jerry Corley: No, no worries, I just saw your text. I'm, I'm popping it into your… into the text window right now. It'll be so good to see you!

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Jerry Corley: Okay.

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Jerry Corley: You got a bike.

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Jerry Corley: Evelyn Thatcher will be joining us.

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Janet Rapala: While you're looking for the link, I've got some news. I did an open mic…

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Janet Rapala: it's probably been about 3 weeks or so ago. I almost messed it up, so I was, like, the last one on. Everybody said, oh, you did the best bit. I know I'm not big time like all the best of you, but I got invited back to a show on October 30th.

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Jerry Corley: That's great news!

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Janet Rapala: Yeah, where they're doing a dedication of the theater where the… the,

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Janet Rapala: Comedy took place, and the mayor of the city's gonna attend the dedication ceremony and the whole… it's gonna be a big deal, so I thought, oh, cool.

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Jerry Corley: Oh, that's… that's really great!

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Kaz Okamoto: Halloween theme?

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Janet Rapala: No, no, well, it's got a costume theme, because the lady that organizes it's a weirdo. So it's gonna be greyhound themed, because the high school's mascot is the greyhound. So I found a gray catsuit, because my persona is the crazy cat lady, so I'm gonna wear a gray catsuit with a tail, and…

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Janet Rapala: Cat ears.

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Cliff Spenger: Perfect.

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Kaz Okamoto: Hi, Evelyn.

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Evelyn Thatcher: Hey Kaz! How are you?

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Kaz Okamoto: Good, how are you doing? Are you in New York?

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Evelyn Thatcher: No, I'm in LA, actually.

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Kaz Okamoto: Oh, okay.

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Evelyn Thatcher: Yeah, my, my partner had a… had an operation, so I was here supporting him.

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Kaz Okamoto: That's nice.

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Evelyn Thatcher: Yeah…

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Jerry Corley: Hey, Evelyn is here!

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Evelyn Thatcher: Yo, what's up?

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Jerry Corley: Yo, what is up?

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Evelyn Thatcher: I know. Long time, no.

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Jerry Corley: I know, I was thinking about you recently, what Evelyn's doing?

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Evelyn Thatcher: Right?

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Jerry Corley: What are you talking about?

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Kaz Okamoto: know nothin'.

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Evelyn Thatcher: What am I not doing? That's another question.

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Jerry Corley: Is that a shorter list?

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Evelyn Thatcher: Yeah.

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Jerry Corley: Of what you're not doing compared to what you're doing?

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Evelyn Thatcher: Exactly, yes.

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Jerry Corley: So remind me, Cliff, if we have a… if we do a class on a, like, a Labor Day, that it's just a couple people.

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Cliff Spenger: Well, I think, some of… didn't somebody tell you, are you gonna have a class? And they went, oh, isn't that a holiday?

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Jerry Corley: You know, but yeah…

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Kaz Okamoto: You're a labor person!

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Jerry Corley: Kaz said that, but it was like.

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Cliff Spenger: Like, you know…

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Jerry Corley: I know a lot of the people are die-hards, so that's why I was doing it, and and those people who said, hey, I hope you're doing a class on Monday.

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Jerry Corley: Aren't here. Aren't here.

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Kaz Okamoto: Yeah.

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Jerry Corley: So I'm gonna basically text them and give them hell.

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Jerry Corley: Because I could have just relaxed and…

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Evelyn Thatcher: Yes.

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Cliff Spenger: At a burger.

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Jerry Corley: jokes for myself.

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Cliff Spenger: Maybe Evelyn wouldn't have been here if you didn't have it.

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Jerry Corley: That's right. See, it was all worth it.

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Kaz Okamoto: it.

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Evelyn Thatcher: Thank you. Yep.

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Jerry Corley: Definitely. Just to have Evelyn here. It is. Evelyn's great energy, man. She's, like, she's funny, she's smart.

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Evelyn Thatcher: Yeah. Feedback.

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Cliff Spenger: Talented.

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Jerry Corley: From New York?

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Evelyn Thatcher: I'm sorry, I'm just gonna, like, I'm just gonna tease you here, Jerry. How come no Labor Day discount?

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Jerry Corley: I should have done that, right? A Labor Day discount, right?

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Evelyn Thatcher: I'm teasing you.

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Jerry Corley: everybody in.

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Jerry Corley: Most of the people here are… have the entire 18 series.

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Evelyn Thatcher: Oh, boy.

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Jerry Corley: So they got a huge discount anyway.

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Evelyn Thatcher: Yeah. So I'm… I just came in at the last,

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Jerry Corley: I'm so glad. I sent out… every time I do it, I'll just send out a last-minute email in case people didn't get the previous one.

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Evelyn Thatcher: Yes.

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Jerry Corley: And it'd be like, hey, we're doing this today. And, you know, it also is fun to let… remind them that Adam Sandler, you know, the amount of success this man has had is…

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Evelyn Thatcher: Crazy.

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Jerry Corley: Literally crazy, because he's not that talented.

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Jerry Corley: But, it really points out to… everything he does is fully committed, He doesn't apologize.

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Jerry Corley: he even says one of his quotes, one of his famous quotes, if you just go look at brainy quotes and look at some of the quotes from Adam Sandler, any kind of, like, you know, any kind of comedian, you look at some of their quotes, and you'll find some of their jokes, and you'll also find some of the ways they view life and view their careers. And, Adam Sandler is like, I'm not that talented.

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Jerry Corley: But I've made millions of dollars, I still don't get it.

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Jerry Corley: Right? So even he admits it, and, you know, that gave… gives me… gives you a whole different viewpoint towards him, right?

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Jerry Corley: That's the comedianum, that's the comedian, right? Self-deprecation. So it makes you like him. Here's this guy who lives in Malibu, is worth millions and millions of dollars, made $27 million at the box office in 2024. Adam Sandler!

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Evelyn Thatcher: I know.

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Jerry Corley: Right? And $27 million at the box office only did, like, 19 shows.

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Jerry Corley: Right, so he made a lot of money, those were high-priced tickets, I bet. And think about it, with all his fame, right? All the fame and the nostalgia, people grew up with him, so when he's going to do a show, people don't know how much they love nostalgia.

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Jerry Corley: Right? They just feel this warm feeling inside going back to it. That's why we loved cars!

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Jerry Corley: what, the 20th anniversary of Cars is in the theaters? People went to go see it, and I love when they go back Route 66, those old gas stations and all that stuff. You feel that real, like, rush of nostalgia. So anytime you want to, like, captivate an audience, think about doing a story that talks about nostalgic moments. Take them back in time, when you were 10 years old in third grade.

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Jerry Corley: You know, that sort of thing, and walking us through the smell of the pencil sharpener.

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Jerry Corley: You know, having to… having to clean the erasers.

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Jerry Corley: That was one of my jobs, is I had to take the erasers and take them into, like, the janitor's, like, workspace and… and put it on the little vac… you'd turn on the machine, it would be this vacuum and a brush.

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Jerry Corley: You just run it back and forth on the brush, and it would, like, take in all the, you know, chalk dust.

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Jerry Corley: And so…

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Kaz Okamoto: We didn't have that, we just hit them against each other, and then…

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Jerry Corley: Yeah, we actually had a vacuum machine that was designed to clean the erasers.

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Kaz Okamoto: Pretty cool.

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Jerry Corley: We had that, there was, like, I remember…

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Jerry Corley: geez, all kinds of things, you know, the playground, the… we would do the Jets and the Sharks on the playground, every time West Side Story came out, and it's like, and then one guy was like, we don't fight until you cry, we're gonna fight until you bleed. We're like, dude, that's not even West Side Story. That's like, that's…

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Jerry Corley: That's something else. I think that's shark bite, or something. That has nothing to do…

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Evelyn Thatcher: shark.

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Jerry Corley: Yeah, yeah, you bleed, we'll sit there and just play. That's… Bring a…

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Jerry Corley: You know, bring it down a little bit, bro, right? But we didn't say bro back then, we said dumbass. No, we didn't. What did we say? What were these insults?

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Jerry Corley: Do you remember? Well…

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Cliff Spenger: Good.

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Jerry Corley: Insults.

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Cliff Spenger: jerk was.

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Janet Rapala: Poopy hair!

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Jerry Corley: Dork. Dork. No, we didn't even say dork, we're in New York.

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Cliff Spenger: Not yet.

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Kaz Okamoto: No, well… That was wrong.

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Jerry Corley: Fagg was in. A faggot.

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Kaz Okamoto: Dickhead, you know, that was popular.

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Jerry Corley: Yeah, the…

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Kaz Okamoto: Ass Wipe was another one.

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Jerry Corley: Really? So, okay, so remember, you were on the West Coast, you grew up on West Coast, I grew up on the East Coast, in Long Island.

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Kaz Okamoto: We're talking the 60s, late 60s to the mid-70s.

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Jerry Corley: Yeah, yeah, I'm talking about, yeah. So, I would say 69, that was 5.

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Jerry Corley: Right? The Mets won the World Series.

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Jerry Corley: I remember jumping out of my, like, high chair, or it wasn't a high chair, it was a stool.

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Kaz Okamoto: I remember.

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Jerry Corley: The stool, and I jumped, yay! And it was, like, so cool, because I almost touched the ceiling, I remember that.

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Jerry Corley: And then, yeah, school, but, yeah, so, 70s for me, 73,

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Jerry Corley: 74, 75, right? That kind of time, you know? So it's like, what are those… if you can take your time and sort of document some of those moments, and look for the details, look for the details that really take people back. Mr. Frosty.

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Jerry Corley: You know, the soft serve, Ice cream guy coming by.

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Kaz Okamoto: We had Helms Bakery in LA, right? So, the Helms Bakery man used to come by, like, the, milk delivery. We had milk delivery all.

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Jerry Corley: to Dan?

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Kaz Okamoto: and then the Helms Bakery, and there was one… I mean, beautiful wooden drawers that were, like, pulled out, and one was all candy, and another one was all donuts, you know, and that was a big…

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Jerry Corley: Wow, yeah, yeah, I could see him.

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Kaz Okamoto: Every day.

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Jerry Corley: I remember the… I remember something about the Helms Bakery trucks. They were… there were… there were a lot of them.

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Jerry Corley: And it was, like, they were, like, I think they had, like, I forget, I just, for some reason, maybe I'm seeing it in a movie I saw in, because we didn't have them out there, we had different stuff.

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Kaz Okamoto: You… you had Entenmann's, I'm sure.

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Jerry Corley: But I love the drawer. You pull it out, and it's just filled with.

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Kaz Okamoto: They opened up the back, and the drawers pulled out, and it was curved, like, you know, I don't know, the delivery, like, for hostess and stuff like that. It wasn't a square truck or anything.

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Jerry Corley: Right.

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Kaz Okamoto: You know, it was… it was that kind of stuff. I mean, getting milk delivered, that was pretty amazing. Milk butter and, like, cream cheese, sour cream, stuff like that.

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Jerry Corley: I bet you if we can go back to the day.

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Jerry Corley: and get the milk they brought us back then in the delivery, and compare it with the milk today. The milk today would taste sour compared to that milk.

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Kaz Okamoto: Well, and then that was in bottles, right? So…

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Jerry Corley: Glassman.

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Kaz Okamoto: And it was ice cold in their truck, and he would come up with his little wire.

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Jerry Corley: Yeah, the wire carrier. See, all those little details…

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Kaz Okamoto: All dressed in white.

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Jerry Corley: we get those… we get those images, that sends us back to nostalgia, that time, nesting, we're at our parents, you know, and then, so you can have a fun, adventure there. So you'll notice anyway, when we get into Adam Sandler, you'll notice that he has just… he starts just telling these stories.

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Jerry Corley: And, it's just, like.

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Jerry Corley: you realize he just starts at… he's known for that, so his reputation that precedes him, and he starts at… so I was eating grapes.

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Jerry Corley: And that's the beginning of ZAKT.

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Jerry Corley: And they kind of giggle at that, what a weird introduction, right? And it's, like, such a non-sequitur beginning. And then he talks of Eddie the Grape's story, and then he has a twist on that. We'll take a look at, we'll take a look at that.

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Jerry Corley: Huh.

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Kaz Okamoto: I never understood why his movies were so popular, but I also…

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Kaz Okamoto: was not a big Three Stooges fan either, you know what I mean? His stuff is kind of,

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Kaz Okamoto: silly, right? His movies were kind of silly, and it, it,

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Kaz Okamoto: really targeted that demographic age of… and especially men, that they love listening to that. I mean, the…

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Kaz Okamoto: movie Spanglish was the closest thing he got to doing something, that he did that was kind of dramatic, and it didn't do that well, but I thought it was really well done, but…

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Jerry Corley: I enjoyed Spanglish. I gotta say, I enjoyed Spanglish. I enjoyed 51st Dates, if you…

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Evelyn Thatcher: Totally.

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Jerry Corley: Waterboy, it, you know, which was a remake of Jerry Lewis's Waterboy.

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Kaz Okamoto: We did the longest yard, too, right?

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Jerry Corley: Longest yard, yeah.

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Kaz Okamoto: from Burt Reynolds, you know, but most of them, I wouldn't go see. He was part of, like, his Madison, his company, production company, Madison, whatever.

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Jerry Corley: Happy Madison Productions.

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Kaz Okamoto: Yeah, so, like, Tommy Boy and all those, those were just goofy to me.

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Kaz Okamoto: But I was… I think it's cause I was older already.

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Kaz Okamoto: You know? Like, I saw the original Saturday Night Live back in 76 when it started, 75, I mean, when it started, and I was already in college. So that was really different, that… that and that group of people, but I did like Opera Man a lot. I thought that was really hysterical.

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Kaz Okamoto: When he played the character Opera Man.

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Jerry Corley: Yeah, yeah, it's so… and what… here's what I think it… in a nutshell, it's encompassed when he was doing,

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Jerry Corley: When he was doing, the… the Comedy Store.

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Jerry Corley: He used to sometimes get heckled or, you know, kind of just, like, looked at, like, you know.

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Jerry Corley: An idiot, because,

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Jerry Corley: He, you know, he'd do these… he'd have his guitar, and these comics would be in the back of the room, of course, these, you know, the typical Comedy Store comics who are judging.

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Jerry Corley: We're like, you know, oh yeah, fucking guitar, comic, all that stuff. And, so,

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Jerry Corley: But the thing was, Dennis Miller

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Jerry Corley: watched him, and Dennis Miller was like,

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Jerry Corley: wait a second, listen to this audience. This audience is like, they love this guy.

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Jerry Corley: So, Dennis Miller saw him again after that, and he's just still killing it, right? The audience is loving him, but these comics are judging him. So Dennis Miller was like, you know what? I'm, I'm gonna introduce him to Lorne Michaels.

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Jerry Corley: Because Miller was on the… on SNL, on Weekend Update. He introduced Lorne Michaels to Adam Sandler.

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Jerry Corley: Lorne Michaels loved him. He loved his… he saw his imagin… he saw his imagination.

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Jerry Corley: Right? And if you… when we watch what he's doing here.

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Jerry Corley: Everything you see is staged. Everything you see, from the chaos at the beginning, the backstage stuff, all of it.

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Jerry Corley: every moment is staged, and then you're gonna get an idea of his vast imagination. And it's, like, very interesting when you get rid of all that fluff of what's supposed to be right and wrong, and comedically acceptable, and what's hacked, what's not, all of that silly stuff, get it out of the way.

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Jerry Corley: Because even though it might not be… the material might not be for other comics.

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Jerry Corley: There is a huge audience that loves this type of humor, right? Look at, like, you know, nobody loves fart jokes, so really watch a Judd Apatow movie. How did Judd Apatow become successful doing his movies?

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Jerry Corley: When all of it's, like, male… adolescent humor.

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Jerry Corley: But you can either be a snob, or you can look around at everybody else laughing. Look at Austin Powers, right? Austin Powers, same type of thing. Wildly absurd? Yeah, baby!

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Jerry Corley: You know, what's your name? You know, it's like, fuck you. You know, fuck me. Oh, yeah, baby, yeah. No, my name, fuck me, fuck me.

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Jerry Corley: And it's spelled F-O-O-K-M-I. Pink goes, oh yeah, girl! You know, he plays around with that, and then all of a sudden, the other one comes up, hey, fuck, fuck, fuck me. And, and she goes, no, fuck you!

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Jerry Corley: He goes, fuck me! You know, no, fuck you! And fuck you! My sister fucked me! And then now they're twins.

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Jerry Corley: And so they escalate that silly bit, but it's still plausible, right? We can still see it happen, and… and so it's like, when you just… just let the game play and have fun with the silliness, because I went to go see him, I remember I was,

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Jerry Corley: I was, working as, when I was trying to save my marriage, my friends who owned a limo company said, hey, come work for us, it's a real cush job.

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Jerry Corley: you know, we'll put you in a limo. Well, and in fact, the first job, you know, we're gonna give you is, like, with a couple of other drivers, you're gonna be at this, this Saudi Arabian family. They have 3 houses in Beverly Hills right next to each other.

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Jerry Corley: And, the guy's a billionaire banker, and his family comes out for the summers, and so they have, you know, 3 to 4 cars on site at all times, so you just kind of sit around in this driver's room.

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Jerry Corley: With other… other people who are help at the house, right? And so, it's such a wild experience, right? So, you know, we… we go there, and you… what was my… what was my point with this? Oh, some of the younger kids wanted to go see Austin Powers.

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Jerry Corley: And, we need… and the madam was like, we need a strong man.

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Jerry Corley: And the one… the house, the lead servant of the house goes, Jerry.

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Jerry Corley: And I was like, me? I'm not a strong man, but I forgot at the time, I was in the middle of training, I was probably 200 pounds and, you know, 8% body fat, and it was like, I was pretty bulky. You know, so, so they chose me, and I was like, my job was to sort of be bodyguard, and I was calling dispatch, hey, if they want me to bodyguard and shit, I gotta get paid more money.

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Jerry Corley: You know?

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Jerry Corley: I'm like, I'm just a driver, right? So, but they… I took them to go see Austin Powers, and I go in, I'm watching the… they're all sitting in front of me, and I'm watching the…

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Jerry Corley: the film, and I was laughing my ass off.

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Jerry Corley: And I was like, oh no! There goes my whole…

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Jerry Corley: snobby, I'm a comedian, I'm a writer type of thing. I was just laughing at the stupid jokes.

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Jerry Corley: So if you can just let go of all of those things that, you know.

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Jerry Corley: We tend to sort of, like, put in front of us as far as, like, what's supposed to be funny and what's not. Hey, lina's here! So it says, look, it's just us, the diehards. Those people who said, I hope you're having class on Monday, aren't here. And Evelyn's here, so…

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Evelyn Thatcher: Give me back.

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Jerry Corley: So,

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Kaz Okamoto: He went over the top with, like, British teeth. They never had good dentistry, so his teeth were really bad. Right.

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Kaz Okamoto: The penal pump thing, oh, that's not mine, that's not mine. Hey, give that back to me.

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Evelyn Thatcher: Right, I remember that.

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Kaz Okamoto: You know, and…

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Evelyn Thatcher: So funny.

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Kaz Okamoto: And my… a friend of mine worked on the movie, and what they did for the chest hair, they actually took fur from, you know, like a, whatever, a place where you buy fabric, right? Fabric store?

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Jerry Corley: Yeah, yeah.

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Kaz Okamoto: Third!

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Jerry Corley: That's what it looked like to me.

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Kaz Okamoto: And they just glued it on like that. They didn't do anything else.

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Jerry Corley: Wow.

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Jerry Corley: Didn't, like, put it over, like, pantyhose or anything?

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Kaz Okamoto: Yeah, no, they just…

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Jerry Corley: Oh, wow, they just glued it on his chest. They just sprayed that adhesive on him and just, like, stuck it on there.

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Evelyn Thatcher: I've forgotten that, Kaz. Thank you for reminding me about the penal enhancer. And that was just in the background, he's like, oh, that's… that's not mine, right?

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Kaz Okamoto: Yeah, absolutely.

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Jerry Corley: Yeah, so, so think about… do you remember, do you remember when I said, this is sort of the same thing with Adam Sandler? He doesn't miss…

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Jerry Corley: he doesn't miss the possibility for a joke, and what… in what setting are we? What else could be in the room? So you become the property master, the set decorator, the location scout, the wardrobe mister or mistress, and then you, you know, hair, all of… what's he wearing, what's the, you know, what would make this work, so we don't miss a thing.

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Jerry Corley: what would this, you know, guy have that could embarrass him? It's like when we… you have a date, and the couple, the woman brings the man home, and they go into the bedroom, and she says, I'm gonna slip into something comfortable, she slides into her bathroom, and then it gives us a chance to show what this guy is facing.

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Jerry Corley: So we pan the room with the camera, and you just write down things you could put in there that could really be embarrassing, create anxiety, have it be an obstacle, you know, maybe you put in there, so what would be some of those things we would put in there?

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Evelyn Thatcher: A picture of his mother in a negligee or something?

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Jerry Corley: A picture of his mom, or… it's her bedroom.

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Evelyn Thatcher: Oh, it's her bedroom.

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Jerry Corley: It's her bedroom. She's in the bathroom, slipping into something more comfortable.

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Evelyn Thatcher: So what would be embarrassing for her?

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Jerry Corley: What would be embarrassing for him?

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Evelyn Thatcher: over him to find.

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Jerry Corley: It makes them feel this, all of a sudden feel this, oh shit, I'm in over my head.

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Evelyn Thatcher: Maybe a big bowl of condoms?

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Jerry Corley: Yeah. You know?

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Kaz Okamoto: Out of 9 tails hanging around.

330
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Jerry Corley: Magnum Condom.

331
00:32:40.750 --> 00:32:42.619
Evelyn Thatcher: Make Magnum condoms?

332
00:32:42.620 --> 00:32:53.850
Jerry Corley: Yeah, right? It's like, so that would be… that would be comedic, right? And if we really wanted to go over the top with it, she comes out of the bathroom, and he's, like, sliding into, like, a garbage bag-sized condom.

333
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Evelyn Thatcher: Right.

334
00:32:54.470 --> 00:32:57.230
Jerry Corley: And, over his head, I said, well, safe sex, right?

335
00:32:57.230 --> 00:33:00.609
Janet Rapala: Pink furry handcuffs on the bedpost.

336
00:33:00.610 --> 00:33:03.210
Jerry Corley: Right? Yeah, she's done this before.

337
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Evelyn Thatcher: Lots of dominatrix stuff.

338
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Cliff Spenger: Killed those.

339
00:33:06.380 --> 00:33:11.430
Jerry Corley: Very large, you know, a collection of very large black dildos.

340
00:33:11.560 --> 00:33:15.829
Jerry Corley: You know? And it's like, and she's named them.

341
00:33:15.830 --> 00:33:20.579
Kaz Okamoto: Oh, and have it in a display case, because of how she presents it, right?

342
00:33:20.580 --> 00:33:28.359
Jerry Corley: Yeah, yeah, so she can actually… or maybe each one has its own separate drawer or cabinet, like the donuts.

343
00:33:28.360 --> 00:33:41.469
Jerry Corley: Right? So she… she, like, sees it, and she'll, like, pulls… it slides out, and she can take it like it's a side thing. She… it's a glass front, so we see it, and she slides it out, and it's, like, each one… it's almost like it dispenses itself.

344
00:33:41.470 --> 00:33:49.880
Jerry Corley: That would be wild. Yeah, that would be very comedic and absurdist, in a way, you know? What are some of the things I've seen in bedrooms when I've…

345
00:33:50.000 --> 00:33:56.840
Jerry Corley: I've hooked up, with, people over the years on the road. A gun.

346
00:33:57.140 --> 00:33:57.980
Evelyn Thatcher: Oh, God.

347
00:33:57.980 --> 00:34:02.370
Jerry Corley: I saw a gun, a sh… basically, it was a, A shotgun?

348
00:34:02.370 --> 00:34:02.880
Evelyn Thatcher: Oh my god.

349
00:34:02.880 --> 00:34:05.150
Kaz Okamoto: Collection of poisonous toads?

350
00:34:05.800 --> 00:34:07.560
Cliff Spenger: I've collected.

351
00:34:07.560 --> 00:34:16.480
Jerry Corley: Hyperdermic needle, yeah, that? Hey, Pappy's here. Good to see you, Pappy. So, it's like, yeah, think about all the things… What about…

352
00:34:16.480 --> 00:34:18.409
lina alva: What about their own bobblehead?

353
00:34:19.040 --> 00:34:21.169
Jerry Corley: Yes, a bobblehead of herself.

354
00:34:21.460 --> 00:34:22.510
lina alva: Of… yeah.

355
00:34:22.679 --> 00:34:28.859
Jerry Corley: Right? So she's got a bobblehead of herself, and maybe a litho of herself, too.

356
00:34:29.000 --> 00:34:30.540
lina alva: Posters of himself.

357
00:34:30.540 --> 00:34:32.399
Jerry Corley: Potter of herself.

358
00:34:33.239 --> 00:34:34.859
Jerry Corley: Sexy and hot, right?

359
00:34:34.860 --> 00:34:38.940
Kaz Okamoto: Bobblehead, she's on her knees, so when you bobble it, it just goes up and down.

360
00:34:38.940 --> 00:34:39.380
Evelyn Thatcher: It's funny.

361
00:34:39.380 --> 00:34:58.580
Jerry Corley: That's good. Yeah. So, you see, this is… this is kind of, the way Adam Sandler approaches a sketch, right? This is like he doesn't miss a beat. He puts in whatever he can find, and he can come up with that might be opposite of expected, embarrassing, absurd. He's not afraid to go

362
00:34:58.580 --> 00:35:01.120
Jerry Corley: wildly absurd.

363
00:35:01.280 --> 00:35:18.200
Jerry Corley: So he likes to tell stories, and then the stories, usually, there's a twist. But interestingly enough, he tells the stories without much commitment. He just tells them as though he was like, it just kind of happened yesterday, it's no big deal. And that makes it more authentic when he does hit the twist.

364
00:35:18.750 --> 00:35:23.550
Jerry Corley: Right? He doesn't plan to take you along, oh, can we get ready for this, sort of thing.

365
00:35:23.550 --> 00:35:46.760
Jerry Corley: It just sort of happens as a result of where he's going. And he loves to do his music, so he does the music interludes, and he's got a keyboard player there that helps him with these music interludes, playing the same four chords. And then he sings, like, a song parody that he comes up with based on something, and it's like a… it's a nice little transition. We had a student

366
00:35:47.760 --> 00:35:49.449
Jerry Corley: And his name,

367
00:35:49.860 --> 00:35:57.820
Jerry Corley: What the hell is his name? Steve? Was it Steve? And he, was an older guy,

368
00:35:58.050 --> 00:36:02.239
Jerry Corley: And so he loved music. He loved, like, 70s, 80s music.

369
00:36:02.650 --> 00:36:06.960
Jerry Corley: And so, he had these kind of, like, quick jokes.

370
00:36:07.600 --> 00:36:09.690
Jerry Corley: And so he'd tell a quick joke.

371
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Jerry Corley: And then, so I said, you know what would be cool? Why don't you tell a quick joke, or a small story, one of your stories, and then, instead of going, speaking of, just non-sequitur, jump into an a cappella version of one of your favorite songs.

372
00:36:28.710 --> 00:36:34.710
Jerry Corley: Because he said one of the things he loved to do at work, while he was working, he was… he worked at,

373
00:36:35.160 --> 00:36:51.429
Jerry Corley: It wasn't Craft Services, he worked with the, like, the grip trucks, supplying grip trucks. He was a driver for, like, you know, movie studios, and basically drive one of the trucks. His best friend was the owner of the company. I think it was, like, what's the one,

374
00:36:51.680 --> 00:36:54.310
Jerry Corley: Kaz would know. Starts with a Q.

375
00:36:54.840 --> 00:36:57.260
Kaz Okamoto: Oh, Kyoti?

376
00:36:57.510 --> 00:36:59.159
Jerry Corley: Yes, yes,

377
00:36:59.160 --> 00:37:05.819
Kaz Okamoto: Yeah, there were tickets. There were, non-union studios, and then the trucks and the drivers were non-union.

378
00:37:05.820 --> 00:37:09.519
Jerry Corley: Was he a non… was he a non-union driver? Was that… Oh,

379
00:37:09.520 --> 00:37:10.989
Kaz Okamoto: For a long time, and then…

380
00:37:10.990 --> 00:37:12.690
Jerry Corley: Okay, then they became… yeah.

381
00:37:12.690 --> 00:37:14.760
Kaz Okamoto: Yeah, joining 399.

382
00:37:14.760 --> 00:37:22.570
Jerry Corley: So he, he worked for this… worked for this company, so he, It's like…

383
00:37:22.790 --> 00:37:34.370
Jerry Corley: Like, what do you… Pappy Isabelle Isabelle something plays of a viola to tell a story, tangent joke? Yes. I like it, right? So, the music…

384
00:37:34.560 --> 00:37:47.030
Jerry Corley: we connect with music. Human beings connect with music. It's also nostalgic. So I… he… we said, while I was working, you know, to kill time, I would often just sort of, like, sing some of my favorite

385
00:37:47.090 --> 00:37:57.840
Jerry Corley: you know, song, so he'd just, like, out of nowhere, I'd be like, right?

386
00:37:58.020 --> 00:38:02.999
Jerry Corley: Out of nowhere. And people go, oh, yeah, I remember that song, and a conversation would break out.

387
00:38:04.310 --> 00:38:13.699
Jerry Corley: did, so, I said, see, what if we just, you know, in between each of your jokes, you just do a quick little…

388
00:38:14.100 --> 00:38:17.550
Jerry Corley: You know, 15-second snippet of the song.

389
00:38:17.860 --> 00:38:37.809
Jerry Corley: at your favorite part, it doesn't have to start at the beginning, it could be, like, on the way into the chorus, and what I'd like to do is, like, one of the songs where, like, you know, drove a Chevy to the levee, but the levee was dry, and good old boys were drinking whiskey and rising.

390
00:38:38.770 --> 00:38:41.299
Jerry Corley: So, I was talking to my mother.

391
00:38:41.470 --> 00:38:45.709
Jerry Corley: So, right at the lead, where we're ready to jump in and sing…

392
00:38:45.820 --> 00:39:03.869
Jerry Corley: he would cut it off and go into the story. So he took the escalation of the song, it's creating an expectation for the chorus line to jump in, right? So, for the song, and everybody remembered it, so they're in with it, and then all of a sudden, he'd just start to tell another joke.

393
00:39:04.040 --> 00:39:14.560
Jerry Corley: And the jokes didn't even need to be that great. So he did… he was part of our 45 days to 45 minutes course, and he built this whole 30-minute act.

394
00:39:14.740 --> 00:39:16.479
Jerry Corley: Using that technique.

395
00:39:17.550 --> 00:39:21.060
Jerry Corley: And when he did it, the feedback he got was.

396
00:39:21.490 --> 00:39:25.620
Jerry Corley: Very impressive. Everybody was like, oh my god, I love that act!

397
00:39:25.800 --> 00:39:34.319
Jerry Corley: The song, joke, song, joke, song, joke, all the way through, and then he ended with a song that everybody sang along with, and he said goodnight.

398
00:39:34.950 --> 00:39:42.780
Jerry Corley: So, using music is actually a really good thing. He didn't play guitar, he didn't have any backup music, he just sang an acapella.

399
00:39:42.950 --> 00:39:48.170
Jerry Corley: And it… so it also gave the audience a sense of, hey, I could do that.

400
00:39:48.890 --> 00:39:51.590
Jerry Corley: Because he didn't have to have any extra skills.

401
00:39:51.970 --> 00:39:55.959
Jerry Corley: of the… having the music. Now, if he added…

402
00:39:56.050 --> 00:40:15.480
Jerry Corley: background music for each song, that could be better in one way, might enhance it a little bit, give it a little extra dynamic, but they'd have to be queued up, for each song. And so, when you're doing, like, 5-minute showcase sets, you want to be self-contained. You don't want to rely on music cues for the staff. Pappy?

403
00:40:16.950 --> 00:40:20.579
Pappy: Yeah, would they have to be recognizable songs?

404
00:40:21.850 --> 00:40:29.060
Jerry Corley: it's not absolutely necessary, but I think for the sake of the nostalgia,

405
00:40:29.780 --> 00:40:37.039
Jerry Corley: it, that was… that's what would make that, work, but I mean, if you had a song, every song…

406
00:40:37.160 --> 00:40:58.190
Jerry Corley: Every song has a beginning, middle, and end. It has tension and release, it has a melody, it has, and so we… and it has a story. So, it doesn't have to be. Like, if you're doing a… if you're doing a song parody, you can just sing a song that's maybe… or an original song that people don't know, but it's still got a good melody.

407
00:40:58.190 --> 00:41:06.190
Jerry Corley: sing that, and they'll go, oh, what is that song? That'll make them really curious. So I think that's also fun, too. So it doesn't have to be a recognizable song.

408
00:41:06.190 --> 00:41:13.770
Jerry Corley: The recognition of the song Adds to that ingredient of nostalgia that makes people feel a certain way.

409
00:41:14.080 --> 00:41:27.060
Jerry Corley: So it's one of the things about Jerry Seinfeld. Jerry Seinfeld, some people don't think he's funny. I've heard, like, a… I would say about probably 50% of the people, 40% of the people I've spoken to, like, I don't even think Seinfeld's funny.

410
00:41:27.240 --> 00:41:30.919
Jerry Corley: I go, really? Wow, okay. But I like them.

411
00:41:31.400 --> 00:41:33.950
Jerry Corley: What is it that you like about him? I don't know.

412
00:41:33.950 --> 00:41:57.209
Jerry Corley: And I think part of it is, Seinfeld talks about, when I was 10, or when I was 8, he talks about being a kid, being at the bank with his mom, and then, you know, and then, like, suddenly your legs don't work, you're like, I can't stand up, and the mom's just trying to keep you up off the ground, and he's doing the whole act out there. People start to remember that, and they go, yeah, I remember that, wow. And they feel the same…

413
00:41:57.460 --> 00:42:10.290
Jerry Corley: almost their muscles of the mom trying to pull the arm up and keep you up off the floor. And it's like, you know, she's like, basically can mop the floor with my jeans, and I, you know… and so,

414
00:42:10.670 --> 00:42:20.450
Jerry Corley: he would add those pieces of nostalgia in there, and that would make people feel connected to the performer. And so it's one of… it's… that's a technique to remember.

415
00:42:20.740 --> 00:42:24.180
Jerry Corley: You want people to connect with you. Music is great.

416
00:42:24.590 --> 00:42:38.609
Jerry Corley: Emotion, of course, real, authentic emotion, doesn't have to be big, and maybe some nostalgia, right? Bring them back to a place and time that makes them feel warm and fuzzy. So that's, that's a couple of things there, so…

417
00:42:38.800 --> 00:42:49.610
Jerry Corley: Quick look at, Sandler, and then we're gonna look at, we're gonna actually immerse ourselves in a video. We got Kaz and Evelyn with your hands up, let's, let's take those questions first.

418
00:42:50.060 --> 00:42:52.100
Kaz Okamoto: Evelyn's hand was up first, I think.

419
00:42:52.100 --> 00:42:53.449
Evelyn Thatcher: Was it? Oh, I thought yours was.

420
00:42:53.990 --> 00:42:57.629
Evelyn Thatcher: I was just gonna say, yeah, so he's with Seinfeld.

421
00:42:57.760 --> 00:43:04.870
Evelyn Thatcher: A lot of the stuff he really digs into is, things that are recognizable, that we don't think about.

422
00:43:04.980 --> 00:43:14.550
Evelyn Thatcher: But that he was like, oh yeah, that is true, I do do that, or whatever. And I'm wondering if you think that the, with Sandler, that…

423
00:43:15.020 --> 00:43:19.770
Evelyn Thatcher: It's as much, recognizable stuff as Seinfeld.

424
00:43:20.580 --> 00:43:26.529
Jerry Corley: Not quite. Because Sandler, like, when he opens with, so I was eating grapes.

425
00:43:26.710 --> 00:43:30.900
Jerry Corley: And he does this story, we can relate to eating grapes, we recognize eating grapes.

426
00:43:31.400 --> 00:43:42.160
Jerry Corley: So I think, there's something there, but we can examine it as we go through. It's not quite like Seinfeld, because I, Sandler's going for the more absurd.

427
00:43:42.490 --> 00:43:43.550
Evelyn Thatcher: Yeah.

428
00:43:43.550 --> 00:43:48.269
Jerry Corley: bizarre thing, you know, is that there's one bit called Botox in my dick.

429
00:43:48.530 --> 00:43:49.480
Jerry Corley: Huh.

430
00:43:49.480 --> 00:43:50.100
Evelyn Thatcher: Right.

431
00:43:50.100 --> 00:43:55.180
Jerry Corley: So, and he tells the story about that, and it's, like, obviously not true.

432
00:43:55.280 --> 00:44:00.839
Jerry Corley: But we're saying, if this happened, and he put himself in an embarrassing situation, how would that play out?

433
00:44:01.640 --> 00:44:08.330
Jerry Corley: I mean, how many people… I know lina does this… You'll create a scenario.

434
00:44:08.520 --> 00:44:25.990
Jerry Corley: based on… I do it, too. Like, if somebody, like, says something to me, you know, I'm like, oh yeah, I could have said to him, what I should have said to this guy is like this, and then this would have happened, and it would have escalated, and we would have gotten a fight, and maybe the cops would have come, and he'd go through this whole thing that never happened.

435
00:44:26.560 --> 00:44:32.810
Jerry Corley: Right? And it's like, So I think we've all done something like that, where we tell this story.

436
00:44:32.930 --> 00:44:39.160
Jerry Corley: In, about, you know, what could happen if this happened.

437
00:44:39.370 --> 00:44:45.500
Jerry Corley: Right, so now, exact… and it really helps in our creative imagination in the storytelling.

438
00:44:45.890 --> 00:44:57.700
Jerry Corley: Right? Don't shut that part of you down, because a lot of people say, you know, it's not, you know, don't, you know, it's not real. It's like, doesn't have to be real, you know? We've heard how many people say comedy has to be your truth?

439
00:45:00.520 --> 00:45:02.510
Jerry Corley: What? I've heard that. No one doesn't.

440
00:45:03.080 --> 00:45:05.369
Jerry Corley: Doesn't have to be true. Doesn't even have to be.

441
00:45:05.370 --> 00:45:05.960
Pappy: I'm crazy.

442
00:45:06.730 --> 00:45:07.650
Jerry Corley: What's that?

443
00:45:07.820 --> 00:45:09.129
Pappy: Truth is, I'm crazy.

444
00:45:09.130 --> 00:45:26.590
Jerry Corley: Yeah, truth is you're crazy, that's it. So, the truth, maybe Sandler's truth, you know, if you think about it, like, Sandler's truth is the fact that he tells wacky stories. You know, that's true to him, he's never grown up, he still tells his wacky stories, right? Same thing if you go back and you look at Robin Williams.

445
00:45:27.070 --> 00:45:40.060
Jerry Corley: Robin Williams grew up on a… his dad was an executive for Ford, always busy, always working. His mother wanted to be an actress, she was off doing her thing, and he was raised by a nanny.

446
00:45:40.420 --> 00:45:54.740
Jerry Corley: And he always wanted the attention of his mother, so he would always do characters for his mother to get her approval. And so, plus, he lived on, like, I think a 40-acre ranch with a 20-room farmhouse.

447
00:45:55.740 --> 00:46:16.630
Jerry Corley: And so he had the run of the house, and so he would basically create characters and his own imaginary friends, and so that's kind of where he started, was creating these act-outs and these characters. So, by the time he got to Juilliard, he already had all these accents and dialects and characters and imagination going on.

448
00:46:16.630 --> 00:46:22.769
Jerry Corley: So, so that, you know, you know, he had nobody to stop him and tell him, hey, live in reality.

449
00:46:22.770 --> 00:46:26.649
Jerry Corley: You know? He had nobody to say, don't laugh, it makes you look stupid.

450
00:46:26.650 --> 00:46:29.989
Jerry Corley: Huh. Like Brano's dad. Kaz.

451
00:46:30.730 --> 00:46:33.039
Kaz Okamoto: I get an open mic.

452
00:46:33.160 --> 00:46:53.040
Kaz Okamoto: Last week, and since I was in elementary school, I used to take, like, Mother Goose rhymes and then make up my own thing, because I thought I was funny. And so I wrote a parody thing to Twinkle Twinkle Little Star, but I said it, right? And the feedback I got was, why didn't you sing it? Because we always sang that song.

453
00:46:53.040 --> 00:46:53.960
Evelyn Thatcher: Right?

454
00:46:54.100 --> 00:47:03.369
Kaz Okamoto: And I said, I didn't think about it. And the person said, even if you're… you don't have a good singing voice, it will make it even funnier.

455
00:47:03.370 --> 00:47:04.220
Evelyn Thatcher: It's true.

456
00:47:04.250 --> 00:47:11.950
Jerry Corley: It does, because the melody also creates a heightened expectation, right? Because we know how the note's gonna resolve.

457
00:47:12.090 --> 00:47:23.590
Jerry Corley: It's, you know, it's basically, you're doing the ABC song. ABC song with Twinkle Twinkle Little Store, Little Star. Twinkle Twinkle Little Store. Twinkle Twinkle Little Drug Store.

458
00:47:23.880 --> 00:47:24.720
Evelyn Thatcher: Yeah.

459
00:47:24.720 --> 00:47:26.619
Kaz Okamoto: Pretty cool, tweak the little store.

460
00:47:26.620 --> 00:47:27.170
Evelyn Thatcher: Yeah.

461
00:47:27.170 --> 00:47:29.559
Kaz Okamoto: Oh my god, I'm a fucking whore.

462
00:47:29.560 --> 00:47:30.410
Jerry Corley: So…

463
00:47:30.410 --> 00:47:30.780
Kaz Okamoto: Yes.

464
00:47:31.360 --> 00:47:48.230
Kaz Okamoto: But, the thing is, and I… that's a… those things I heard as a kid, and so then the parody was as a retired 70-year-old, and, it got a great laugh, but the girls had said to me, yeah, next time, sing it.

465
00:47:48.340 --> 00:47:49.290
Kaz Okamoto: Because the…

466
00:47:49.290 --> 00:47:50.700
Jerry Corley: Try to sing, try to sing it.

467
00:47:50.700 --> 00:47:51.380
Kaz Okamoto: Yeah.

468
00:47:51.380 --> 00:48:15.559
Jerry Corley: add that extra dynamic, sure, because now we can join along with you in a way, and it causes us to create an expectation, and you have that parity switch that relates to the subject matter, and so we start to laugh at the coincidence that your story matches, sort of, the rhythm and the amount of words as, say, Twinkle Twinkle Little Star.

469
00:48:15.560 --> 00:48:23.270
Jerry Corley: That's why my big thing is when you're doing song parodies, the words should match the amount of words in the original lyrics.

470
00:48:23.270 --> 00:48:24.170
Jerry Corley: So.

471
00:48:24.170 --> 00:48:24.770
Kaz Okamoto: The beat.

472
00:48:24.770 --> 00:48:36.510
Jerry Corley: Yeah, so those beats, come along, and then… so that heightens that coincidence. That's what Weird Al does. He doesn't jam in extra syllables to try to fit it in a measure.

473
00:48:36.510 --> 00:48:55.010
Jerry Corley: You know, he basically makes sure everything fits perfectly, and so condensing words, contracting words, you know, starting in the middle of a sentence rather than saying the whole sentence to make sure that, those words fit in the same thing, but convey the same idea. So,

474
00:48:55.010 --> 00:48:57.559
Jerry Corley: You know, in addition, we have the rhyme.

475
00:48:58.450 --> 00:49:06.610
Jerry Corley: You know, that adds coincidence. Rhyming, alliteration adds coincidence. Internal rhymes, you familiar with those?

476
00:49:07.880 --> 00:49:08.590
Kaz Okamoto: No.

477
00:49:08.590 --> 00:49:32.819
Jerry Corley: internal rhymes, where you're rhyming, you know, because in most songs, we rhyme in the, at the end of the stanza, or at the end of the lyrics, right? So you have that, and you get down to the end, and we find that either one, two, first line, second line, rhymes with the first line, or you have one, two, three, four, that fourth… end of the fourth line rhymes with the first line.

478
00:49:32.840 --> 00:49:39.639
Jerry Corley: So you have something like that that could come in there, but an internal rhyme has rhymes in the middle.

479
00:49:42.050 --> 00:49:46.799
Jerry Corley: So, it, creates a literary, sort of like a,

480
00:49:47.360 --> 00:50:07.069
Jerry Corley: it creates, they're also called interior rhymes, so it creates, like, a rhythm, right? So, for example, if you go back and look at, look at some, like, Bruce Springsteen's, who wrote Blinded by the Light, it was sung by Manfred Mann's Earth Band.

481
00:50:07.250 --> 00:50:12.479
Jerry Corley: And it was Bruce Springsteen's only hit song, his only number one song.

482
00:50:12.590 --> 00:50:25.400
Jerry Corley: on the Billboard charts was, Blinded by the Light, and it wasn't even sung by him, it was sung by Manford Mann's Earth Band. But if you listen to the lyrics, madman, drummers, bummers, Indians in the summer with a teenage diplomat.

483
00:50:25.570 --> 00:50:40.049
Jerry Corley: In the dumps with the mumps as the adolescent pumps his way into his hat. With a boulder on my shoulder, feeling kinda older, I tripped the merry-go-round. With his ferry and please and sneezing and wheezing, the calliope crashed to the ground.

484
00:50:40.210 --> 00:50:46.270
Jerry Corley: Right? So, all of those interior rhymes create that rhythm that make people want to sing along with it.

485
00:50:46.270 --> 00:51:01.659
Jerry Corley: They want to learn it so they can sing along with it. So, learning that is the extra added coincidence if you're doing song parody. I think that would be a cool little technique to add to, to it. Like, one of my favorite songs is, like, Bare Naked Ladies.

486
00:51:02.290 --> 00:51:04.400
Jerry Corley: You know, one week.

487
00:51:04.510 --> 00:51:16.889
Jerry Corley: Where they really jam in some very fast lines. White guy rap, you know? Really, if you think about it. But it's so… in colleges, they were…

488
00:51:17.330 --> 00:51:30.149
Jerry Corley: working really hard to memorize these things, and they made it little competitions. So, I mean, talk about your song being captivating, give people a reason to sing your music, right? Is, using that one week, so,

489
00:51:30.150 --> 00:51:32.000
Kaz Okamoto: What about that Billy Crystal song?

490
00:51:32.130 --> 00:51:51.020
Kaz Okamoto: I can't remember the name. Because I heard an interview with him, and he said, when he was writing it, he went through years in the 60s and 70s, like, every year, and then took stuff out of the news and whatever was there, and that's how he started making his listing technique. He used that.

491
00:51:51.020 --> 00:51:57.960
Kaz Okamoto: To listing what was going on there, and then, like, as things got more chaotic and towards war.

492
00:51:58.140 --> 00:52:02.139
Kaz Okamoto: Right? That it got faster and faster and faster. I thought that was pretty…

493
00:52:02.140 --> 00:52:04.099
Jerry Corley: That was, we didn't start the fire.

494
00:52:04.100 --> 00:52:04.700
Kaz Okamoto: Yeah.

495
00:52:05.590 --> 00:52:06.420
Jerry Corley: you know.

496
00:52:06.570 --> 00:52:25.180
Jerry Corley: Harry Truman, Doris Day, Red Shyna, Johnny Ray, South Pacific, Walter Winchell, Joe DiMaggio, right? And he goes, Joe McCarthy, Richard Nixon, Studebaker, Television, North Korea, South Korea, Marilyn Monroe. So it's like… and people go, oh, what a coincidence! It doesn't make any sense, they're just names.

497
00:52:25.180 --> 00:52:25.930
Kaz Okamoto: Yeah.

498
00:52:26.150 --> 00:52:28.270
Jerry Corley: But we get a kick out of it, and we…

499
00:52:28.270 --> 00:52:30.820
Kaz Okamoto: Timeline, which I thought was pretty clever.

500
00:52:30.820 --> 00:52:45.509
Jerry Corley: Absolutely cool, right? Really cool thing to do. So, adding that would add coincidence, and plus, if you were able to put one of those songs in there in your act, that's an applause break. That's a big finish.

501
00:52:45.510 --> 00:52:47.739
Kaz Okamoto: And I, I wrote 3 stanzas.

502
00:52:47.920 --> 00:52:48.830
Kaz Okamoto: You know?

503
00:52:49.550 --> 00:52:50.700
Kaz Okamoto: Because I…

504
00:52:50.700 --> 00:52:52.380
Jerry Corley: Of the Twinkle Twinkle Little Star?

505
00:52:52.380 --> 00:52:55.220
Kaz Okamoto: Yeah, because… can I do the first one?

506
00:52:55.220 --> 00:52:58.150
Jerry Corley: Absolutely! That's part of, like, what we're here for.

507
00:52:58.150 --> 00:53:03.360
Kaz Okamoto: Twinkle, twinkle, little star, how I hate my ortho bra.

508
00:53:03.430 --> 00:53:03.880
Evelyn Thatcher: Where?

509
00:53:04.830 --> 00:53:09.820
Kaz Okamoto: I was young, my tits were high, now they hang about mid-thigh.

510
00:53:09.820 --> 00:53:10.530
Evelyn Thatcher: Aha!

511
00:53:10.720 --> 00:53:12.839
Kaz Okamoto: And then go on to…

512
00:53:12.840 --> 00:53:13.260
Jerry Corley: honey.

513
00:53:13.260 --> 00:53:14.050
Kaz Okamoto: You know, twinkle.

514
00:53:14.050 --> 00:53:14.580
Jerry Corley: Great.

515
00:53:14.580 --> 00:53:25.670
Kaz Okamoto: Well, where's that star? Oh my god, I hate… you know, and then whatever, I can't remember. And then just, like, get pissed off, like, this whole thing was so innocent, and then it ends up, like.

516
00:53:25.700 --> 00:53:38.100
Kaz Okamoto: The last one is Twinkle Twinkle, what the fuck? Now I have such horrible luck. And then, you know, just go into that, you know, it… and then it ends with, you know.

517
00:53:38.220 --> 00:53:42.049
Kaz Okamoto: Death. I know it's weird, but it… that last one…

518
00:53:42.050 --> 00:53:47.009
Jerry Corley: It's all fine. It's fine, because now it becomes unexpected, because Twinkle Twinkle Little Star is a happy song.

519
00:53:47.010 --> 00:53:47.700
Evelyn Thatcher: You have to.

520
00:53:47.700 --> 00:53:50.920
Jerry Corley: And you're ending with death, that's dark, but it's unexpected.

521
00:53:50.920 --> 00:53:58.120
Kaz Okamoto: that that actually has, like, 6 different stanzas to it. Tweakle, Tweakle Little Star. I thought it was only that first part.

522
00:53:59.020 --> 00:53:59.630
Jerry Corley: Yeah, me.

523
00:53:59.630 --> 00:54:02.970
Kaz Okamoto: Because as a kid, we don't hear all of that, we only hear… hear…

524
00:54:02.970 --> 00:54:04.059
Jerry Corley: 0 to Z.

525
00:54:04.320 --> 00:54:05.090
Kaz Okamoto: Yeah.

526
00:54:05.240 --> 00:54:10.530
Jerry Corley: It's like, now I know my ABCs, won't you practice them with me?

527
00:54:11.130 --> 00:54:12.510
Evelyn Thatcher: You have to sing it, Kaz.

528
00:54:12.670 --> 00:54:17.720
Kaz Okamoto: Yeah, ours, how, you know, ABCs, tell me what you think of me.

529
00:54:18.090 --> 00:54:24.279
Kaz Okamoto: Like, aren't I good? You know, isn't… that's how we used to say it. Tell me what you think of me.

530
00:54:24.900 --> 00:54:25.560
Jerry Corley: Right.

531
00:54:25.560 --> 00:54:26.200
Kaz Okamoto: Okay.

532
00:54:26.440 --> 00:54:28.620
Jerry Corley: So, yeah, no, I think that's great. I think it's really fun.

533
00:54:28.620 --> 00:54:29.680
Kaz Okamoto: Okay, I'll work on that.

534
00:54:29.680 --> 00:54:37.969
Jerry Corley: And yeah, it's funny, too, the ortho bra, and then the tits down to the mid-thigh, that's funny, you know. You can even define a word that rhymes with knees.

535
00:54:38.920 --> 00:54:42.009
Kaz Okamoto: Yeah, I mean, and then it came up from…

536
00:54:42.470 --> 00:54:50.580
Kaz Okamoto: I don't know, I was at Vons Market, and the barista in the Starbucks in the,

537
00:54:50.770 --> 00:54:57.969
Kaz Okamoto: grocery store. He comes to my show at the Comedy Chateau once in a while, and he goes,

538
00:54:58.120 --> 00:55:16.029
Kaz Okamoto: let me take a picture of you, and I went, yeah, okay, whatever. And I looked, and my tits were hanging down. I mean, I had a bra on, but my tits were hanging out. Oh my god, fuck, man, I've gotten really old, now I gotta… oh, I gotta have to spend more money to raise a… do I have to go buy new tits? Is this what it's coming down to?

539
00:55:16.030 --> 00:55:20.929
Kaz Okamoto: That's funny. And that's what made me think about that whole thing, you know?

540
00:55:21.020 --> 00:55:22.249
Kaz Okamoto: Seeing that photo.

541
00:55:22.250 --> 00:55:24.600
Evelyn Thatcher: ortho bra, I've never… I don't even know what an ortho.

542
00:55:24.600 --> 00:55:25.949
Kaz Okamoto: An orthopedic bra?

543
00:55:25.950 --> 00:55:27.080
Evelyn Thatcher: Yeah, I don't know what that is.

544
00:55:27.080 --> 00:55:34.280
Kaz Okamoto: Oh my god, so usually it's to lift your breasts up, but also to straighten up your back?

545
00:55:34.280 --> 00:55:35.320
Evelyn Thatcher: Oh, okay.

546
00:55:35.320 --> 00:55:38.370
Kaz Okamoto: And so it's got, like, a big, cross…

547
00:55:38.370 --> 00:55:39.410
Evelyn Thatcher: Big cross in the back.

548
00:55:39.410 --> 00:55:42.639
Kaz Okamoto: Yeah, it's like a girdle for your chest.

549
00:55:43.940 --> 00:55:44.540
Evelyn Thatcher: Gotcha.

550
00:55:44.540 --> 00:55:48.779
Jerry Corley: Girdle for your chest. Yeah, it sort of helps your shoulders come back.

551
00:55:48.780 --> 00:55:53.940
Kaz Okamoto: Yeah, and then… yeah, and then that also, you know… But…

552
00:55:53.940 --> 00:55:55.049
Evelyn Thatcher: A titty girdle.

553
00:55:55.050 --> 00:56:01.320
Kaz Okamoto: Without getting too personal about myself. I know, it's just like… Fuck, really? Ugh, you know?

554
00:56:01.950 --> 00:56:02.959
Kaz Okamoto: It's just grass.

555
00:56:02.960 --> 00:56:10.669
Evelyn Thatcher: Well, I mean, that means you have big enough boobs that you need something mass, you know, industrial to hold them up.

556
00:56:10.670 --> 00:56:10.990
Jerry Corley: Funny.

557
00:56:10.990 --> 00:56:12.330
Evelyn Thatcher: That's a plus, right?

558
00:56:12.330 --> 00:56:21.430
Kaz Okamoto: Oh, it… do you remember an element… I don't know if you remember this. In elementary school, boys would ask you, how many Ticonderoga pencils can you hold underneath your breath?

559
00:56:21.430 --> 00:56:21.830
Evelyn Thatcher: Oh.

560
00:56:21.830 --> 00:56:25.520
Kaz Okamoto: It's your kit, your boob. They never use that, they use the word boob.

561
00:56:25.630 --> 00:56:33.370
Kaz Okamoto: You know, and and me, I go, a dozen? You know, and then it was just like, huh? You know, it was…

562
00:56:33.370 --> 00:56:33.850
Evelyn Thatcher: Right.

563
00:56:33.850 --> 00:56:36.200
Kaz Okamoto: You know, we thought we were funny, I don't know.

564
00:56:36.950 --> 00:56:37.980
Jerry Corley: No, it is funny.

565
00:56:39.900 --> 00:56:52.540
Jerry Corley: It's like, it's like you're making fun of, like… and the fact that you're making fun of it, you know, that's something that you're… that people can be, like, you know, vulnerable about, or feel embarrassed about, but you're in there just…

566
00:56:52.920 --> 00:56:55.410
Jerry Corley: Making yourself laugh with everybody else.

567
00:56:56.870 --> 00:57:10.809
Jerry Corley: Alright, so let's get in there and take a quick look at some Adam Sandler. I think most of us know his, the trajectory of his career, how he, basically,

568
00:57:11.630 --> 00:57:15.330
Jerry Corley: You know, how he, you know, how he approached his,

569
00:57:15.690 --> 00:57:19.470
Jerry Corley: Let's see, here it is. Adam Sandler, I think that's it.

570
00:57:20.200 --> 00:57:21.290
Jerry Corley: 18.5.

571
00:57:37.600 --> 00:57:38.600
Jerry Corley: There we go.

572
00:57:48.210 --> 00:58:12.280
Jerry Corley: So we, definitely can, take all of that stuff that we just talked about, and what you did, Kaz, was basically one of the exercises, is taking one of those moments and then expanding on it. So, so Adam Sandler uses, you know, he doesn't even realize he uses structure sometimes, but he… what he likes to do is he likes to create a scenario, and then add a,

573
00:58:12.280 --> 00:58:37.279
Jerry Corley: at an embarrassing or surprising twist at the end. That's a common thing for his stories, but he also loves to do, and he will often do these, jokes that are, compare and contrast, like chemistry can be a good, bad thing, chemistry is good when you make love with it, chemistry is bad when you make crack with it. So, using a mirrored phrase there, so that's one, you know, one of the few places

574
00:58:37.280 --> 00:58:40.169
Jerry Corley: He really likes when he does those jokes.

575
00:58:40.380 --> 00:58:50.130
Jerry Corley: And he still doesn't know, he's surprised he was able to get a laugh in such a short period of time. I remember still watching this interview with him, and he was like, he doesn't know why it works.

576
00:58:50.260 --> 00:59:05.900
Jerry Corley: And it's so funny to me that here's this guy just, you know, with his imagination, doesn't know why it works. So, Sandler, one of the most unusual careers. Durable is one way you could call it. His movies have made over,

577
00:59:06.210 --> 00:59:23.719
Jerry Corley: $3 billion at the box office. So, so was a featured performer on Saturday Night Live, built Happy Madison Productions, franchises around his particular style of comedy, you know, made a deal with Netflix, became Netflix, one of Netflix's most important stars.

578
00:59:23.800 --> 00:59:37.889
Jerry Corley: So, Punch Drunk Love, Uncut Gems, and Hustle. He did this movie, like, something about the million, he did something like, this movie, this western, which was the worst piece of shit I've ever seen in my life.

579
00:59:37.940 --> 00:59:47.199
Jerry Corley: And it was all way absurd. It was way not believable, and he didn't know where he was going with it. It was the first one of his eight-movie

580
00:59:47.200 --> 01:00:00.049
Jerry Corley: contract that he signed with Netflix. So, and it was not a good one. But he's had some… he's had some hits and misses, but he doesn't stop. He just keeps moving, right?

581
01:00:00.050 --> 01:00:06.919
Jerry Corley: And what's interesting about Sandler in an interview I liked was he still essentially feels like the same guy.

582
01:00:07.160 --> 01:00:26.360
Jerry Corley: That he was when he started, just this wacky, kind of goofy kid, right? So, never abandon the ridiculous voices, no matter what anybody else said, all the other comedians out there, you should probably drop that ridiculous voice, it's a tired trope, and his stupid songs, bizarre characters, his juvenile behaviors, and it's like.

583
01:00:26.360 --> 01:00:32.709
Jerry Corley: he stayed with that, and people love him for that. Now, think about all those people that come to see his shows.

584
01:00:33.870 --> 01:00:42.329
Jerry Corley: Now, the… and you look at it, some of them are older, right? Much older, and they see his shows, and if he was doing somebody different.

585
01:00:42.900 --> 01:00:44.499
Jerry Corley: How do you think they would feel?

586
01:00:45.520 --> 01:00:55.769
Jerry Corley: disappointed, right? So, I remember Steve Martin was at the New York Public Library making an appearance, and he hadn't been doing… he hadn't done an appearance in a long time.

587
01:00:56.170 --> 01:01:02.790
Jerry Corley: And he, did an appearance, and he stood up there for 30 minutes, Talking about art.

588
01:01:03.660 --> 01:01:05.250
Jerry Corley: His art collection.

589
01:01:07.660 --> 01:01:11.599
Jerry Corley: And people were so disappointed. They wanted refunds.

590
01:01:11.990 --> 01:01:29.059
Jerry Corley: So, they gave him refunds, because it was like they expected him to be a wild and crazy guy. They wanted to relive the good times of that, those tropes back in the… when he was playing… and he was a rock star as a comedian. I'd say Adam Sandler is much the same way.

591
01:01:29.150 --> 01:01:45.130
Jerry Corley: silly, wacky, bizarre, coming out, like, what would be weird here? What would be weird here? Like, so, he's never tried to become overly sophisticated, never tried to get too clever. I think we often can fall into that trap of trying to be too clever in our jokes.

592
01:01:45.130 --> 01:01:50.639
Jerry Corley: He never abandoned being ridiculous, so it's like,

593
01:01:50.930 --> 01:01:59.559
Jerry Corley: And he can take it anywhere he wants. Because of the absurdism and the Sandler, you let him get away with it. You know the story's gonna be absurd.

594
01:01:59.560 --> 01:02:16.850
Jerry Corley: So you let it happen. And… but when he builds those stories, I want you to watch, when we get into that, watch how they escalate. And he knows how to escalate, especially with the songs, and then he… that escalation creates… really, really creates an expectation that he's able to, just sort of, you know.

595
01:02:16.850 --> 01:02:21.600
Jerry Corley: flip at the last second, and that gets the big surprise. So,

596
01:02:21.990 --> 01:02:40.230
Jerry Corley: And if you listen to his deliver… delivery, it's like… it's like he's at a party, right? In a conversation, right? And we… it's like the camera punk comes in and catches him right in the middle of a conversation. He's like, you know, so I was at this fucking… this thing happened to me yesterday, it was at this party. And, and he just tells this piece.

597
01:02:40.420 --> 01:02:48.160
Jerry Corley: And, it plays it straight, and then the silliness comes in there, makes all that silliness even funnier. So,

598
01:02:48.990 --> 01:02:59.909
Jerry Corley: We're gonna look at, we're gonna just take a look at the story begins in reality, something happens, we recognize the situation, we understand what the character wants, all of the storytelling elements are there.

599
01:02:59.910 --> 01:03:11.790
Jerry Corley: Right? So it's not like we're lost in the story, it's not making any sense. He's telling a good story, but then he gets more absurd with it, right? And then he just, like, he doesn't even give the audience a chance

600
01:03:11.940 --> 01:03:24.709
Jerry Corley: to judge it, he just moves on with the story. You know, here's what happened next. You know, while the audience is going and saying, wait, what? He just already started the next sentence to tell us the rest of the… continue to tell us the story.

601
01:03:24.880 --> 01:03:27.160
Jerry Corley: And it creates that,

602
01:03:27.280 --> 01:03:46.520
Jerry Corley: sort of, I would say, incongruity, sort of that mashup, juxtaposition, collision, if you want, between reality and absurdity, right? So, so we're gonna take a look at… let's just take a look at the, calfade… cavalcade of silliness

603
01:03:46.960 --> 01:04:06.910
Jerry Corley: and imaginative stories in this I Love You special, from, that he did, on, for Netflix. And also, it's like, just like we talked about, all this chaos on the way from point A to point B. And I'm gonna start it, normally I start most of these videos right when he's up on stage. We're gonna go to…

604
01:04:08.660 --> 01:04:16.559
Jerry Corley: We're gonna start where he is actually right from the beginning of the special, because I want you to see…

605
01:04:16.770 --> 01:04:20.950
Jerry Corley: the, sort of the, the, the absurdity.

606
01:04:21.300 --> 01:04:33.350
Jerry Corley: Of the chaos, so… and you'll see how that matches all his storytelling. And so, and remember, the entire thing, everything you see in that… these scenes.

607
01:04:33.620 --> 01:04:35.320
Jerry Corley: Is scripted and planned.

608
01:04:35.650 --> 01:04:49.790
Jerry Corley: Right? So it's like, once you get to see that, you go, oh, you get to understand the genius behind it, even though it might be silly or goofy or weird, but there's still, like, who would have thought of that type of thing going on? Let me make sure I'm optimizing that for the…

609
01:04:51.260 --> 01:04:54.260
Jerry Corley: Put the screen, get in here, jump in.

610
01:04:58.140 --> 01:05:11.270
Jerry Corley: So this is gonna be the first 20. I want you to take notes and see what you notice, because there's a lot to learn in this 20, of all of the stuff that leads up to that. I mean, it was like, I was like, where can I cut this? I just…

611
01:05:11.310 --> 01:05:20.030
Jerry Corley: They'd be best if they saw the whole progression of it up to the first 20 minutes of his act, and it's like, it's really kind of a fun little experience.

612
01:05:31.130 --> 01:05:32.650
Jerry Corley: You guys see that okay?

613
01:05:33.680 --> 01:05:34.430
Jerry Corley: Right?

614
01:05:34.520 --> 01:05:35.100
Audio shared by Jerry Corley: Yes.

615
01:05:41.720 --> 01:05:52.900
Audio shared by Jerry Corley: Yo, Bill, what happened? I thought you guys were fixing this shit. I'm driving in the car hurting like this, putting my head out the rest of the time you're done with the show, boss. It'll be done, Bill.

616
01:05:52.900 --> 01:06:17.139
Audio shared by Jerry Corley: I get you after the show, I think I'm late, I think I'm late. I get you guys after, what's up, what's up, what's up? Ask him out. How are you? What are you doing out so late with all these crazy shit? What do you got? What is this? Is this me and my house? We got these in Manhattan

617
01:06:17.300 --> 01:06:25.180
Audio shared by Jerry Corley: At a store, they sell photos of the movie stars. And you're a movie star. He's my son! And your son? When's his birthday?

618
01:06:25.380 --> 01:06:38.049
Audio shared by Jerry Corley: Tell him when your birthday is. No, you tell me when his birthday is. I had COVID, I lost memory of him. Your grandmother's a sick woman. Come on, you said you would sign for children. Don't be mad, I gotta go do this.

619
01:06:38.460 --> 01:06:44.950
Jerry Corley: You see what he did there? You see that? See, by the way, that's a character actor, you know, that's when you know it's all planned.

620
01:06:44.950 --> 01:07:00.519
Jerry Corley: Right? And it's like, and then he says, tell your grandmother, right? He says that as a joke to the kid, and the kid wants him to sign pictures like everybody else. That's why, at the beginning, you saw all these pictures… these people put these pictures on this hood of this car for him to sign.

621
01:07:00.690 --> 01:07:08.709
Jerry Corley: And he's like, I have to get you after, I'm running late, right? He's going, so we see those pictures, so when he comes around and he sees this kid.

622
01:07:08.710 --> 01:07:28.030
Jerry Corley: There's nothing in the frame that's not intended to be there to tell the story. So anytime you're watching a movie, or anything like that, and they put something in the frame, and they focus on it, you know that's gonna be a plot point. It's gonna come back somewhere. That's foreshadowing. You know, we see the fire engine toy on the stairs to the basement.

623
01:07:28.730 --> 01:07:39.170
Jerry Corley: somebody's probably gonna trip on it later on, right? So, that's why they put it in the frame. And in this situation, we see that little boy, they focus on him for a second, you know it's coming.

624
01:07:39.540 --> 01:07:55.260
Jerry Corley: The boy is there for an intended reason. He goes into the boy, boy has a sad face, and you see how real it is, though? It's all played like it's so real. And it's all, like, he does a great job making it feel like it's all in the moment.

625
01:07:55.260 --> 01:08:03.729
Jerry Corley: And it's just moving along, and all these obstacles are happening on the way. He's getting ready to do a show!

626
01:08:05.070 --> 01:08:07.019
Jerry Corley: And he has all this chaos.

627
01:08:07.590 --> 01:08:09.020
Jerry Corley: Before he steps on.

628
01:08:09.020 --> 01:08:26.890
Audio shared by Jerry Corley: Why did they lock up the alley? I tried, they're short-staffed. I'm sure you don't want some Chinese food? What? No, I'm not eating. Alright, so I'll throw it out. I gotta change my shirt. Is this the stage?

629
01:08:27.439 --> 01:08:39.880
Audio shared by Jerry Corley: Your other stiff neck is better than doing one of these deals. Bye! How's he doing? Doing good. This is a person with a stiff neck watching a professional tennis player hit an ace. Oh!

630
01:08:40.569 --> 01:09:03.820
Audio shared by Jerry Corley: Who booked this place? Not me. This is the worst moment of my life. Nice to meet you. I work with Bernie. I pay you $1,000 to murder this man right now. We gotta get this stuff done. I got goddamn coffee all over this shit. You want one of these shirts? I don't know, man, I need a hoodie. Want this one?

631
01:09:03.819 --> 01:09:05.620
Audio shared by Jerry Corley: That would be. It's an XL?

632
01:09:06.300 --> 01:09:31.199
Audio shared by Jerry Corley: I don't know if we're in the same weight class, but put this shit on. Actually, just keep it off. Give him a thrill. Stop! Bernie, I can't do it now. We got 40 pieces to do. The reason I gotta do it… I got a show to do, Bernie. We have a flight to catch. I know, I gotta… I can't do them all right now. Stop, we'll get it to you.

633
01:09:31.200 --> 01:09:45.729
Audio shared by Jerry Corley: Alright, let me just say this, there was a kid outside, I was a dick to it, I feel bad. Then absolutely not. Here's my fucking putter. Thank you, buddy. Let's go, let's go. Nice to meet you, Jad. Okay, thanks for the sweatshirt. Thank you.

634
01:09:45.760 --> 01:09:46.489
Audio shared by Jerry Corley: There's a cough.

635
01:09:46.670 --> 01:09:53.190
Audio shared by Jerry Corley: Stevia? Of course. Going down the stairs. Have a good set. I'm gonna play some of the Sense and Comedy Live. That's cool.

636
01:09:53.189 --> 01:10:01.709
Audio shared by Jerry Corley: Yeah, yeah, yeah, sure, sure. Bee's maple syrup, we cut. Oh, let me do that if I wanted to, we'll see what happens. It's in there. Alright, alright, alright. Jellyfish, because… Oh!

637
01:10:01.710 --> 01:10:18.410
Audio shared by Jerry Corley: I don't know, this place is crazy. What the fuck is going on? Okay, left and a left, left and a left. Locked door, we have the second verse in there right now, is that cool? Yeah. So, okay. And then, I think we should try a vocal or not, is that cool? Yeah, yeah. That'll be funny. Alright, so I just… I just sing normal.

638
01:10:18.540 --> 01:10:43.429
Audio shared by Jerry Corley: Excuse me, Mr. Sandler, I'm sorry to interrupt you. Not at all, what's doing? I was wondering if you could do me a big favor and say a few words to my son, James. Absolutely. He's in the hospital. When he did this show? Oh, he's in the hospital. He had a big accident on his scooter. Oh, I'm sorry. He really injured himself. And he's a big fan of yours.

639
01:10:43.430 --> 01:10:47.040
Audio shared by Jerry Corley: Okay. I've got Mr. Sandler right here.

640
01:10:47.550 --> 01:10:48.490
Audio shared by Jerry Corley: James.

641
01:10:50.040 --> 01:10:57.590
Audio shared by Jerry Corley: Yeah, hey, man. Landed on your face, huh, bro. Oh, man. I see that.

642
01:10:57.610 --> 01:11:20.510
Audio shared by Jerry Corley: I would love to see you, man. I'm doing a comedy show right now. You're gonna be okay. Have a good show. Great audience, man. Thank you very much. Thank you so much. You guys are great. They make me feel real. Willie and Leslie, you guys…

643
01:11:20.510 --> 01:11:29.210
Audio shared by Jerry Corley: This means a lot to me. Thank you very much. Appreciate that.

644
01:11:30.570 --> 01:11:31.630
Audio shared by Jerry Corley: Again.

645
01:11:35.040 --> 01:11:35.730
Audio shared by Jerry Corley: I'm sick.

646
01:11:55.930 --> 01:11:56.590
Audio shared by Jerry Corley: Let's go!

647
01:11:57.150 --> 01:12:16.630
Audio shared by Jerry Corley: Alright, thanks a lot, everybody, I love you. Thanks for coming out. What's going on with the… why is that doing that? We're working on it, there's a computer issue we're working on. Alright, alright, so what, you wanna wait for, should I wait? No, no, no, let's not wait, let's keep going, let's get, we're gonna get them working, it'll be fine.

648
01:12:16.880 --> 01:12:20.639
Audio shared by Jerry Corley: Lippy. Alright.

649
01:12:20.780 --> 01:12:26.279
Audio shared by Jerry Corley: Okay, so just go, and we'll do this, because we've got so many things that we're supposed to show up there.

650
01:12:28.170 --> 01:12:30.429
Audio shared by Jerry Corley: It's all right.

651
01:12:31.060 --> 01:12:35.340
Audio shared by Jerry Corley: No, no, no, no, that's what it's gonna look like? I don't know.

652
01:12:35.760 --> 01:12:40.789
Audio shared by Jerry Corley: This is, Spenger you're putting here, by the way, you fucked me. It was supposed to be Stevia.

653
01:12:42.680 --> 01:12:45.100
Audio shared by Jerry Corley: Just kill the monitors, yeah.

654
01:12:45.860 --> 01:12:56.310
Jerry Corley: Alright, so, notice, like, even when he says earlier, Stevia, right? He just throws it in there subtly. That was planned for later on, there's a joke.

655
01:12:56.400 --> 01:13:06.989
Jerry Corley: Supposed to be Stevia, you fucked me, you know? And he has a nice little joke there, every obstacle that's in there is in there for a reason. These computer monitors?

656
01:13:07.140 --> 01:13:15.820
Jerry Corley: This is in there for a reason. It's towards the finish, right? When he gets to the end of the whole thing, right, they finally get the monitors working.

657
01:13:15.820 --> 01:13:36.150
Jerry Corley: So the audience applauds as he goes into his last segment. So it's a real clever way to take the audience all the way to the end. This obstacle, recurs during the show, we didn't get it right, we didn't get it right, okay, we'll go black, they go black again on the screens, and then later on, at the end, they finally get it to work.

658
01:13:36.150 --> 01:13:40.670
Jerry Corley: So that's all part of the plan, right? So everything is… all the…

659
01:13:40.670 --> 01:14:04.749
Jerry Corley: the dog, the… him having to sign these things for this charity thing that he promised, and all of that chaos that happens prior to the show. I love the, the, you know, the bodyguard there is like, hey, you could use my sweatshirt. It's an XL, and he takes off his shirt, the guy's, like, massive. He goes, I think we're a different weight class, funny joke on the way to the thing.

660
01:14:04.750 --> 01:14:20.739
Jerry Corley: But he stayed… never once gets excited. Despite the immense chaos that's all around him, he stays calm, cool, and collected, which by itself is incongruity, right? So, did anybody else notice some jokes on the way in before he even took the stage?

661
01:14:21.320 --> 01:14:26.709
Kaz Okamoto: Well, the first one, when he, the, he asked the guy who's with the kid.

662
01:14:27.010 --> 01:14:32.119
Kaz Okamoto: This is your son? When's his birthday? Oh, I had COVID. I forgot.

663
01:14:32.250 --> 01:14:32.939
Kaz Okamoto: You know?

664
01:14:32.940 --> 01:14:33.940
Jerry Corley: Right, right.

665
01:14:33.940 --> 01:14:36.300
Kaz Okamoto: I thought that was pretty funny.

666
01:14:36.300 --> 01:14:40.870
Jerry Corley: Like, you know, because he's like, that's not your son, that's like, this is a plant, or whatever that may.

667
01:14:40.870 --> 01:14:43.170
Kaz Okamoto: Yeah, he wanted those pictures.

668
01:14:43.170 --> 01:14:44.260
Jerry Corley: Yeah, yeah.

669
01:14:44.260 --> 01:14:44.820
Kaz Okamoto: Fine.

670
01:14:45.790 --> 01:14:48.210
Pappy: I thought it was funny when…

671
01:14:48.550 --> 01:14:53.110
Pappy: He… he couldn't tell whether he should talk to the puppet or the puppeteer.

672
01:14:53.270 --> 01:15:07.640
Jerry Corley: Right, yeah, yeah, that was Willie and Lester. I don't know if you guys remember Willie and Lester. They were, they were a, a ventriloquist act back in the day on all the shows, you know, whether Smothers Brothers or, you know,

673
01:15:07.950 --> 01:15:10.089
Jerry Corley: Or,

674
01:15:10.140 --> 01:15:29.959
Jerry Corley: geez, you know, Make Me Laugh, or, all of the shows back in the day. Who am I thinking about? You know, Sunny and Cher, you know, Carol Burnett, then when you have a guest performer like Willie and… you always saw this Willie and Lester character, show up. So, you remember them, Evelyn?

675
01:15:31.000 --> 01:15:31.799
Kaz Okamoto: I do!

676
01:15:31.800 --> 01:15:32.380
Evelyn Thatcher: No.

677
01:15:32.380 --> 01:15:34.469
Jerry Corley: Kaz, you remember Willie and Lester? Yeah.

678
01:15:34.470 --> 01:15:35.040
Kaz Okamoto: Yeah.

679
01:15:35.040 --> 01:15:42.840
Jerry Corley: So they were like… and it's the jokes even aren't even that great, right? But that's kind of the thing. He's been around forever.

680
01:15:43.290 --> 01:15:51.319
Jerry Corley: And back in the 70s and 80s, you didn't really need to have great chokes, and the audience has become so much more sophisticated with comedy now.

681
01:15:51.330 --> 01:16:03.589
Jerry Corley: But it's still, like, that was a fun little shout-out to Willie and Lester, a ventriloquist act. It's opening for him, so it's like, that's funny. And then, anybody else notice anything? Evelyn?

682
01:16:03.590 --> 01:16:21.809
Evelyn Thatcher: I mean, for me, the thing that was funniest is, to me, it was like it was a performer's nightmare, coming in to try to do a show, and just one… the absurdist for me was just, like, one thing after another, that people were actually gonna bother him with this crap right before he goes on stage.

683
01:16:21.810 --> 01:16:22.370
Jerry Corley: Right.

684
01:16:22.370 --> 01:16:32.110
Evelyn Thatcher: Yeah, I mean, to me, I didn't… maybe I didn't notice specific jokes, but just the fact that it was just, like, one thing after another, and this guy in the accent, oh, do you mind talking to my…

685
01:16:32.360 --> 01:16:33.809
Jerry Corley: That was… that was hysterical.

686
01:16:33.810 --> 01:16:34.130
Evelyn Thatcher: you know.

687
01:16:34.130 --> 01:16:34.550
Jerry Corley: You know.

688
01:16:34.550 --> 01:16:36.040
Evelyn Thatcher: He's got blood still on his face.

689
01:16:36.040 --> 01:16:39.679
Jerry Corley: He'll get blood on his face, they haven't even cleaned him up yet.

690
01:16:41.450 --> 01:17:04.579
Jerry Corley: So, yeah, and so he was like, well, if he was… so you could see how he's mapping it out, what else could happen, what else could happen. The guy's taping some… repairing the ceiling when he goes in there. It's like, obviously, he's like, who booked this place? Man, it's a shithole, right? And it's like, he doesn't even have to finish the words. He goes, who booked this place? And he has so-and-so, oh, man, this is a… and he doesn't even finish.

691
01:17:04.580 --> 01:17:09.109
Jerry Corley: We get what he… he doesn't even need to finish the words, and then next thing you know, it's like…

692
01:17:09.110 --> 01:17:34.089
Jerry Corley: he's on to the next thing, and the next thing, and the next thing, and everybody's coming at him with something, and all he's trying to do is get ready for the show. Then, the piano player, he grabs the piano player, they start heading to the stage, and and he's like, and he's going, okay, so we're gonna cut this piece and do the… we're gonna cut this piece, I wanna do that piece. Okay, maybe we'll do that piece, you know? And so, they're all, like, editing as they take the stage, so it's really

693
01:17:34.090 --> 01:17:35.080
Jerry Corley: kind of funny.

694
01:17:35.430 --> 01:17:53.809
Kaz Okamoto: Well, the other thing is… whoever said it, are you hungry? I got you Chinese food, like, yeah, I'm gonna eat that right before I go on, you know? Well, do you want me to throw it away? Like, do you… oh, oh, no, save it, I'll eat it and heat it up later. And then the dog, out of nowhere.

695
01:17:53.810 --> 01:17:54.440
Jerry Corley: That's funny.

696
01:17:54.440 --> 01:17:58.990
Kaz Okamoto: dog is that? I want to see what's on the back of his sweatshirt, though, because…

697
01:17:58.990 --> 01:17:59.920
Jerry Corley: I…

698
01:17:59.920 --> 01:18:08.930
Kaz Okamoto: part of it, you know? So I'm thinking, there's gotta be something funny, like, it's either, bail bondsman, or, adult…

699
01:18:09.120 --> 01:18:11.000
Kaz Okamoto: You know, shop or something.

700
01:18:11.000 --> 01:18:14.859
Jerry Corley: Or, he is actually giving a shout-out to some friend of his who owns his.

701
01:18:14.860 --> 01:18:15.450
Kaz Okamoto: Oh, that's true.

702
01:18:15.450 --> 01:18:20.650
Jerry Corley: But, he didn't do it on purpose, because he borrowed the sweatshirt.

703
01:18:20.650 --> 01:18:23.239
Kaz Okamoto: Yeah, or a delicatessen, or, you know…

704
01:18:23.540 --> 01:18:30.870
Evelyn Thatcher: I also thought it was funny, the, the names of the bits, he's like, oh, you're gonna cut… what was it, you know, I don't know.

705
01:18:30.870 --> 01:18:31.890
Kaz Okamoto: maple syrup.

706
01:18:31.890 --> 01:18:32.410
Evelyn Thatcher: Whatever was.

707
01:18:32.410 --> 01:18:32.810
Jerry Corley: Yeah.

708
01:18:32.810 --> 01:18:35.900
Evelyn Thatcher: Cream cheese on the butterfly, I don't know, some weird… these wacky names.

709
01:18:35.900 --> 01:18:39.209
Jerry Corley: wacky names, like you're looking at a, like, a comedian set list, right?

710
01:18:39.210 --> 01:18:43.990
Evelyn Thatcher: That was funny, and I'm like, I wonder if those are actual real bits, or it was just to make a joke about how ridiculous…

711
01:18:44.370 --> 01:18:47.080
Jerry Corley: It, you know, it's, it…

712
01:18:47.230 --> 01:18:51.530
Jerry Corley: I don't know. That's what I think the fun of it is, the uncertainty is, like, it could be.

713
01:18:52.300 --> 01:19:12.039
Jerry Corley: So it's like, and they sound funny, they sound like they would totally fit. And he's, like, using Windows XP, that cracked me up, and they showed Clippy in there. Are you kidding me? That's so funny. Yeah. So all those little tiny things, they're there for a reason. Clippy brings nostalgia. Windows XP, certainly nostalgia, right?

714
01:19:12.040 --> 01:19:13.060
Audio shared by Jerry Corley: Just go to black.

715
01:19:13.870 --> 01:19:15.190
Audio shared by Jerry Corley: Yeah.

716
01:19:15.190 --> 01:19:15.870
Kaz Okamoto: And when they were happy.

717
01:19:17.070 --> 01:19:25.270
Kaz Okamoto: thing, and they change the screen, and it brings up the diagnosis of what's going on with the computer, you know what I mean?

718
01:19:25.270 --> 01:19:26.410
Jerry Corley: Yeah, yeah, yeah, yeah.

719
01:19:26.410 --> 01:19:29.910
Kaz Okamoto: That part was pretty funny, too. Okay, just cut all that out.

720
01:19:29.910 --> 01:19:46.809
Jerry Corley: Yeah, so totally, and it's like, I wish I would have, yeah, seen… that's what it looked like, right? Or, you know, so… or I was thinking part of it, is that the diagnosis screen, or is that, his act? You know? Because there was one where he had, like, 5 or 6 lines together about the same length, and it looked like it could have been a song parody.

721
01:19:46.810 --> 01:19:53.540
Jerry Corley: But, it might have been the diagnosis screen, too. So either way, we're like, why do we don't want to look at that? They can't even read it.

722
01:19:53.580 --> 01:20:00.280
Jerry Corley: Right? So I love that, and the shot choices are also Adam Sandler's…

723
01:20:00.280 --> 01:20:16.479
Jerry Corley: creation, right? The… all the shots, and how he wants the… us to see this show. You know, so we get to see the audience, very intimate, it's very, like, real, so it's not… it's not… no fucking, pyrotechnic…

724
01:20:16.480 --> 01:20:17.150
Evelyn Thatcher: Hmm.

725
01:20:18.020 --> 01:20:24.329
Jerry Corley: Like, you know, Andrew Schultz and all those guys that come out like they're rock stars or WWE wrestlers.

726
01:20:25.010 --> 01:20:26.689
Jerry Corley: He plays it like a comic.

727
01:20:26.900 --> 01:20:29.180
Audio shared by Jerry Corley: Ladies and gentlemen, what a thank you.

728
01:20:31.350 --> 01:20:47.010
Audio shared by Jerry Corley: Alright, so I was eating grapes. I was eating some grapes, it was going good. This guy I was with goes, and I was like, what, what? He goes, you, you've changed. I said, get out of here, I always like grapes.

729
01:20:50.040 --> 01:21:04.269
Audio shared by Jerry Corley: He's like, I don't like this version of you. And I said, if I wasn't… I've been eating grapes my whole life, calm the fuck down. He goes, I'm leaving. I said, well, get out of here, then. I've had enough of you two.

730
01:21:04.610 --> 01:21:11.520
Audio shared by Jerry Corley: So anyways, he left, and then I said to the man who was feeding me the grapes, I said, what do you think?

731
01:21:11.670 --> 01:21:19.030
Audio shared by Jerry Corley: If I changed it? He's like, no, no. I go, he changed, right? He goes, yeah. He changed soon, man.

732
01:21:19.620 --> 01:21:32.839
Audio shared by Jerry Corley: A woman outside said to me, hey, I got a tattoo of you on my calf, and I looked, and I was like, alright, that looks good. And she's like, yeah, I like it too. And then her husband goes, Adam, can I talk to you?

733
01:21:34.300 --> 01:21:39.330
Audio shared by Jerry Corley: Come here for a minute. I go, what's up, dude? What's going on? He goes, you think I like that bullshit?

734
01:21:40.520 --> 01:21:51.809
Audio shared by Jerry Corley: Making love to my wife, got her legs up here. I look over, I see, you're a fucking ugly face, Sam, and you didn't like that bullshit? I go, oh, yeah. You don't gotta look. He goes, how am I gonna finish then, Adam?

735
01:21:52.580 --> 01:21:55.520
Audio shared by Jerry Corley: I'm on a costume to your face.

736
01:21:56.520 --> 01:22:09.120
Audio shared by Jerry Corley: I got a letter recently from a man, I opened it up, it says, my name is Charlie Mungo, I am… I am 1 foot tall, and I'm gonna shoot you. And I was like, -oh.

737
01:22:10.080 --> 01:22:18.179
Audio shared by Jerry Corley: Anyways, a couple weeks goes by, I get this… another letter, open it up, it's me, Charlie Mungo.

738
01:22:18.370 --> 01:22:20.349
Audio shared by Jerry Corley: Still one foot.

739
01:22:21.190 --> 01:22:30.180
Audio shared by Jerry Corley: You're fucking dead, Sandman. I was like, whoa, whoa, shit, this guy means business. Couple weeks goes by…

740
01:22:31.160 --> 01:22:38.239
Audio shared by Jerry Corley: Same kind of scribble, scrabble on this envelope. I go, here we go, I open it up, it says, Fuck you.

741
01:22:39.160 --> 01:22:42.000
Audio shared by Jerry Corley: You don't deserve to live, Sandman.

742
01:22:42.230 --> 01:22:44.590
Audio shared by Jerry Corley: This is Charlie Mungo.

743
01:22:45.180 --> 01:22:51.400
Audio shared by Jerry Corley: You will pay for your sins. P.S.

744
01:22:51.860 --> 01:22:54.310
Audio shared by Jerry Corley: Still one foot tall.

745
01:22:55.240 --> 01:23:07.380
Audio shared by Jerry Corley: I was like, fuck, man, my friends were like, you gotta report that shit. That's gotta go to the FBI, you know? And I said, you know what, fuck it. I'm not telling nobody, because then Charlie Mungo wins.

746
01:23:07.820 --> 01:23:13.180
Audio shared by Jerry Corley: I gotta just live my life, you know? You know what I'm saying. I did get bulletproof socks.

747
01:23:18.210 --> 01:23:18.820
Evelyn Thatcher: Alright.

748
01:23:18.820 --> 01:23:25.570
Jerry Corley: So that was a very cleverly, structured bit. It's so funny, because it doesn't sound…

749
01:23:25.590 --> 01:23:43.770
Jerry Corley: You know, it sounds legit, right? It's like, each of those stories he tells are just silly stories, right? I'm eating grapes, and then, you've changed. I don't like the way you've changed. So then I said to the guy who was feeding me the grapes, that's a nice little twist at the end that, you know, he has, like.

750
01:23:43.770 --> 01:23:53.249
Jerry Corley: You know, some guy feeds him grapes, that's funny. And then he goes right into the next story. I saw this woman with a tattoo of me on her calf.

751
01:23:53.250 --> 01:24:07.210
Jerry Corley: And then I said, you know, she's like, oh, I got a tattoo of you on my calf, and I said, well, that looks kind of cool, you know, no. And then, then her husband was like, hey, Adam Sandler, I need to talk to you. And then everybody goes, -oh, they can feel that…

752
01:24:07.230 --> 01:24:08.310
Jerry Corley: Pressure.

753
01:24:08.440 --> 01:24:10.280
Jerry Corley: And then,

754
01:24:10.750 --> 01:24:17.329
Jerry Corley: And then the funny thing is, I gotta look over at your face, and what's the expectation? That's not sexy.

755
01:24:18.280 --> 01:24:21.050
Jerry Corley: Right? And that's like, it's gonna ruin the moment.

756
01:24:21.680 --> 01:24:25.399
Jerry Corley: And he goes, well, you don't have to look at it. And he's like, well, how am I gonna finish?

757
01:24:26.760 --> 01:24:38.349
Jerry Corley: grown accustomed to your face, right? And he does that wild character voice, right? Now, pay attention to how he structures each of those bits. Then he does the Charlie Mungo.

758
01:24:38.600 --> 01:24:41.219
Jerry Corley: And notice how every…

759
01:24:41.340 --> 01:24:48.120
Jerry Corley: At every, like, sort of, like, beat of that story, he… he puts in there, one foot tall.

760
01:24:48.520 --> 01:25:03.260
Jerry Corley: And he does that for a reason. Still one foot, right? And even at the end, P.S, still one foot. And they laugh at the idea, the guy would actually go into that description, but it's there for a reason, because we want to make sure we imprint in the audience's brain

761
01:25:03.510 --> 01:25:17.999
Jerry Corley: that he's one foot tall. And he said, well, you gotta tell somebody, you gotta call the FBI, you gotta really take, you know, this is… this can be dangerous. I was like, you gotta take this stuff seriously. No, no, if I do that, then Mungo wins, right? I just go on and live my life.

762
01:25:18.560 --> 01:25:25.500
Jerry Corley: You know, but I did get bulletproof socks, where he throws that in there as a little, just a little moment…

763
01:25:25.780 --> 01:25:34.079
Jerry Corley: To tie in the whole 1-foot-tall thing. Like, he built it in 3 times. We're like, where is he going with this? And at the end…

764
01:25:34.150 --> 01:25:53.650
Jerry Corley: Bulletproof socks. I thought that was… it's just a funny little stupid story. Listen to these silly, goofy stories, right? But they're still… the audience loves them, right? And because we don't think they're gonna… each time he tells a story, he tricks us. And I think that's the fun part about it. Evelyn.

765
01:25:54.620 --> 01:25:57.120
Evelyn Thatcher: Yeah, it occurred to me when he was writing that

766
01:25:57.260 --> 01:26:01.399
Evelyn Thatcher: Each one of those could be a one-liner joke.

767
01:26:01.600 --> 01:26:03.910
Evelyn Thatcher: Yeah. But he spreads them out

768
01:26:04.050 --> 01:26:14.940
Evelyn Thatcher: and build… creates a build, and then with the repetition, it just becomes funnier and funnier. So, I thought, well, that's really cool, because then you can actually take

769
01:26:15.530 --> 01:26:20.409
Evelyn Thatcher: some of your one-liner jokes, and maybe build them out into these little mini stories, or mini.

770
01:26:20.410 --> 01:26:27.059
Jerry Corley: Absolutely, yeah, without a doubt, definitely. And you can take a story and then build it and shrink it into, like, a quick…

771
01:26:27.060 --> 01:26:42.280
Jerry Corley: quick joke, if you want to, as well. But I, you know, Sandler likes the stories. One of the reasons he liked the stories, because back in the day, he said he didn't have a lot of jokes, so if he had bits, that would take up more time.

772
01:26:42.280 --> 01:26:51.989
Jerry Corley: And, additionally, it was less memorization, because if you remember bit… it's easier to remember bits than it is to remember individual short jokes.

773
01:26:51.990 --> 01:26:56.650
Jerry Corley: And so, as far as, like, you know, carrying the peace.

774
01:26:56.660 --> 01:27:03.179
Jerry Corley: through and remembering everything, you're remembering these bigger bits. So I think that's good too, Kaz.

775
01:27:05.640 --> 01:27:06.290
Evelyn Thatcher: The.

776
01:27:06.290 --> 01:27:16.890
Kaz Okamoto: the grape thing, when he says… the guy says, I don't like your new stuff, you know, and he's… you know, with the grapes and stuff, and he says, I've been eating grapes since I was little.

777
01:27:17.570 --> 01:27:20.989
Kaz Okamoto: Like, he's giving a history of, you know.

778
01:27:21.140 --> 01:27:24.939
Kaz Okamoto: the grapes, right? That… I thought that was pretty funny.

779
01:27:25.760 --> 01:27:40.959
Jerry Corley: Yes, definitely, right? So, and then he, like, and he's, like, he's, like, he, and he plants that there, because if he's been having them since he was little, it adds to the fact that he's not changed. He's still eating grapes like he did when he was a kid.

780
01:27:41.220 --> 01:27:55.390
Jerry Corley: And so when it comes to… and so the guy feeding me the grapes, you know, says, and then he gets that, so it really adds to the fact that he has changed, but in a way we didn't even consider.

781
01:27:56.670 --> 01:28:05.409
Jerry Corley: So it's a lot… the story… the structure is really clever, even though it's absurd. So let's continue and see where it goes from here.

782
01:28:07.370 --> 01:28:10.480
Audio shared by Jerry Corley: What happened? Yes. So what is that?

783
01:28:15.160 --> 01:28:21.269
Audio shared by Jerry Corley: Sorry, it was Splenda. It was Splenda! I'm good, man, I fucking knew it!

784
01:28:21.660 --> 01:28:24.500
Audio shared by Jerry Corley: Well, I love you, I'm glad you were honest.

785
01:28:24.710 --> 01:28:30.340
Audio shared by Jerry Corley: Not Stevia, yeah. Thank you, buddy. Thanks for confessing.

786
01:28:34.420 --> 01:28:38.519
Audio shared by Jerry Corley: Hang on, hang on. Everything okay over here?

787
01:28:38.770 --> 01:28:41.219
Audio shared by Jerry Corley: What's that? Who won't be required?

788
01:28:41.500 --> 01:28:57.089
Audio shared by Jerry Corley: Alright, you guys, don't worry, just… Alright, well, everyone laughs in their own way. Okay, how about you don't look at each other the whole show? But you can fucking laugh, you guys laugh, you guys laugh, and then after the show, we'll all get in a massive fight.

789
01:29:03.050 --> 01:29:04.039
Audio shared by Jerry Corley: She's got a lot.

790
01:29:04.250 --> 01:29:13.770
Audio shared by Jerry Corley: Brown hair tied up in a little red bonnet. She's got a pretty white blouse and a basket with fresh fruit upon it.

791
01:29:14.060 --> 01:29:23.760
Audio shared by Jerry Corley: She's got a glow on her cheeks and a fire inside. Sittin' in a beautiful countryside, all masturbating to the lady on the box of raisins.

792
01:29:25.690 --> 01:29:30.660
Audio shared by Jerry Corley: So that… you were supposed to be, you were supposed to show her up there.

793
01:29:31.120 --> 01:29:32.330
Audio shared by Jerry Corley: God damn it!

794
01:29:32.770 --> 01:29:41.020
Audio shared by Jerry Corley: Nobody wanted to chip in and get a fucking new one?

795
01:29:43.310 --> 01:29:58.039
Audio shared by Jerry Corley: I was, at a restaurant recently, I was eating a, hamburger, having a nice time. A guy comes up to me, he says, can I take a picture of your hamburger? I said, how come? He said, I'm from Spain. I said, you guys got hamburgers? He goes, yeah, but that's a big, juicy one.

796
01:30:00.160 --> 01:30:09.999
Audio shared by Jerry Corley: So, like, alright, take the picture, bro. Then, like, 20 minutes, I look up, he's taking a picture of another guy's hamburger, and I go, what's going on, bro? And he goes.

797
01:30:10.140 --> 01:30:14.750
Audio shared by Jerry Corley: This one's bigger. And then I go, well, fucking delete mine then.

798
01:30:15.480 --> 01:30:16.200
Audio shared by Jerry Corley: I,

799
01:30:17.270 --> 01:30:29.309
Audio shared by Jerry Corley: Took the family to the fucking circus, we go to the circus, we're having a good time, the clown car comes out, they got 15 fucking clowns in one little tiny car. My kids were like, holy shit, how are they doing? I said, I don't know, they're fucking pros, you know what I mean?

800
01:30:29.310 --> 01:30:44.380
Audio shared by Jerry Corley: Anyways, we were driving home, the kids are still talking about, they were fucking incredible. All of a sudden, the little car rolls up next to us on the highway. I'm like, kids, look over there, all 15 of the fucking clowns are in there. My kids are like, yeah, great show! They're, like, smoking butts, you know, they're like, yeah, what's up, you know?

801
01:30:44.530 --> 01:30:49.810
Audio shared by Jerry Corley: It's all good, baby, alright. Then they hit an oil slick.

802
01:30:49.820 --> 01:31:06.010
Audio shared by Jerry Corley: And they fucking spin, and I was like, holy shit, and it fucking kept spinning and shit, and my kids are like, what's happening? And then they fucking hit the guardrail. I was like, oh no, they come sliding across, I hit the fucking brakes, it goes right past, it hits the fucking truck, fucking blows up, we were like, did we just see that shit?

803
01:31:06.040 --> 01:31:10.780
Audio shared by Jerry Corley: That was fucking horrible. My kids are crying. I was like, goodness gracious, this night chase.

804
01:31:11.010 --> 01:31:13.910
Audio shared by Jerry Corley: Anyways, we went to the funeral, and

805
01:31:14.420 --> 01:31:22.730
Audio shared by Jerry Corley: We get there, one coffin, all 15 of them, and I was like, they still got it, man, these fucking guys still got it. Thank you so much.

806
01:31:23.040 --> 01:31:25.529
Audio shared by Jerry Corley: You guys are my best friend. Thank you.

807
01:31:27.490 --> 01:31:38.250
Audio shared by Jerry Corley: Yeah, yeah. She's the happiest she's been in years. He puts a big smile on her face. Whoa, you son of a man!

808
01:31:38.870 --> 01:31:48.339
Audio shared by Jerry Corley: That's gonna happen, that's all fine, it's all part of the plan. What happened? Why did that happen? It's a fucking… There's a hole in the ground.

809
01:31:49.120 --> 01:31:55.090
Jerry Corley: That's so funny. So, what is he doing right there? Does anybody… can anybody… like, the entire thing…

810
01:31:55.660 --> 01:32:14.279
Jerry Corley: everybody from backstage, everybody, you know, in, like, the audience, the keyboardist, becomes a character. The screens become a plot point, and so the audience feels like they're on the inside.

811
01:32:14.900 --> 01:32:28.089
Jerry Corley: Right? So it's not… it's not just the jokes, it's the story of him being on that stage and being a performer that's gotta play this thing and go through all the shit that comes along with being a… nobody's done anything like that before.

812
01:32:28.090 --> 01:32:39.510
Jerry Corley: Right? Except for when Letterman did that whole cold opening about him having to deal with everything before he walks on and says, ladies and gentlemen, yes, thank you very much, it's Friday,

813
01:32:39.510 --> 01:32:46.570
Jerry Corley: The 13th, and and so he does the Letterman thing, but you have all of that coming on.

814
01:32:46.610 --> 01:32:57.219
Jerry Corley: all that chaos becomes part of every piece later on, and that little, little, interruption right there was just so unexpected. Starts playing a new song.

815
01:32:57.550 --> 01:33:05.250
Jerry Corley: And all of a sudden, the thing falls in the hole. That was planned, right? So, it's like, what else can we plan on the way

816
01:33:05.360 --> 01:33:08.590
Jerry Corley: It's like, when we watch a performer play.

817
01:33:09.140 --> 01:33:11.599
Jerry Corley: And they're talking on the mic.

818
01:33:11.910 --> 01:33:16.650
Jerry Corley: Just talking, and all of a sudden, the XLR plug falls out.

819
01:33:17.870 --> 01:33:19.240
Jerry Corley: Have you seen this happen?

820
01:33:19.880 --> 01:33:21.420
Jerry Corley: And everybody laughs.

821
01:33:21.910 --> 01:33:25.930
Jerry Corley: Because it's an interruption. It's an unexpected surprise.

822
01:33:25.980 --> 01:33:45.760
Jerry Corley: And it's on the comedian, so the audience feels superior, it's embarrassing. And the audience, like, you know, he takes it, puts it back in, he goes, wow, that just happened… that happened to me last night with my wife, you know, or whatever, you know what I'm saying? And it's like, or you can't… he can't get the XLR plug into the mic.

823
01:33:45.880 --> 01:33:59.389
Jerry Corley: He goes, I can't… I can never find the hole, or whatever the joke is, as part of it. You know, you have that sort of, like, moment that's created in there. So, but notice, everything that goes along with it is all part of the show. It's, you know…

824
01:33:59.390 --> 01:34:08.680
Kaz Okamoto: Barry, when that happens, the keyboard falls over, he says in the mic, well, that's all part of the plan. Yeah, it's all part of the plan. He makes that comment.

825
01:34:08.680 --> 01:34:10.629
Jerry Corley: Yeah, it's all part of the plan.

826
01:34:10.630 --> 01:34:16.379
Evelyn Thatcher: It also creates community, because it's something that we're all experiencing together in the moment.

827
01:34:16.910 --> 01:34:17.910
Jerry Corley: Without a doubt, yeah.

828
01:34:17.910 --> 01:34:23.139
Evelyn Thatcher: It's like, oh my god, we're all… it makes us even more on the edge of our chair, like, what else is gonna happen?

829
01:34:23.140 --> 01:34:23.490
Jerry Corley: Right.

830
01:34:24.160 --> 01:34:32.239
Jerry Corley: And the fight, and the thing in the audience, and all that stuff. You know, we'll laugh at the show, and afterwards, we have a humongous fight.

831
01:34:32.370 --> 01:34:39.399
Jerry Corley: Right? And everybody laughs at that idea, and you notice everybody's quiet the rest of the show, so you know it's planned. So…

832
01:34:39.400 --> 01:34:44.250
Evelyn Thatcher: Yeah, the other thing, sorry, the other thing I was gonna say is that it shows so much his confidence.

833
01:34:44.400 --> 01:34:48.319
Evelyn Thatcher: Because it's like, no matter what gets thrown at him, he's just cool as a cucumber.

834
01:34:48.320 --> 01:34:54.689
Jerry Corley: Right, and that's plan, too, because that's incongruity, despite the chaos. I'm just like, this way, hey… Whatever.

835
01:34:54.690 --> 01:34:57.179
Evelyn Thatcher: We'll get into a fight afterwards, whatever. Right.

836
01:34:57.180 --> 01:35:12.810
Jerry Corley: Funny. So, and even some of the stories, I mean, the clown car with the kids, the catch is on fire, they all burn to death, because so we went to the funeral, and it's like… and of course, if you have a clown car filled with 15 clowns.

837
01:35:13.120 --> 01:35:16.000
Jerry Corley: And you go, they all die in a fiery crash.

838
01:35:16.850 --> 01:35:18.550
Jerry Corley: You know?

839
01:35:18.550 --> 01:35:40.919
Jerry Corley: They're all in the same coffin. So that's the funny, that's the gag right there at the end, right? So it's, these could be book jokes, right? If you think about it, and they, you know, so the way they're told. So, but he's still… the way it's all pieced together is what's, what's funny, and the way he tells these silly stories.

840
01:35:40.920 --> 01:35:44.659
Jerry Corley: So, it's 11.39, we're gonna take a 10-minute break.

841
01:35:44.840 --> 01:35:57.150
Jerry Corley: We're gonna take a screen break, and then come back, and we're gonna take a couple more clips, and then we're gonna give you some, tropes, some setups, and I want you to… I also want you to think of…

842
01:35:57.650 --> 01:36:07.030
Jerry Corley: stories where you can talk about the details, right, in the stories. Like, whether it's something simple of going to,

843
01:36:07.060 --> 01:36:18.419
Jerry Corley: Going to a, a deli, going to a bagel place, or going to a specialty pizza restaurant, or going to,

844
01:36:18.600 --> 01:36:37.080
Jerry Corley: Going… having to tell, going to do a presentation at… on an elementary school or a high school gives us all kinds of possible colors in there that we can… that we all relate to, going back to school, the campus, and all that stuff. So, think about…

845
01:36:37.080 --> 01:36:41.139
Jerry Corley: possible stories that you can tell. And as you write the story.

846
01:36:41.140 --> 01:36:53.860
Jerry Corley: We're gonna take, like, a… you just could sort of free associate the story, and see, as you're telling the story, who else is there. He said this, I said this, and it's like, it may turn out something, it may not, but everything leads to another possibility.

847
01:36:54.010 --> 01:37:01.819
Jerry Corley: And, we'll take a look at a couple more… one or two more stories before we do that exercise, and you'll see where the possible

848
01:37:01.840 --> 01:37:07.849
Jerry Corley: you know, turns are, as he tells the story. Like, is there an expectation?

849
01:37:07.850 --> 01:37:31.859
Jerry Corley: you know, created. I went to a doctor, the doctor was like, you know, do you have any blood in your stool? I go, well, that's a weird question. He was like, well, at your age, it's not, it's kind of a, you know, common thing. I said, yeah, but I'm here for an ingrown toenail, doc. That is a weird question. So it's like, so again, you're creating the possibilities, so I had to go to the hospital, had a procedure done.

850
01:37:31.860 --> 01:37:39.149
Jerry Corley: nurse comes in, there's a male nurse, and he goes, I have to shave your groin, you know, before the procedure. And I said,

851
01:37:39.300 --> 01:37:53.859
Jerry Corley: Is that how they're gonna fix my ACL? They're gonna go in through my balls, into my knee? You know, so anyway, Frank and I are now life partners, and so, so you see what I'm saying? It's like, how can you tell the story and add the twist to it?

852
01:37:53.860 --> 01:38:00.469
Jerry Corley: So, that'll be a lot of fun. So let's take a 10-minute break, and we'll be back to write some, look at a little more, and then write some stories.

853
01:52:06.870 --> 01:52:12.809
Jerry Corley: Okay, alright, so here we go. Let's, let's get back into this,

854
01:52:13.290 --> 01:52:17.100
Jerry Corley: And then we'll, we'll start to do our writing.

855
01:52:20.530 --> 01:52:22.390
Cliff Spenger: Sounds good.

856
01:52:22.390 --> 01:52:23.350
Jerry Corley: Alright.

857
01:52:24.340 --> 01:52:26.069
Jerry Corley: Let me jump in and grab this.

858
01:52:44.030 --> 01:52:44.900
Jerry Corley: Like, we were…

859
01:52:46.910 --> 01:52:55.789
Audio shared by Jerry Corley: Yeah. She's the happiest she's been in years. He puts a big smile on her face. Whoa, you son of a bitch!

860
01:52:56.430 --> 01:52:59.040
Audio shared by Jerry Corley: That's gonna happen, that's all fine, it's all…

861
01:52:59.040 --> 01:53:00.500
Jerry Corley: You guys are seeing that right?

862
01:53:02.730 --> 01:53:07.989
Jerry Corley: Yeah, okay, good, I see it. I think. You guys seen it? Yep, yep, that's right.

863
01:53:07.990 --> 01:53:27.910
Audio shared by Jerry Corley: What happened? Why did that happen? Is a fucking… It's a hole in the ground. Well, alright, you know. It's a hole in the stage. It's all working out tonight. So what do we do right now? So we do the whole show like this? Yeah. What's up, buddy? Yeah, we do. Thank you so much, thank you.

864
01:53:28.350 --> 01:53:32.539
Audio shared by Jerry Corley: Will you see if there's a good monitor down there, Terry?

865
01:53:34.240 --> 01:53:39.100
Audio shared by Jerry Corley: Yeah, yeah, what's going? Hi. Lauren.

866
01:53:40.210 --> 01:53:46.429
Audio shared by Jerry Corley: Thank you. Sorry, everybody, man, we're gonna get this right. It's all gonna work. I like that chicken parm shirt, that's funny.

867
01:53:46.740 --> 01:53:56.359
Audio shared by Jerry Corley: We could just do it. What is that? Oh, a fucking, lunch tray. There's no way that's gonna work. There's no way that… are you fucking kidding me!

868
01:53:58.010 --> 01:54:00.560
Audio shared by Jerry Corley: Nice job, holy shit, you guys are good.

869
01:54:03.320 --> 01:54:05.230
Audio shared by Jerry Corley: This is a bad sign, everybody.

870
01:54:06.510 --> 01:54:23.680
Audio shared by Jerry Corley: Okay, let's go. She's the happiest she's been in years. He puts a big smile on her face. He's got a good job, and me and my parents love the dude. You can tell that he's gonna be faithful.

871
01:54:24.030 --> 01:54:26.430
Audio shared by Jerry Corley: The whole family is happy as hell.

872
01:54:26.790 --> 01:54:31.270
Audio shared by Jerry Corley: My sister's got an ugly new boyfriend.

873
01:54:34.460 --> 01:54:37.040
Audio shared by Jerry Corley: We needed that one, guys, we needed that one.

874
01:54:41.510 --> 01:54:43.250
Audio shared by Jerry Corley: Let's see what we got here…

875
01:54:44.470 --> 01:54:50.980
Audio shared by Jerry Corley: Let's see how we do on this one, a little guitar. Only if you encourage me with some…

876
01:55:00.280 --> 01:55:02.800
Audio shared by Jerry Corley: Here we go!

877
01:56:30.540 --> 01:56:36.709
Audio shared by Jerry Corley: Every day I'm muttering Modern under my breath.

878
01:56:44.390 --> 01:56:57.540
Audio shared by Jerry Corley: If you ask me to do a task, I do it every time. But the whole time that I'm doing it…

879
01:56:58.450 --> 01:57:00.810
Audio shared by Jerry Corley: I'll be muttering under my breath.

880
01:57:01.240 --> 01:57:03.900
Audio shared by Jerry Corley: Fuck, am I gonna do this fucking shit?

881
01:57:04.660 --> 01:57:15.239
Audio shared by Jerry Corley: No one else could've done it? I'm fucking sick of this crap, man. All they do is sit there all day, I do every fucking thing in this house. Fuck these people.

882
01:57:17.060 --> 01:57:28.389
Audio shared by Jerry Corley: Things I never say to your face! Shut! But the second Thatcher con! Shut! I mutter like a crazy asshole.

883
01:57:31.470 --> 01:57:33.400
Audio shared by Jerry Corley: While I angrily mow the lawn.

884
01:57:33.560 --> 01:57:36.670
Audio shared by Jerry Corley: I got my Pokemon this year, goddamn this Pokemon.

885
01:57:37.560 --> 01:57:38.799
Audio shared by Jerry Corley: They can't do nothing.

886
01:57:39.280 --> 01:57:41.749
Audio shared by Jerry Corley: They know how to start this fucking thing, yeah?

887
01:57:42.340 --> 01:57:45.850
Audio shared by Jerry Corley: The fucking grass just grows back. Why the fuck am I out here?

888
01:57:46.230 --> 01:57:48.459
Audio shared by Jerry Corley: I can't stand these motherfuckers.

889
01:57:49.990 --> 01:57:53.660
Audio shared by Jerry Corley: Ricker leaves. I'm muttering. Show us now!

890
01:57:56.410 --> 01:57:58.240
Audio shared by Jerry Corley: I'm muttering.

891
01:57:58.500 --> 01:58:01.349
Audio shared by Jerry Corley: Go to the bank, you know what I'm muttering.

892
01:58:02.400 --> 01:58:08.229
Audio shared by Jerry Corley: Take out the trash! There's muttering. When there's tools at the bottom.

893
01:58:09.370 --> 01:58:14.549
Audio shared by Jerry Corley: I left there by my daughter, as I swam down to get them, I'll be moderate.

894
01:58:17.430 --> 01:58:20.560
Audio shared by Jerry Corley: You can't get your home?

895
01:58:21.190 --> 01:58:24.679
Audio shared by Jerry Corley: Over these prime fucking droids that fell!

896
01:58:26.170 --> 01:58:29.390
Audio shared by Jerry Corley: Fuck HAS HAPPENED TO MY FUCKING WIFE?

897
01:58:34.180 --> 01:58:42.349
Audio shared by Jerry Corley: Every day I'm muttering, yo! Muttering under my breath.

898
01:58:42.800 --> 01:58:46.399
Audio shared by Jerry Corley: Then one day, my wife overhears what I'm saying.

899
01:58:48.040 --> 01:58:52.339
Audio shared by Jerry Corley: And immediately slits my authority!

900
01:59:03.880 --> 01:59:04.790
Audio shared by Jerry Corley: I love you!

901
01:59:09.550 --> 01:59:34.070
Audio shared by Jerry Corley: So my grandparents, retired, and that was nice, and then my grandmother panicked. She's like, oh no, we have no income, how are we gonna pay for things? So she opened a, kissing booth in our driveway. She built a little booth, put a little sign, $20 a kiss. Every car was just whizzing past. My grandfather comes out there, gives her $20, and gave her a kiss. And then he gave her another $20, gave her a longer kiss, then he gave her another $20, and then he…

902
01:59:34.070 --> 01:59:36.940
Audio shared by Jerry Corley: Kind of a deeper mouth-open kind of thing.

903
01:59:36.940 --> 01:59:40.079
Audio shared by Jerry Corley: Work went up the back of the thing, snapped the fucking bum.

904
01:59:41.590 --> 01:59:55.999
Audio shared by Jerry Corley: He lifted on the ground, got the hands rolling, the pellet line, then got the hand and went some bun… little buns smack, and went down the middle, fingertip, and then shit, and then we were all like, this is fucked up. Because it was my other grandfather.

905
01:59:59.210 --> 02:00:00.050
Audio shared by Jerry Corley: Now, you…

906
02:00:00.300 --> 02:00:01.410
Jerry Corley: Alright.

907
02:00:01.410 --> 02:00:04.919
Audio shared by Jerry Corley: But we didn't know that, we didn't see that come to you.

908
02:00:05.390 --> 02:00:18.639
Jerry Corley: Alright, so that's that, segment right there, the first 20 minutes of that, that special. That grandfather joke is a fun way to end. With that, it was a fun joke, it was a nice twist, you know.

909
02:00:18.640 --> 02:00:33.710
Jerry Corley: Because we cared, right? We were, you know, all the… he sets up the, the obstacle and the need, they've retired, grandma was like, I don't know how we're gonna make any money, right? That's, so she sets up a kissing booth in their driveway.

910
02:00:33.780 --> 02:00:37.550
Jerry Corley: They kind of laughed that that's an interesting way for grandma to make some money.

911
02:00:38.290 --> 02:00:47.740
Jerry Corley: and people just whizzing by, and everybody feels sorry for her now. She's the protagonist, right? And then my grandfather comes over and he gets her…

912
02:00:48.190 --> 02:00:53.919
Jerry Corley: $20, does the kiss, accelerates, escalates, gets to the…

913
02:00:54.160 --> 02:01:06.450
Jerry Corley: And we're all like, that is weird, you know, because it was my other grandfather. A nice little twist at the end, right? And, so it's a fun, bit. Yeah, that, bit, I,

914
02:01:06.930 --> 02:01:12.970
Jerry Corley: I was like, what the fuck is that? You know? What is that? That wasn't his best song parody.

915
02:01:12.970 --> 02:01:13.910
Kaz Okamoto: of the whip?

916
02:01:14.350 --> 02:01:17.359
Jerry Corley: No crack of the whip. It was fun, it was entertaining.

917
02:01:17.360 --> 02:01:17.870
Kaz Okamoto: Yeah.

918
02:01:18.120 --> 02:01:24.420
Jerry Corley: And then he… I think he wanted to get to the water part, you know? He thought that was… you know.

919
02:01:24.810 --> 02:01:34.320
Jerry Corley: That sort of thing, just to have that gag in there. That was a long way to go for that gag, I thought. So tell me, thoughts. What are your thoughts on that?

920
02:01:38.760 --> 02:01:44.189
Evelyn Thatcher: Well, it's a similar structure, it's always setting… it's always… there's always ambiguity in each one.

921
02:01:44.190 --> 02:01:45.419
Jerry Corley: And then…

922
02:01:45.420 --> 02:01:46.380
Evelyn Thatcher: Breaks that at the end.

923
02:01:46.380 --> 02:01:54.019
Jerry Corley: And he has us lean into one, and then breaks it at the end, or gives us, like, like, with a slit-my-throat thing. I was like, what a weird ending, but…

924
02:01:54.020 --> 02:01:54.900
Evelyn Thatcher: Weird.

925
02:01:54.900 --> 02:01:56.950
Jerry Corley: I think what that… a lot of that is…

926
02:01:58.150 --> 02:02:02.939
Jerry Corley: It's a great lesson for all of us, it's like, stop being so clever and just have fun.

927
02:02:03.000 --> 02:02:10.829
Jerry Corley: Sometimes it's okay to stop being clever and have fun. And you notice how when he was playing that thing, like the Spanish guitar riffs.

928
02:02:10.870 --> 02:02:29.960
Jerry Corley: Which are basically simple, rudimentary riffs, right? He was doing some hammer-ons and some other things. But he didn't finish that, really, did he? Right? And he's like, I need some encouragement. So he prompts them to give him encouragement, and it…

929
02:02:29.960 --> 02:02:33.879
Jerry Corley: So what are they doing? That's community, right? They're participating, they're helping with the show.

930
02:02:34.350 --> 02:02:52.610
Jerry Corley: So a little quick, it's like, it is a micro-commitment to have him do it more later. So, he plays around with that idea, and then he makes up this weird song, about a guy who's muttering. Again, not his best stuff, but can we relate to that?

931
02:02:53.430 --> 02:02:54.130
Cliff Spenger: Yes.

932
02:02:54.640 --> 02:03:06.440
Jerry Corley: You're trying to do the things that you feel are your responsibility as a dad or a husband, but you don't want to fucking do them, so you're muttering, right?

933
02:03:06.950 --> 02:03:26.129
Jerry Corley: And so that becomes, that becomes a running gag, too. So, diegetic interruption he has in there, and he takes that piece. Now, for those last… we're gonna watch this last segment, and remember that grandfather story? We're gonna watch this last segment about, Botox and his dick, and then we're gonna write a couple of, pieces.

934
02:03:26.130 --> 02:03:29.409
Jerry Corley: Thank you your best Botox and your dick joke, Cliff.

935
02:03:29.730 --> 02:03:32.820
Cliff Spenger: Okay.

936
02:03:33.790 --> 02:03:36.539
Jerry Corley: So let's get in there and, see this one.

937
02:04:04.060 --> 02:04:08.030
Cliff Spenger: I got Botox in my balls, and my dick really does look…

938
02:04:12.340 --> 02:04:16.430
Jerry Corley: Oh, that's so, there's a wrinkle in time, right?

939
02:04:21.860 --> 02:04:26.110
Audio shared by Jerry Corley: They used to flirt, but we didn't know that… we didn't see that coming in.

940
02:04:28.390 --> 02:04:39.770
Audio shared by Jerry Corley: Yeah, so I, my wife is younger than me. Anybody have a younger wife here? Yeah, you do, right? You understand what I'm saying. My wife's 8 years younger than me.

941
02:04:40.080 --> 02:04:56.179
Audio shared by Jerry Corley: that was fine when we were young, because, you know, we kind of… now that we're older, she still looks good, I'm starting to look a little beaten, you know what I mean? So I… and I don't wanna… I don't wanna do plastic surgery, I'll never do that. I did, try Botox, right, on my, on my dig. I Botoxed my day.

942
02:04:56.230 --> 02:05:09.960
Audio shared by Jerry Corley: I just wanted to make her… freshen it up, give her a better, you know, a younger-looking dick to slab around. I felt like… felt bad for… my dick was starting to get a little… a little worn-looking, you know, a little… almost like I needed a cane. It was always kind of just leaning.

943
02:05:10.140 --> 02:05:20.319
Audio shared by Jerry Corley: scoliosis dig, kind of leaning on the right ball all the time. My left ball was always like, how the fuck do I get left out? Every time my right ball was like, she's an awaken.

944
02:05:22.980 --> 02:05:45.030
Audio shared by Jerry Corley: But anyways, I Botoxed my dick. Fellas, I know a lot of you are saying, you can do that? Don't do it. You don't… you're better than that. You don't need that shit. So I Botoxed my… the problem with it is it takes the wrinkles away. A flaccine penis needs wrinkles to show that it's flaccid, you know? It's fucking… that's why God made… gave you wrinkles for a reason. You pull your pants down a girl sees you, you go, no, it gets better than that.

945
02:05:45.220 --> 02:05:46.290
Audio shared by Jerry Corley: I just gotta wait.

946
02:05:46.710 --> 02:05:58.869
Audio shared by Jerry Corley: But anyways, I took the wrinkles away, I'm in the fucking goddamn, YMCA locker room, I'm naked, couple of guys walk in, I hear, oh, you got a boner? I go, no, no, that's a boner, it's not a boner.

947
02:05:58.870 --> 02:06:17.190
Audio shared by Jerry Corley: I go, they go, no wrinkles, that's a full-on hard on. I go, no, no, no, no, this is a bow tie, Botoxed my dick. They go, no, that's a full fucking raging hard-on. That's a young-looking dick, like it belongs on a third grader. I go, no, that's because it's… it's not a fucking boner, this is a normal fucking flashy dick. I said, with a boner face down, they go, yours does. I said, shut the fuck up.

948
02:06:18.430 --> 02:06:21.549
Audio shared by Jerry Corley: Don't worry about my dick, just you get fucking dressed, and you'll work.

949
02:06:21.950 --> 02:06:35.700
Audio shared by Jerry Corley: So anyways, I went home, I was disappointed, reeling from the insults and the shit, and my dog, I'm very close with my dog, so my dog comes in and goes, what's up, what happened? And I go, what? My dog's like, you look so sad. I go, that fucking YMCA. He goes, what, what, what?

950
02:06:35.700 --> 02:06:44.369
Audio shared by Jerry Corley: I go, well, the fucking guys were making fun of me. He goes, whoa, whoa, whoa. And I go, oh, I fucking… I Botoxed my dick. He goes, I saw, I remember. And I go…

951
02:06:44.630 --> 02:06:50.439
Audio shared by Jerry Corley: And I go, well, they fucking were saying that I had a boner and shit. He goes, did you? I go, yeah.

952
02:06:53.020 --> 02:07:00.710
Audio shared by Jerry Corley: Oh, I didn't. I said, I didn't have a polar, man, it looked like a normal, flaccid thing, but hey, he goes, hey, hey, hey, here's what you do. You're painted pink.

953
02:07:00.710 --> 02:07:25.019
Audio shared by Jerry Corley: And I go, why? He goes, I have a pink dig. And I said, I know, I've seen that. He goes, everybody loves it. I go, nobody loves your painting. He goes, what the fuck are you talking about? Every time my pink dick comes out, I always hear people like, look at the fucking pink dick on the door, look how pink is cocky! No one talks about big or small, they're like, that is the pinkest, fucking, wettest-looking cock I have ever seen. It's bringing so much joy to me.

954
02:07:25.470 --> 02:07:29.359
Audio shared by Jerry Corley: and high-five. That's what a dick should do, man!

955
02:07:29.740 --> 02:07:34.210
Audio shared by Jerry Corley: And I'm like, I don't know. He goes, will you at least think about…

956
02:07:34.760 --> 02:07:45.510
Audio shared by Jerry Corley: Oh, yeah, I'll think about it. And then I look down through the fur, this fucking pink hogs that's oozing out, glowing and glowing. I go, what the fuck is happening? And he goes, I'm just excited you'll think about it.

957
02:07:47.990 --> 02:07:56.130
Jerry Corley: So, and then he had… then they go into a musical interlude, at that moment, but, so that was the Botox dick bit.

958
02:07:56.130 --> 02:08:20.850
Jerry Corley: And, notice what he did there, and the reason I want to point this out is because it seems like the story could die, he's in the locker room, and they're accusing him of having an erection, and as a comedian should, what else? What happened next? What happened next? You know, and even if, like, nothing happened next, he said, so I go home, you know, feeling kind of down from getting bullied at the Y,

959
02:08:20.850 --> 02:08:24.419
Jerry Corley: And, you know, my dog… I'm very close with my dog.

960
02:08:24.420 --> 02:08:35.229
Jerry Corley: And, my dog was like, why do you feel so… why do you look so down? Well, you know, guys were making fun of the fact that I have a, you know, I gotta Botox… gotta put Botox in my dick. Oh, yeah, I saw that.

961
02:08:35.230 --> 02:08:44.450
Jerry Corley: Right? And they laugh at that idea because, you know, basically it's the whole set of, like, the gag dogs watch humans have sex, right? And they go on from there.

962
02:08:45.040 --> 02:09:00.809
Jerry Corley: there were other opportunities, like, to make jokes in there that I thought he, like, kind of, like, let get away. Like, for example, he goes, oh, when he's in the wine, they're like, you look like a third grader, you know, with an erection.

963
02:09:02.860 --> 02:09:27.850
Jerry Corley: And that, to me, was like, these guys have seen third graders with erections, they know it so well, and he could have gone off on that, and, you know, he could have been like, oh, that's right, hey, you were my teacher, type of thing, could be in there, and then, like, every time we have, like, who do… does the audience expect is in the scene, who do we see, who are these guys? You notice everything he does, he takes us then through some other he-said-she-said scenario.

964
02:09:27.850 --> 02:09:28.860
Jerry Corley: too.

965
02:09:28.860 --> 02:09:45.300
Jerry Corley: Where there's, like, that tension, and he said, she said. So, think about that. So, now, what I would like you to do… I was like, so I want you to take a topic. Anybody else? Oh, also at the end, when he started to do a voice, his voice changed for the dog, didn't it?

966
02:09:46.960 --> 02:09:50.570
Jerry Corley: All of a sudden, he went into, like, a… like a Hispanic voice.

967
02:09:50.850 --> 02:10:00.469
Jerry Corley: Right? No, they love my dick, you know, kind of thing. And I was like, and what… so what's that implying? What kind of dog is it, possibly?

968
02:10:00.900 --> 02:10:01.820
Evelyn Thatcher: Chihuahua?

969
02:10:01.820 --> 02:10:08.489
Jerry Corley: yeah, Mexican Chihuahua, right? So, I'm thinking, like, a buddy goes… and I… that gives… he didn't say it!

970
02:10:09.020 --> 02:10:15.790
Jerry Corley: But it sets up a definite expectation, so he could say, like, I don't know why he talks that way, because he's a German Shepherd.

971
02:10:16.680 --> 02:10:29.580
Jerry Corley: Right? And, you even give the dog an ethnicity, like a German. Like, it takes… it makes it funny that way. That was an opportunity, I thought, that was, missed in the joke… in the storytelling joke there. But…

972
02:10:29.890 --> 02:10:43.390
Jerry Corley: It's… it's the… there is an art form to telling the story, taking it to another place. What else could happen? If this is true, what else is true? The,

973
02:10:43.680 --> 02:11:02.540
Jerry Corley: you know, his wife being younger than him for the reason he gets the Botox in his dick, so it makes sense, and good little surprise, so I got Botox in my dick. And he allows him, he had Botox in my, and we're almost seeing somewhere in the face, what is he gonna say? And it was my dick.

974
02:11:02.560 --> 02:11:08.699
Jerry Corley: Right, and that's where the funny is, and now the, ha ha ha, what would happen if you got Botox in your dick? And he builds it out from there.

975
02:11:08.740 --> 02:11:19.269
Jerry Corley: So, he does a lot of dick jokes, I noticed, in the special, but that's Adam Sandler, that's his thing. You become used to that. So, what I want you to do.

976
02:11:19.270 --> 02:11:19.640
Kaz Okamoto: Zoom.

977
02:11:19.640 --> 02:11:22.309
Jerry Corley: I want you to, take a story.

978
02:11:22.820 --> 02:11:25.339
Jerry Corley: Oh, go ahead, did you have something to say, Kaz?

979
02:11:26.740 --> 02:11:31.300
Kaz Okamoto: Sorry, I was talking to the cap, but I do have something to say.

980
02:11:31.300 --> 02:11:32.819
Jerry Corley: Anything about Botox in your dick?

981
02:11:32.820 --> 02:11:46.379
Kaz Okamoto: Yeah, I would say, the part I liked the best was when the dog says, you know, we don't look at the size or anything, we look at how pink it is, and look how pink and wet, you know?

982
02:11:46.380 --> 02:11:47.680
Jerry Corley: Very visual.

983
02:11:47.680 --> 02:11:53.410
Kaz Okamoto: Yeah, and I thought, oh my god, the dog is giving him a lesson on humility, and why you…

984
02:11:53.650 --> 02:11:55.329
Jerry Corley: Be proud of that pink dick.

985
02:11:55.330 --> 02:11:56.010
Kaz Okamoto: Yeah!

986
02:11:56.010 --> 02:11:59.939
Jerry Corley: Make it even bigger and brighter and more noticeable.

987
02:12:01.230 --> 02:12:04.550
Jerry Corley: And people hug each other, they love my dick, they celebrate when they.

988
02:12:04.550 --> 02:12:10.309
Kaz Okamoto: Yeah, and he could throw in a description of Pepto-Bismol peep, you know?

989
02:12:11.010 --> 02:12:11.410
Kaz Okamoto: others.

990
02:12:11.410 --> 02:12:14.490
Jerry Corley: Yeah, exactly! Nice, Pepto-Bismol.

991
02:12:14.490 --> 02:12:18.830
Kaz Okamoto: Yeah, not like those monkeys who have red dicks, you know? Yeah, dark red…

992
02:12:18.830 --> 02:12:26.420
Jerry Corley: Mine stands out as Pepto Bismol Pink. Like, they call me the Pepto Dick. The Pepto Penis.

993
02:12:26.420 --> 02:12:29.679
Kaz Okamoto: Like, Barbie. I mean, then you could tie it in Barbie as well.

994
02:12:29.680 --> 02:12:33.610
Jerry Corley: That's why she calls it the dream house.

995
02:12:34.720 --> 02:12:53.470
Jerry Corley: Right. You could have a lot of that in there, yeah. You see, every time you add a new thing, it gives us another opportunity to build out a joke. Like, if, like, he's got the pink dick with Barbie, maybe that's why they call it the Barbie Dream House, because she's always dreaming of my dick. Now, once you give the dog a character, he can get away with so much, because he's a dog.

996
02:12:54.290 --> 02:13:04.260
Jerry Corley: Right? So… so what I would like you to do, sort of like one of the regular story turns absurd, like, kind of thing, is what his trope is. That's basically…

997
02:13:04.510 --> 02:13:14.200
Jerry Corley: The twist could be at the end, but he has a lot of surprises on the way. A lot of obstacles, a lot of surprises. Every obstacle creates an opportunity for a surprise, right? So,

998
02:13:14.310 --> 02:13:19.099
Jerry Corley: In this case, like, where are you, what do you want, what's the problem you're dealing with?

999
02:13:19.820 --> 02:13:37.980
Jerry Corley: Is there any way to set up something in the beginning, in that… in your joke to call it back later, to add a coincidence at the end? Like, well, I do a story, give you an example, quick, story I do, and the story is, I was doing a show in Seattle.

1000
02:13:38.720 --> 02:13:48.440
Jerry Corley: And I was touring all over, I was all over the place. I was doing a show in Seattle, and I was doing this singing thing when I did this Alanis Morissette impression.

1001
02:13:48.880 --> 02:13:56.919
Jerry Corley: And, while I was in Seattle, some guy pops into the room and goes, oh shit, it's you!

1002
02:13:58.530 --> 02:14:09.190
Jerry Corley: just out of surprise, right in the middle of the show, right? Right after I did this one Alanis Morissette impression, and I go, it's me who? He goes, dude, I just saw you in Miami last week!

1003
02:14:09.960 --> 02:14:19.360
Jerry Corley: And I went, that is so cool! And he said, I recognized your voice as I was walking by, is that him? Right? And I had to come in.

1004
02:14:19.710 --> 02:14:33.779
Jerry Corley: And everybody loved… well, it's like, oh, that's a… you know, they think that's exciting, right? That's really impressive. So, they were like, wow, how neat. And he said, I'm gonna stay for the show, man! Right? He sits down, and then, like, and so the show goes on.

1005
02:14:34.100 --> 02:14:51.930
Jerry Corley: I, did this bit about getting pulled over by a cop, and, how I do this ABC's backwards type of thing, and then, and so, I do the thing, so I do the show, and then after we're leaving the show, me and three of the comedians, I'm driving them back to the hotel, we got pulled over by a cop.

1006
02:14:51.940 --> 02:14:55.650
Jerry Corley: Right? And then the cop is like, step out of the car, please.

1007
02:14:55.870 --> 02:14:58.670
Jerry Corley: He goes, he goes, okay, do the alphabet.

1008
02:14:58.780 --> 02:15:11.190
Jerry Corley: Backwards. And all the guys in the car start laughing, right? And it's like, and he goes, yeah, you think you're clever, do you sing it? Right? And so I start to sing the alphabet… sing the alphabet backwards. He goes.

1009
02:15:11.400 --> 02:15:13.560
Jerry Corley: Dude, I saw you in Miami!

1010
02:15:13.710 --> 02:15:29.099
Jerry Corley: So that's the big end… the finish… the escalation to the finish of the joke. It's a callback. So you see what I'm saying? Sometimes you can plant something that seems unrelated to the bit, and then it can come in later on, right? And it now winds up… that guy winds up being the cop.

1011
02:15:29.100 --> 02:15:41.770
Jerry Corley: Right? So, so there's different ways to tell the story, and this kind of… Sandler does a lot of that. So, let's, I'll share that screen again so that you guys can, take,

1012
02:15:42.770 --> 02:15:50.109
Jerry Corley: take your story and just write something, and you could start simple. And what I did with this particular thing, just… I wanted to come up with something just…

1013
02:15:50.420 --> 02:16:08.930
Jerry Corley: innocuous, but also detailed, like, I call it Japanese sweet potatoes. You know, I went to the grocery store because my wife wanted Japanese sweet potatoes. I couldn't find them anywhere, so I finally asked the produce guy. That starts the conversation. And where can I go with that?

1014
02:16:10.820 --> 02:16:17.170
Jerry Corley: So I build that out, right? So… and it was just… I'm just doing it off the top of my head. This is not anything I planned.

1015
02:16:17.300 --> 02:16:27.629
Jerry Corley: So, now you take your kind of an idea, your same, you know, kind of a… just whatever your situation is, and build out the story, and always think, okay, what's next? What if?

1016
02:16:27.630 --> 02:16:41.330
Jerry Corley: like Sandler when he was saying, my dick was looking old, it's got, like, a cane, it's got, like, scoliosis dick, it's leaning on the right ball. So if it's leaning on the right ball, the left ball feels left out, right?

1017
02:16:41.330 --> 02:16:54.049
Jerry Corley: So he builds that scenario out there, gives the… he anthropomorphizes his balls, he gives him a human voice, tells that story. So, that's a huge part of his charm. And you know by his…

1018
02:16:54.170 --> 02:17:06.459
Jerry Corley: character that he's not taking any of this seriously. You see him, he's laughing and almost laughing at himself and at the silliness of the stories, but he stays with the story. Alright, so… 7 minutes…

1019
02:17:06.699 --> 02:17:11.959
Evelyn Thatcher: So, do you… sorry, do you want us to do this particular prompt, or come up with our own story?

1020
02:17:11.959 --> 02:17:27.579
Jerry Corley: come up with your own prompt. You can if you want to do a Japanese sweet potato prompt. I just did that because that was something unique, recently, was, like, having to get Japanese sweet potatoes, and I thought that was just a funny thing. Japanese sweet potatoes is such a…

1021
02:17:27.959 --> 02:17:30.009
Jerry Corley: You know, specific item.

1022
02:17:30.270 --> 02:17:30.760
Evelyn Thatcher: Yeah.

1023
02:17:31.129 --> 02:17:40.429
Evelyn Thatcher: Do you mind scrolling up? You had a really cool thing that you said there, what was it? What's your… where are you, what you want, and what your… your… the problem? Okay, cool. Where…

1024
02:17:40.719 --> 02:17:43.399
Jerry Corley: Yeah, so always let the audiences know your dilemma.

1025
02:17:43.399 --> 02:18:08.189
Jerry Corley: Right? So they root for you? Like, and even if, like, how could we heighten that dilemma? Just as we talked about earlier with the, escalation in the bedroom when the woman's changing the clothes on the one-night stand scenario, where, like, how can we scan the room and find something that would really put them in an anxious position or an embarrassing position? So in this case, you're like, what would it be? Could it be my wife wanted Japanese sweet potatoes?

1026
02:18:08.189 --> 02:18:19.179
Jerry Corley: My wife's parents were coming over, or my girlfriend's parents were coming over to meet me for the first time. She wanted to prepare Japanese sweet potatoes, so now that heightens the urgency of me finding

1027
02:18:19.179 --> 02:18:25.919
Jerry Corley: the Japanese sweet potatoes, you know, and instead I couldn't find them, so I just bought, you know, russet potatoes.

1028
02:18:26.119 --> 02:18:44.039
Jerry Corley: the entire experience, like, so at the end of the night, they were like, Japanese sweet potatoes are delicious, right? So, and at the end, they're like, what do you think of my boyfriend? Oh, he's kind of bland, like the potatoes. Like, you know, that kind of thing could be a coincidence as well. So, you see how the story can start to shape itself?

1029
02:18:44.209 --> 02:18:45.379
Jerry Corley: Does that make sense?

1030
02:18:46.239 --> 02:18:53.329
Jerry Corley: Alright, so, pick a topic, where are you? What do you want? What's the problem you're dealing with? Now.

1031
02:18:53.539 --> 02:18:57.679
Jerry Corley: Let's see how that, see if you can create a he said, she said in there.

1032
02:18:59.409 --> 02:19:09.439
Jerry Corley: And, and let yourself just free associate. Talk it out, maybe even, like, you can even talk it out on AI, on, on,

1033
02:19:09.819 --> 02:19:21.709
Jerry Corley: What is the, it's on… what's… what is that? Otter. Otter.ai? Just so it transcribes itself as you're talking it out. A lot of times I'll do that just to let the story flow.

1034
02:19:22.689 --> 02:19:28.779
Jerry Corley: And I'll give you guys about 7 minutes, don't worry, it doesn't need to be funny, just see where you can take it.

1035
02:28:59.180 --> 02:29:02.260
Jerry Corley: Alright, checking in with you, do you guys need a few more minutes?

1036
02:29:04.820 --> 02:29:08.900
Jerry Corley: You got something? Who has something, Janet? You alright? You're shaking your head no.

1037
02:29:08.900 --> 02:29:10.579
Janet Rapala: Oh, yeah, I got something.

1038
02:29:10.580 --> 02:29:11.060
Jerry Corley: Right.

1039
02:29:11.060 --> 02:29:22.759
Janet Rapala: It's kind of along the line of the Botox penis story, but it's… it's a story I've used in the past, but, hopefully it's pertinent. All right,

1040
02:29:23.060 --> 02:29:29.420
Janet Rapala: I was a nurse in an intensive coronary care unit, and this has been a minute ago. I was in my 30s.

1041
02:29:30.350 --> 02:29:35.359
Janet Rapala: And we… we had a 70-something-year-old man that was admitted with a heart attack.

1042
02:29:35.580 --> 02:29:46.399
Janet Rapala: Because that's what we took care of. And the reason why he had a heart attack, he was a very severe diabetic, so his boy parts didn't work anymore, so he had had

1043
02:29:46.400 --> 02:29:59.250
Janet Rapala: a penile implant… implant. At the time, there were two kinds, the silicone rods and the pump version. He had the pump version. And he had a 30-something-year-old trophy wife. He wanted to keep her happy, but it quit working.

1044
02:29:59.250 --> 02:29:59.930
Jerry Corley: And now…

1045
02:29:59.930 --> 02:30:03.369
Janet Rapala: That stressed him out so much, he had a heart attack.

1046
02:30:03.600 --> 02:30:12.570
Janet Rapala: So that's why we met him, because he was in the coronary unit for the heart attack. But once he was stabilized by the cardiologist from a heart standpoint.

1047
02:30:12.570 --> 02:30:31.790
Janet Rapala: the urologist came down to look at the P&L implant situation. He storms on the unit. How did this happen? And all the nurses just fled like rats off a sinking ship. This is back before electronic records, so I just stood there like a dummy and just handed him the paper chart, and he went in.

1048
02:30:31.840 --> 02:30:44.589
Janet Rapala: He fixed the implant. So afterwards, well, you know, nurses are nosy by nature, so he held show and tell in his room, so we watched how this thing worked.

1049
02:30:45.060 --> 02:30:50.339
Janet Rapala: And it got stuck in the on position.

1050
02:30:50.490 --> 02:30:57.300
Janet Rapala: So we had to call the urologist back. He comes back, how did this happen? And I'm like, well, you should have…

1051
02:30:57.410 --> 02:31:07.749
Janet Rapala: installed the super-duper Porn Star Edition on the inside. Instead, I just handed him the chart, he went and fixed it, and our man went home to many more happy endings.

1052
02:31:08.750 --> 02:31:14.089
Jerry Corley: Very nice, great story, yes. And just the embarrassment of that,

1053
02:31:14.260 --> 02:31:26.950
Jerry Corley: Of the situation. It's funny in itself, riveting, a story, it's compelling. I was also thinking about, what… so what's the… you had, like, 30 years ago.

1054
02:31:27.030 --> 02:31:35.020
Jerry Corley: what's another way to say that, which could be, like, a metaphor that could get, add some funny to it? 30… like, it's like,

1055
02:31:35.450 --> 02:31:49.659
Jerry Corley: you could say, like, it was, you know, you could say, like, it seems like 100 years ago, because that was 30, literally, it was last century, so, right, you could say that'd get a nice little laughter, because people would go, oh, I never thought about it, you're right.

1056
02:31:49.660 --> 02:31:51.810
Janet Rapala: It was in the late 1900s.

1057
02:31:51.810 --> 02:32:11.469
Jerry Corley: It's like, it was almost like antediluvian, if those of you who don't know, that's before the Civil War. So you can have fun with that moment there. And then, you know, the idea for me, I thought there was some alliteration, possibly, there, when you could say, like, a lack of a hard-on gave him a heart attack.

1058
02:32:11.470 --> 02:32:17.110
Jerry Corley: Like, one would think that you're… if you're having sex with a 30-year-old, and you're an old diabetic.

1059
02:32:17.110 --> 02:32:23.020
Jerry Corley: That would give you the heart attack, but the fact that he couldn't get it up almost put him down.

1060
02:32:24.160 --> 02:32:32.509
Jerry Corley: So now we have up and down, that's another coincidence you could add there. So I love… the penis pump.

1061
02:32:32.550 --> 02:32:43.749
Jerry Corley: you know, what is that like? What is the penis pump? What in life makes us think of a penis pump? I'm thinking about, like, some people,

1062
02:32:43.770 --> 02:32:57.100
Jerry Corley: I remember one of my students, his dad got a penis pump, and he was telling me the different types he had. He said, in, in the… they actually, in the ball sack, they have a,

1063
02:32:57.100 --> 02:33:00.989
Janet Rapala: It's a pump, it's a squeezable pump, with a one-way valve.

1064
02:33:00.990 --> 02:33:04.470
Jerry Corley: Air pump that he can squeeze and get the dick…

1065
02:33:06.780 --> 02:33:20.620
Jerry Corley: You know, and it's like, but then the doctor's explaining, up, down, I like that version of it, because kind of giving a lesson in what a penis pump is. I mean, think about it, it's not going to be the last patient that has one that you're going to deal with, so it's good to have this information.

1066
02:33:20.990 --> 02:33:25.389
Jerry Corley: And what other types of penis pumps do they have? It'd be fun to see, like…

1067
02:33:25.390 --> 02:33:29.099
Janet Rapala: Yeah, well, they're the hard silicone rods where you're hard all the time, but…

1068
02:33:29.100 --> 02:33:30.210
Jerry Corley: Oh, man.

1069
02:33:30.340 --> 02:33:36.400
Jerry Corley: That's like… but enough about my uncle, you know, or something like that. You could have my teacher, my history teacher.

1070
02:33:36.400 --> 02:33:42.970
Janet Rapala: And I don't think the technology has advanced much in all those years. I think they're still just kind of like the two different types.

1071
02:33:43.230 --> 02:33:52.809
Jerry Corley: Interesting. All right. So, that's, so anyway, that was a fun story, and in the end, right? It's like, you went home to many more happy endings.

1072
02:33:54.750 --> 02:34:05.109
Jerry Corley: So if you listed cardiac, issues, cardiac events, everything related to that flat line,

1073
02:34:05.210 --> 02:34:21.399
Jerry Corley: You could have, like, whatever, confarction, what other kind of, like, you know, so what other, like, ventricle, ventricular, atrial, fibrillation, you know, what else, what other, like, maybe.

1074
02:34:21.400 --> 02:34:22.720
Janet Rapala: Could've died!

1075
02:34:22.720 --> 02:34:23.060
Jerry Corley: You know.

1076
02:34:23.060 --> 02:34:25.990
Janet Rapala: It's like, what was in Rosanna died? He could have fucking died.

1077
02:34:25.990 --> 02:34:30.030
Jerry Corley: I could've died. That's why men will fuck through anything, right?

1078
02:34:31.140 --> 02:34:41.430
Jerry Corley: You know? He's like, he's like, oh, if you keep fucking, you're gonna die. Like, if I don't keep fucking, I'm gonna die, right? So, so stressed out that his dick couldn't get hard. That's funny.

1079
02:34:42.630 --> 02:34:45.490
Jerry Corley: But that's a great story. Good story. Well done, Janet.

1080
02:34:45.490 --> 02:34:46.200
Janet Rapala: Thank you.

1081
02:34:46.720 --> 02:34:48.429
Jerry Corley: Cliff, what do you got?

1082
02:34:49.020 --> 02:34:50.919
Cliff Spenger: I got a few,

1083
02:34:52.190 --> 02:34:57.489
Cliff Spenger: Let me go to the one that you were talking about. I got Botox in my dick, but…

1084
02:34:57.630 --> 02:35:00.719
Cliff Spenger: I got talked into discount Botox.

1085
02:35:00.720 --> 02:35:03.590
Jerry Corley: That was diluted with water.

1086
02:35:04.370 --> 02:35:06.489
Cliff Spenger: Now I get a boner in bad weather.

1087
02:35:06.960 --> 02:35:11.599
Cliff Spenger: That's funny. So when there's a storm a-comin', so am I.

1088
02:35:11.800 --> 02:35:13.849
Jerry Corley: Yeah, there you go, nice.

1089
02:35:14.460 --> 02:35:19.980
Cliff Spenger: And, my proctologist is coming down with Parkinson's.

1090
02:35:20.690 --> 02:35:27.130
Cliff Spenger: And he tried and tried to test my prostate. It was like we were both virgins trying for the first time.

1091
02:35:27.500 --> 02:35:34.249
Cliff Spenger: After numerous failures, I told him, you just stand there and hold with both hands, and I'll back into it.

1092
02:35:37.510 --> 02:35:39.819
Cliff Spenger: And, hang on, I got another one.

1093
02:35:40.200 --> 02:35:44.170
Cliff Spenger: I went shopping for my wife, who wanted Japanese.

1094
02:35:44.170 --> 02:35:57.320
Jerry Corley: And then as his finger, like, if he's got Parkinson's, right? And then, you know, and it was able to get up there nicely, and so, and then he was starting to have that little Parkinson's tack, so I stayed there for another 15 minutes.

1095
02:35:57.320 --> 02:36:00.050
Cliff Spenger: I didn't complain.

1096
02:36:00.050 --> 02:36:02.800
Jerry Corley: That was probably my bet… the best appointment I've ever had with the guy.

1097
02:36:02.800 --> 02:36:04.753
Cliff Spenger: Yeah, yeah.

1098
02:36:06.060 --> 02:36:07.590
Cliff Spenger: You took it there, Jerry.

1099
02:36:07.590 --> 02:36:27.299
Jerry Corley: Yeah, well, that's… that reminds me of a story. My friend went into the, he went in to get his sperm count checked, because he and his wife couldn't get pregnant, and so the doctor said, well, you can take, you know, you can go in the room over there with the magazines, or if you'd like, I can manipulate your prostate.

1100
02:36:28.200 --> 02:36:34.029
Jerry Corley: And he was like, Yeah, I said, I think that doctor was gay, dude, because…

1101
02:36:34.830 --> 02:36:40.170
Jerry Corley: I don't want any guy manipulating my prostate to get me to… Ejaculate.

1102
02:36:40.170 --> 02:36:44.119
Cliff Spenger: I think that's a class in Proctometer's school.

1103
02:36:44.120 --> 02:36:44.790
Jerry Corley: Yeah, that's…

1104
02:36:44.790 --> 02:36:47.820
Cliff Spenger: manipulate the male prostate to have an orgasm.

1105
02:36:47.820 --> 02:36:52.120
Jerry Corley: This is… that's a… that's when… that's actual… that's real bedside manner.

1106
02:36:52.120 --> 02:36:53.710
Cliff Spenger: Yep, yep.

1107
02:36:54.540 --> 02:36:59.589
Cliff Spenger: So, I went shopping for my wife, or she wanted Japanese sweet potatoes.

1108
02:36:59.800 --> 02:37:11.240
Cliff Spenger: And I looked and looked and couldn't find them. Finally asked this racist vegetable clerk, and he told me to just get some regular sweet potatoes that had eyes that looked like they were slanted.

1109
02:37:11.240 --> 02:37:22.789
Jerry Corley: That's funny, because potatoes have eyes, right? Yeah, that's good. Like, racist. He's like, here, here you go. This is a regular sweet potato, yeah, but the look at the eyes, they're slanted, you know?

1110
02:37:23.900 --> 02:37:25.489
Cliff Spenger: I put it on his.

1111
02:37:25.870 --> 02:37:29.360
Jerry Corley: that good. You make it… and also, if you give them a voice.

1112
02:37:29.790 --> 02:37:30.820
Cliff Spenger: Yeah, yeah.

1113
02:37:30.820 --> 02:37:35.760
Jerry Corley: Like, he's one of those guys that likes to tell these brazen stories, an old World War II vet.

1114
02:37:36.080 --> 02:37:37.380
Cliff Spenger: Yep, yep.

1115
02:37:39.260 --> 02:37:49.640
Jerry Corley: So, imagine what were the brands of those… if, racists actually came out and then supplied produce, the racist brand of Japanese sweet potatoes?

1116
02:37:50.050 --> 02:37:51.990
Jerry Corley: Like, that would be, you know…

1117
02:37:52.690 --> 02:37:58.819
Jerry Corley: That would be crazy, like, what else could we do with that? That's funny. I like that idea. You made him a racist.

1118
02:37:58.970 --> 02:38:11.659
Jerry Corley: That's good. That's a good twist. That was unexpected, I didn't see it coming. Good. So it's like, getting that brain to be creative, what else can I put in here? It's your story, you can create the, kind of, the world. That's also plausible.

1119
02:38:11.660 --> 02:38:17.289
Cliff Spenger: It did seem obvious, saying Japanese sweet potatoes. Potatoes do have eyes, so…

1120
02:38:17.800 --> 02:38:19.780
Cliff Spenger: Stupid racist, joke.

1121
02:38:20.600 --> 02:38:21.760
Cliff Spenger: After dies, you know.

1122
02:38:23.380 --> 02:38:27.940
Jerry Corley: So… but it's like, how can you tell they're Japanese sweet potatoes? By the eyes.

1123
02:38:28.510 --> 02:38:29.340
Cliff Spenger: Yeah.

1124
02:38:29.340 --> 02:38:34.400
Kaz Okamoto: Jerry, can you put up your example on the other, like, when you…

1125
02:38:34.540 --> 02:38:39.740
Kaz Okamoto: show the video, because I need to see the first sentence of the sweet potato thing.

1126
02:38:39.920 --> 02:38:42.620
Jerry Corley: Okay, yeah, let me see.

1127
02:38:45.750 --> 02:38:46.599
Kaz Okamoto: Thank you!

1128
02:38:46.600 --> 02:38:47.460
Jerry Corley: You're welcome.

1129
02:38:48.720 --> 02:38:53.169
Jerry Corley: Alright, so, let's see, where are we at Pappy?

1130
02:38:53.490 --> 02:38:55.720
Jerry Corley: Oh, Jack, Jack, are you next, or who's next?

1131
02:38:57.810 --> 02:38:58.830
Jerry Corley: Let's go, Jack.

1132
02:39:04.200 --> 02:39:08.210
Jack Day: on occasion, How about, groceries?

1133
02:39:08.590 --> 02:39:12.670
Jack Day: And when I got home, I realized I had forgotten to get dog food.

1134
02:39:13.720 --> 02:39:16.109
Jack Day: And I went back to the store.

1135
02:39:16.430 --> 02:39:20.810
Jack Day: And picked up a 50-pound bag of Purina dog shower.

1136
02:39:21.580 --> 02:39:26.009
Jack Day: And when I was going to take out, I had my…

1137
02:39:30.460 --> 02:39:33.129
Jack Day: They said, no, I don't have a dog.

1138
02:39:33.570 --> 02:39:37.429
Jack Day: She said, well, if you get the dog film, why don't you have a dog?

1139
02:39:37.600 --> 02:39:39.340
Jack Day: I said, I got some money.

1140
02:39:39.560 --> 02:39:42.209
Jack Day: She said, you ain't eat the dog food?

1141
02:39:42.570 --> 02:39:46.599
Jack Day: I said, yes. She said, well, why would you eat the dog food?

1142
02:39:46.850 --> 02:39:51.080
Jack Day: I said, women's… My wife has left, man.

1143
02:39:51.270 --> 02:39:58.279
Jack Day: She was a good cook, and I don't know how to cook, and junk food has all the nutrition you need.

1144
02:39:58.530 --> 02:40:01.060
Jack Day: And I've never felt like asking.

1145
02:40:02.090 --> 02:40:04.800
Jack Day: And, thin name.

1146
02:40:05.620 --> 02:40:14.340
Jack Day: When I… Checked out, I walked out as an alpha dog, carrying a 50-pound bag of dog food.

1147
02:40:16.910 --> 02:40:23.239
Jerry Corley: That was funny, I was waiting for that to be your move. Like, that was your move, and she's like, well, I could cook for you.

1148
02:40:23.530 --> 02:40:39.099
Jerry Corley: So, guess what? You know, Jack Day is no longer alone, right? It's like, it's a fun way to create a scenario now to get a woman to, like, decide to cook. You can't eat dog food, I will come cook for you.

1149
02:40:39.650 --> 02:40:46.080
Jerry Corley: Alright, so that's been happening for the last 15 years, right? So that's, like, that's how I met my second wife.

1150
02:40:46.920 --> 02:41:01.409
Jerry Corley: So it's like a real clever pickup move, that would be fun. It's like, and if you actually read off all the ingredients, like the nutrients that are in dog food, there's more nutrients in dog food than there is in people food.

1151
02:41:02.310 --> 02:41:07.390
Jerry Corley: Right? So it's like, no wonder, right? So that's, like, they do add a lot of,

1152
02:41:07.630 --> 02:41:12.849
Jerry Corley: enrichment in nutrients in dog food. Alright, Pappy, what do you got?

1153
02:41:12.850 --> 02:41:15.659
Jack Day: I think that has potential that I can work on.

1154
02:41:15.660 --> 02:41:17.280
Jerry Corley: Oh yeah, without a doubt, yeah.

1155
02:41:17.280 --> 02:41:20.010
Cliff Spenger: Can I make a quick comment on his joke?

1156
02:41:20.010 --> 02:41:20.859
Jerry Corley: You sure, of course.

1157
02:41:21.290 --> 02:41:28.409
Cliff Spenger: I was just gonna say, I expected him to, get kicked out for sniffing her butt, or going outside and start barking at cars.

1158
02:41:31.190 --> 02:41:43.040
Jerry Corley: That's funny, because I just saw a video about, like, there's this guy who is a notorious butt sniffer, and he was arrested, right? And he's still… now they let him out again.

1159
02:41:43.320 --> 02:41:58.099
Jerry Corley: So it's like, so it's like, that's funny, it's like, you ate the dog food, and next week I came back, I just had this, you know, I saw her, she smiled at me, I smiled back, and I had this, like, un… almost unresistible desire to sniff her butt.

1160
02:41:58.970 --> 02:42:02.869
Jerry Corley: You know? So it was like, I wanted to come in there and sniff everybody's butt.

1161
02:42:03.390 --> 02:42:11.840
Jerry Corley: I wonder, like, that's funny. If you're right, that was a good move, Cliff, to say, like, once you eat the dog food, what happens to you?

1162
02:42:11.990 --> 02:42:15.390
Jerry Corley: You know? And I got a really bright pink crayon.

1163
02:42:16.040 --> 02:42:17.460
Cliff Spenger: So they're.

1164
02:42:17.460 --> 02:42:22.409
Jerry Corley: That could be a callback to the other gag, right? All right, moving on, Pappy, what do you got?

1165
02:42:23.360 --> 02:42:34.719
Pappy: So I start… I spent 7 minutes writing and just building on what I had, kind of free associating. Not particularly funny, but it was like, oh, it was really cool how things

1166
02:42:34.960 --> 02:42:39.069
Pappy: You know, moved into something else, like, it sparked another idea.

1167
02:42:39.070 --> 02:42:39.980
Jerry Corley: I love that.

1168
02:42:39.980 --> 02:42:50.109
Pappy: But, after listening to this stuff, I just thought, alright, I'm gonna… I'm gonna, wing it with one, since the… there was a lot of dick subjects here, though.

1169
02:42:50.180 --> 02:43:09.570
Pappy: 20 years ago, I had my prostate removed, and ever since then, I could, you know, it's difficult getting an erection. I had different methods, and so the one I was using that was okay stopped working, went to the urologist, and he said, hey, I'm going to give you this injection, you know, you just shoot it in your penis, good to go.

1170
02:43:09.690 --> 02:43:18.279
Pappy: So, he orders it, and it comes, and it's a refrigerated thing, so we stick it in the fridge. He said, when you get it, call me, come back in, and I'll show you how to use it.

1171
02:43:18.460 --> 02:43:35.359
Pappy: So, my wife is gonna, you know, help me on this, fortunately, and so we grab the medicine out of the fridge and get in the car, go to see the urologist, and the nurse comes in, she says, okay, bunch of the normal stuff, and she says, give me the prescription, and then the doc will come back in and show you how to use it.

1172
02:43:35.560 --> 02:43:39.929
Pappy: So we're sitting there, and a doctor comes in, and he says.

1173
02:43:40.090 --> 02:43:42.690
Pappy: Yeah, I don't think this is gonna work.

1174
02:43:43.390 --> 02:43:50.969
Pappy: We're like, wow, kind of disappointed and surprised. He said, you brought in your dog's medication.

1175
02:43:54.010 --> 02:43:55.050
Pappy: And that was it.

1176
02:43:55.320 --> 02:44:03.530
Jerry Corley: So it's like, you know, that would be… that would… that's funny. It turns out I was using the dog's medication, you know, and that could be, like,

1177
02:44:04.460 --> 02:44:07.420
Pappy: I could go back on why it wasn't working.

1178
02:44:07.420 --> 02:44:08.570
Jerry Corley: Yeah, true, yeah.

1179
02:44:08.570 --> 02:44:09.059
Pappy: No, definitely.

1180
02:44:09.060 --> 02:44:10.590
Jerry Corley: You know?

1181
02:44:10.930 --> 02:44:16.829
Jerry Corley: So it's like, you could say, like, but when she rubs my belly, my left leg moves a lot.

1182
02:44:17.120 --> 02:44:34.419
Jerry Corley: Or the idea was, you gotta get an injection, right? A needle injection. Yeah. So it's like, you know, it's basically a prick for a prick. So, there's, wordplay there you could play, you know, and it's like, okay, show me your, he's like, okay,

1183
02:44:34.520 --> 02:44:36.680
Jerry Corley: You're gonna feel a little prick.

1184
02:44:37.230 --> 02:44:40.539
Jerry Corley: You're like, really, Doc? Is it… do you have to say it out loud?

1185
02:44:41.910 --> 02:44:44.210
Jerry Corley: Are you talking to me or my wife?

1186
02:44:44.650 --> 02:45:03.810
Jerry Corley: So that could be a fun way to do it. So that's, you have some wordplay in there. Good, that was the prostate thing. I think people rooting for you, such a dilemma, it's embarrassing, creates anxiety, you know, and then, the idea is, like, you bring in your dog's medicine, what would… what would… how would that change the entire scenario?

1187
02:45:03.810 --> 02:45:09.519
Pappy: area from there, yeah. What did that mean when I took the dog medication? Right. Thanks.

1188
02:45:09.520 --> 02:45:13.439
Jerry Corley: Right. Alright, nice job, Kaz. What do you got?

1189
02:45:16.620 --> 02:45:21.739
Kaz Okamoto: Sorry, I have to laugh at myself, because I'm funny. No, just kidding.

1190
02:45:21.850 --> 02:45:26.639
Kaz Okamoto: I went to the grocery store because my mother asked me

1191
02:45:26.870 --> 02:45:32.660
Kaz Okamoto: she wanted some Japanese sweet potatoes, but I couldn't find them.

1192
02:45:33.100 --> 02:45:39.060
Kaz Okamoto: anywhere. So I asked the grocery clerk where they were located.

1193
02:45:43.720 --> 02:45:44.550
Cliff Spenger: Utah?

1194
02:45:44.550 --> 02:45:48.880
Kaz Okamoto: Hey, I must send it Rakuten no Okuma?

1195
02:45:49.430 --> 02:45:51.640
Kaz Okamoto: I'm sorry, what?

1196
02:45:52.550 --> 02:45:54.939
Kaz Okamoto: Oh, we know Cell!

1197
02:45:56.560 --> 02:46:07.720
Kaz Okamoto: Buy American sweet potato, cook regular way, add a butter, soy sauce, and a toasted seaweed. That makes anything Japanese.

1198
02:46:10.350 --> 02:46:17.779
Kaz Okamoto: So the translation that I said in Japanese was, we don't sell Japanese sweet potatoes here.

1199
02:46:18.020 --> 02:46:20.670
Kaz Okamoto: You white, round-eyed devil.

1200
02:46:20.670 --> 02:46:22.310
Jerry Corley: Oh my god.

1201
02:46:24.280 --> 02:46:27.190
Kaz Okamoto: Sorry. That's all I had. When I saw that, I didn't.

1202
02:46:27.190 --> 02:46:42.590
Jerry Corley: What… how could you get that into the joke? Do you… could be like, he was speaking Japanese. I mean, this was an authentic grocery store, so authentic, all the employees spoke Japanese, and he said to me, and you say it in Japanese, fortunately, I had Google Translate.

1203
02:46:42.740 --> 02:46:45.250
Jerry Corley: You know? I was looking at what he said, I go.

1204
02:46:46.630 --> 02:46:49.740
Jerry Corley: We don't have Japanese sweet potatoes here.

1205
02:46:49.930 --> 02:46:52.099
Jerry Corley: You round-eyed white devil.

1206
02:46:52.800 --> 02:46:56.729
Kaz Okamoto: Yeah, the other thing is, make it a Japanese market, and then…

1207
02:46:56.970 --> 02:47:10.299
Kaz Okamoto: the translation about we don't sell, or we don't have Japanese sweet potatoes here, they have 3 translations when I look this up. We don't have it here, we don't sell those, we've run out.

1208
02:47:10.580 --> 02:47:24.779
Kaz Okamoto: So, you could use any of that sentence for any of those things. So, he could say the same thing and say, we ran out, we don't have any in stock, we ran out, and then say, round out devil. So, to use the Google Translate thing.

1209
02:47:25.150 --> 02:47:28.040
Kaz Okamoto: you know, I think that would be good.

1210
02:47:28.440 --> 02:47:29.380
Kaz Okamoto: Because…

1211
02:47:29.840 --> 02:47:38.340
Kaz Okamoto: I wonder if you would have to say it again. Like, because you wouldn't use the Google Translate right away, you would listen to what he said.

1212
02:47:38.730 --> 02:47:42.369
Kaz Okamoto: And then, if the lady says, I'm sorry, what?

1213
02:47:42.750 --> 02:47:45.490
Kaz Okamoto: And then he says, we know Cell.

1214
02:47:45.890 --> 02:47:47.649
Kaz Okamoto: And then,

1215
02:47:48.210 --> 02:47:57.210
Kaz Okamoto: she could all say, I'm sorry, what did you say before, though? And then she puts on… records it, and then puts it on, and then it translates.

1216
02:47:58.240 --> 02:48:06.600
Kaz Okamoto: And then he gets the answer about, buy the American sweet potatoes, and then he goes back to his work, and then later she looks at the translations.

1217
02:48:07.400 --> 02:48:18.670
Jerry Corley: Yeah, that could be, that could be fun. I was also thinking about what could we put in maybe earlier on in the story, a totally unrelated story that then brings that back as a callback.

1218
02:48:18.670 --> 02:48:29.329
Jerry Corley: For… for him in that situation. I was also thinking when you said, right when you said you white-eyed devil, and you're like, also, do you have,

1219
02:48:29.370 --> 02:48:38.210
Jerry Corley: any, deviled eggs, you know, or something like that. Oh, that reminds me, right? You're unfazed by it. I need to make deviled eggs. Do you have, you know…

1220
02:48:38.290 --> 02:48:39.500
Jerry Corley: Do you have mayonnaise?

1221
02:48:40.490 --> 02:48:45.300
Kaz Okamoto: But Hawkogene is the derogatory slang for what they call round eye, which is.

1222
02:48:45.300 --> 02:48:47.290
Jerry Corley: Oh, Round Eye. Round Eye Devil.

1223
02:48:47.580 --> 02:48:50.930
Jerry Corley: Yeah. White, round, wild-dyed devil.

1224
02:48:50.930 --> 02:48:52.020
Kaz Okamoto: Okuma.

1225
02:48:52.020 --> 02:48:52.900
Jerry Corley: Akuma.

1226
02:48:54.120 --> 02:48:57.719
Jerry Corley: So there's, like, anybody else have an idea for that story?

1227
02:48:58.500 --> 02:48:59.440
Jerry Corley: Yes.

1228
02:48:59.440 --> 02:49:01.060
Evelyn Thatcher: Oh, you mean Kaz's story?

1229
02:49:01.060 --> 02:49:01.990
Jerry Corley: Kaz is a story.

1230
02:49:01.990 --> 02:49:05.860
Evelyn Thatcher: Or, no, oh, sorry, no, I have a different version with the same prompt.

1231
02:49:06.910 --> 02:49:07.560
Jerry Corley: Or…

1232
02:49:08.180 --> 02:49:28.090
Jerry Corley: If you brought in… now, what if, like, it's part of the story, you have the story before of your mom, and things she has said to you, and, you know, that you bring in, of, you know, from, you growing up with your mother. What… maybe there was, maybe there's some sort of coincidence

1233
02:49:28.810 --> 02:49:32.279
Jerry Corley: That, he says,

1234
02:49:32.700 --> 02:49:37.469
Jerry Corley: He says something that maybe is like, wow, sounds just like my mother, or something like that.

1235
02:49:37.700 --> 02:49:42.060
Kaz Okamoto: Well, the other thing I thought about just now when you were talking about it is that

1236
02:49:42.410 --> 02:49:49.610
Kaz Okamoto: My mother goes in and asks this, but my mother, even though she was Japanese, was so westernized and Americanized.

1237
02:49:50.310 --> 02:49:58.659
Kaz Okamoto: you would think, oh, she could be Asian, she could be Mexican, you know what I mean? So he could just be…

1238
02:49:59.220 --> 02:50:07.479
Kaz Okamoto: because she really didn't have much of an accent, you know, later on, because she'd been speaking English since she was 26, so,

1239
02:50:07.880 --> 02:50:24.469
Kaz Okamoto: that a lot of people didn't know she could speak Japanese, and she did that, like, when we flew on Japan Airlines ANA. She would pretend she couldn't understand or speak Japanese, and would listen to the sternuses badmouth the…

1240
02:50:24.700 --> 02:50:28.230
Kaz Okamoto: People that were flying, like.

1241
02:50:28.230 --> 02:50:28.560
Jerry Corley: Wow.

1242
02:50:28.560 --> 02:50:38.600
Kaz Okamoto: comments about how they looked, oh my god, the guy in 2C, what a pain in the ass, you know, but they would say it in Japanese, and my mother would translate for me and tell me what was going on.

1243
02:50:38.600 --> 02:50:45.110
Jerry Corley: Wow, so that's a funny scenario, because, you know, you fly on the Japanese airlines, they always seem so polite.

1244
02:50:45.110 --> 02:51:01.109
Jerry Corley: Right? They sort of, like, they advertise the over-politeness of this staff, and then you get on the, you know, your mom's on there, and she pretends she doesn't speak Japanese, and then, you know, these polite people are like, Japan Airlines, wouldn't you want to be treated like shit.

1245
02:51:01.110 --> 02:51:02.160
Evelyn Thatcher: Right.

1246
02:51:02.160 --> 02:51:15.710
Kaz Okamoto: And her big thing was, wait till near the end of the flight, and then speak in perfect Japanese to these women, and the shock on their face, and she used to tell me, oh, I like messing with them.

1247
02:51:15.710 --> 02:51:35.100
Jerry Corley: That's good. I like it. That's a fun… that's a great story, because it's like, we like to… why don't you give us, like, the… that's dramatic irony, right? The audience knows, but the heroes, or the main characters, the stewardesses in this scenario do not know, and she's… she's clocking all of what they're saying.

1248
02:51:35.240 --> 02:51:38.050
Kaz Okamoto: Yeah, because most Japanese… they would never…

1249
02:51:38.560 --> 02:51:58.289
Kaz Okamoto: say anything derogatory about anybody on the flight. You know, they would never… they don't gossip, they just… they do their job, end of story. And my mother, because they whisper, and they're speaking Japanese, my mother would say, oh, I heard what they said! And I'd go, oh, tell me! You know, that kind of thing. That's funny. It's kind of fun. Yeah. Okay.

1250
02:51:58.290 --> 02:52:03.590
Jerry Corley: All right, nice, good, I like that story a lot. Evelyn, what do you got?

1251
02:52:03.590 --> 02:52:05.360
Evelyn Thatcher: Okay.

1252
02:52:06.310 --> 02:52:16.910
Evelyn Thatcher: Alright, work in progress. So… I went to the grocery store because my wife wanted Japanese sweet potatoes. I couldn't find them anywhere, so I finally asked the produce guy.

1253
02:52:17.240 --> 02:52:24.629
Evelyn Thatcher: he said, can I help you? I said, do you have Japanese sweet potatoes? He said, you'll have to go to Little Tokyo for that.

1254
02:52:24.800 --> 02:52:33.480
Evelyn Thatcher: I said, but my wife kept mumbling in her sleep that she wanted Japanese sweet potatoes, so I wanted to surprise her. He said, let's go surprise her together.

1255
02:52:33.930 --> 02:52:38.070
Evelyn Thatcher: She was saying she wanted… she wanted my Japanese sweet toes.

1256
02:52:38.440 --> 02:52:41.570
Jerry Corley: It's like, that's sweet toast, rather than sweet potatoes, yeah.

1257
02:52:41.570 --> 02:52:42.540
Evelyn Thatcher: Good job.

1258
02:52:42.540 --> 02:52:45.529
Jerry Corley: I thought she was… it turns out she wants Japanese sweet toast.

1259
02:52:45.530 --> 02:52:46.190
Evelyn Thatcher: who wanted my jack.

1260
02:52:46.190 --> 02:52:48.880
Jerry Corley: That's why you got our gift certificate for Manny Petty.

1261
02:52:48.880 --> 02:52:51.849
Evelyn Thatcher: Turns out, yeah, she wanted my Japanese sweet toast, there we go.

1262
02:52:51.850 --> 02:52:53.760
Jerry Corley: Maybe that's… it could be too, like the…

1263
02:52:53.760 --> 02:52:55.209
Evelyn Thatcher: Well, a foot fetish.

1264
02:52:55.210 --> 02:53:02.549
Jerry Corley: fetish, or maybe that's the special she gets from the Asian technician at the nail salon?

1265
02:53:02.870 --> 02:53:03.520
Evelyn Thatcher: Yeah.

1266
02:53:03.730 --> 02:53:06.360
Evelyn Thatcher: I had, I had one other one,

1267
02:53:06.850 --> 02:53:13.089
Evelyn Thatcher: I was really depressed, so I went to CVS looking for Hershey chocolate bars, but they were all out.

1268
02:53:13.370 --> 02:53:17.270
Evelyn Thatcher: I asked the salesperson, when are you getting Hershey chocolate bars in?

1269
02:53:17.610 --> 02:53:24.590
Evelyn Thatcher: They said, you want Hershey chocolate bars in? I said, yes, I want Hershey chocolate bars in.

1270
02:53:24.960 --> 02:53:27.229
Evelyn Thatcher: Now I get all the Hershey bars I want.

1271
02:53:29.130 --> 02:53:30.800
Evelyn Thatcher: I know!

1272
02:53:30.800 --> 02:53:31.340
Jerry Corley: That's good.

1273
02:53:31.340 --> 02:53:33.409
Evelyn Thatcher: I mean, it's work in progress.

1274
02:53:33.410 --> 02:53:50.529
Jerry Corley: I like the specifics. See, when you get into, like, the specifics of the quirk… it adds the quirkiness to it. You know, it seems like an innocuous thing to go in for… you're looking for something specific like Hershey bars, or Japanese sweet potatoes, or, you know, Concord grapes,

1275
02:53:50.530 --> 02:53:53.449
Jerry Corley: And it's like, what else do we…

1276
02:53:53.450 --> 02:53:58.200
Jerry Corley: What did we use to shop for that we can't find anymore? You know what I'm saying?

1277
02:53:58.380 --> 02:53:58.710
Evelyn Thatcher: Yeah.

1278
02:53:58.710 --> 02:54:13.630
Jerry Corley: Like, how could we take that? So, once we have that, it becomes very interesting, and then, you know, give another… add more dilemma to it. And any one of those scenarios, you could even heighten it, like, with some scenarios we can relate to, like First Kiss.

1279
02:54:15.680 --> 02:54:17.610
Jerry Corley: Like, tell the story…

1280
02:54:18.030 --> 02:54:30.679
Jerry Corley: of your first kiss. And one of the things I like to do is talk about things that have high anxiety, high embarrassment, high, also, relatability, that first kiss. Like,

1281
02:54:30.840 --> 02:54:34.800
Jerry Corley: How can… how many people can relate to their first kiss?

1282
02:54:35.960 --> 02:54:45.430
Jerry Corley: Right? It's like, I remember how, like, it's like,

1283
02:54:46.040 --> 02:54:52.649
Jerry Corley: So, it's like, it's… and who would be… who would be… who's the expected person we're having a first kiss with?

1284
02:54:56.830 --> 02:54:58.280
Pappy: Girlfriend or boyfriend?

1285
02:54:58.280 --> 02:55:01.760
Jerry Corley: boyfriend or girlfriend, right? So, who else could it be?

1286
02:55:02.270 --> 02:55:02.840
Evelyn Thatcher: Hmm.

1287
02:55:03.380 --> 02:55:04.480
Kaz Okamoto: dog.

1288
02:55:04.480 --> 02:55:04.870
Pappy: Mom?

1289
02:55:04.870 --> 02:55:17.500
Jerry Corley: Dog? Uncle John? Teacher. Rita? Teacher, yes. I remember the first time I had sex in the back of the car, I was 15, and she was…

1290
02:55:17.610 --> 02:55:19.179
Jerry Corley: The gym teacher.

1291
02:55:20.180 --> 02:55:25.869
Jerry Corley: Right? And now, if you were having sex the first time with a gym teacher, I felt so out of shape.

1292
02:55:27.610 --> 02:55:30.529
Jerry Corley: You know, you're doing that, you know, jumping jacks, or…

1293
02:55:30.530 --> 02:55:32.039
Evelyn Thatcher: Did you do laps, or…

1294
02:55:32.040 --> 02:55:35.340
Jerry Corley: Yeah, right, right. It's like the squat thrusts.

1295
02:55:36.760 --> 02:55:53.079
Jerry Corley: So, like, those little, like, those little moments there. So, that's one thing I want you to do, too. So, that's one of the exercises to take us to the first kiss. The first kiss, the first boyfriend-girlfriend scenario, the first date, the,

1296
02:55:53.660 --> 02:56:13.330
Jerry Corley: what are those milestone events? So, I think we write down the milestone events in life and talk about those, and it's like, so people expect something big, and maybe it's something that fizzles, or maybe it's something that's just innocuous and meaningless, but it has a big ending on it.

1297
02:56:13.460 --> 02:56:24.979
Jerry Corley: what, what music was playing during your first, date, or your first sexual encounter? Like, what… do you remember the music that was playing?

1298
02:56:26.740 --> 02:56:34.229
Jerry Corley: What would be the wackiest… Music to have playing during your first time having sex.

1299
02:56:34.730 --> 02:56:36.160
Evelyn Thatcher: Church organ music.

1300
02:56:36.160 --> 02:56:40.510
Jerry Corley: I still can't get that out of my head.

1301
02:56:40.990 --> 02:56:45.730
Jerry Corley: Every time I hear Baroque chamber music, I'm like, my dick gets flaccid.

1302
02:56:45.730 --> 02:56:47.279
Evelyn Thatcher: But it's Oregon, right? Oregon.

1303
02:56:47.280 --> 02:56:48.190
Jerry Corley: Yeah, yeah, yeah.

1304
02:56:49.310 --> 02:56:53.100
Jerry Corley: Like, Oregon. Oh, yeah, Oregon, got it. Right, Oregon. Nice wordplay there.

1305
02:56:53.420 --> 02:57:03.929
Jerry Corley: It's like, like, what… that's funny. Like, organ music. And it also sounds like you're maybe with the priest. Right. So it's like, or, yeah, that's…

1306
02:57:04.020 --> 02:57:17.309
Jerry Corley: Like, would be like, that's a good one. Like, what music? Does anybody remember their first time? And there was their music playing for my first time. My first time was autumn, it was September. We're on the beach in Malibu.

1307
02:57:19.310 --> 02:57:22.290
Jerry Corley: And, we were under a blanket.

1308
02:57:22.700 --> 02:57:28.489
Jerry Corley: And, we, all of a sudden, we're just sort of, like, kissing. She climbs on top of me.

1309
02:57:28.850 --> 02:57:41.329
Jerry Corley: And that's when it happened, right? So it was like… and she said, whatever you do, don't comment too late. You know what I'm saying? It's like, once she says that, you… it's a sprint to the finish.

1310
02:57:42.110 --> 02:57:47.230
Jerry Corley: But I did, I backed out fast enough, but it was like, I didn't, you know, want that.

1311
02:57:47.370 --> 02:57:54.520
Jerry Corley: You know, I did not expect it, either, but I felt, like, so, like, for her to offer that was so special.

1312
02:57:54.610 --> 02:58:09.939
Jerry Corley: And then we're climbing up the… sort of like, in this one area, Malibu, you have to climb up these steps, and it's kind of steep, and you get up to PCH, and you start… you can see your cars parked on the side of the road, right?

1313
02:58:10.450 --> 02:58:13.379
Jerry Corley: And it was so weird, because there was a sinkhole.

1314
02:58:14.010 --> 02:58:18.460
Jerry Corley: And I'm carrying the blankets and stuff, so I don't see the sinkhole.

1315
02:58:18.760 --> 02:58:28.859
Jerry Corley: And I step, and I fall right into the sinkhole, it's about 4 feet deep. And in the instant that I was falling, I was like, I'm going to hell, right? It was so…

1316
02:58:28.860 --> 02:58:30.690
Evelyn Thatcher: So you went into two holes that day.

1317
02:58:30.690 --> 02:58:38.470
Jerry Corley: Yeah, that day, I went into two holes, yes, yeah, yeah, so it's like,

1318
02:58:38.470 --> 02:58:53.880
Jerry Corley: So, in those storytelling ideas, every time you hit a point, there's something else, and sometimes you can go… when you hit a coincidental point, you go, how can I build something back here in the story that will affect this moment here?

1319
02:58:53.980 --> 02:58:57.279
Jerry Corley: Right? And so, there was one time I was,

1320
02:58:57.950 --> 02:59:00.959
Jerry Corley: I played on this Mexican soccer team.

1321
02:59:01.200 --> 02:59:07.349
Jerry Corley: And I scored a lot of… I scored goals. That was a very fast… Runner.

1322
02:59:07.460 --> 02:59:18.470
Jerry Corley: And, so they would hand me the ball, and I'd have a break, and I'd score a goal. And so they… they loved me on that team, and after… every time we won, or every time I scored, they invite me over to a party.

1323
02:59:18.470 --> 02:59:42.229
Jerry Corley: at one of their homes. And so, so, and it was so weird, because you go there, they like parties. They like to dance and have parties, and a lot of dancing, a lot of parties. I learned so much about Mexican food, like tacos, Mexican… Mexican music, and Mexican, drink, like Bud Light. I learned all kinds of stuff about these guys, and they were, like, so… and they were so protective of

1324
02:59:42.230 --> 02:59:53.540
Jerry Corley: me, I felt really, like, special. And some of them would be like, Yeri, Yeri! This is my sister, right? This is my sister, you gotta take care of her, you gotta show her a good time.

1325
02:59:53.700 --> 03:00:04.440
Jerry Corley: And that was, like, happened time and time again, show her a good time. I don't know what… what that was all about, every… they wanted me to show her a good time. And this one gal, we,

1326
03:00:04.510 --> 03:00:18.109
Jerry Corley: And I had scored, like, and I was playing… I was a defender at this point. The coach put… made me a defender, and, but I scored. And, then,

1327
03:00:18.550 --> 03:00:27.089
Jerry Corley: So, that night, so we're at… we're dancing, and I love to dance, and I'm dancing because I dance like this, you know, they love that.

1328
03:00:27.800 --> 03:00:34.770
Jerry Corley: So… but I was dancing with this gal, and we were really hitting it off. I was so enjoying my time with her.

1329
03:00:34.780 --> 03:00:42.089
Jerry Corley: And then, you know, my… his… my friend, her brother's looking, going, yes, yes!

1330
03:00:42.090 --> 03:00:55.890
Jerry Corley: Right? Like, I was like, alright. And she now starts… a slow song comes in, she moves right in, starts to get, like, real, like, sexy with me. We danced until the end of the night, and we wound up…

1331
03:00:56.250 --> 03:00:59.049
Jerry Corley: In, her bedroom.

1332
03:00:59.580 --> 03:01:03.210
Jerry Corley: And that was the night the defender scored twice.

1333
03:01:03.300 --> 03:01:19.940
Jerry Corley: So, kind of something like that. You see what I'm saying? How you could take that story further and further with that? And it's just, you keep talking it out until you find that connection between, say, soccer, the soccer match and the intimacy of two people being together. Kaz, you have your hand up.

1334
03:01:21.870 --> 03:01:27.560
Kaz Okamoto: It's for Evelyn, when you do the Japanese potato joke.

1335
03:01:27.560 --> 03:01:27.890
Evelyn Thatcher: Yeah.

1336
03:01:27.890 --> 03:01:42.829
Kaz Okamoto: I would have thought about, if you know what Japanese potatoes look like, they could be large and gnarly, but they also make slender ones that are tapered. Okay. And so, the produce guy could call his penis, sweet potato, right?

1337
03:01:42.830 --> 03:01:44.710
Evelyn Thatcher: That's his nickname.

1338
03:01:45.360 --> 03:01:51.759
Kaz Okamoto: And you, you know, with that shape, and so that's his, oh, okay, I go with you. I go with you and give your wife…

1339
03:01:51.760 --> 03:01:53.489
Jerry Corley: I'll show you my very special secret.

1340
03:01:54.380 --> 03:01:55.700
Kaz Okamoto: Give her the Japanese photo.

1341
03:01:55.700 --> 03:01:58.099
Evelyn Thatcher: Potato. That's cool. Thank you.

1342
03:01:58.100 --> 03:02:17.309
Jerry Corley: And it could be a, you know, could be maybe one of those, could be a slang, that, you know, Japanese people are just like American people. When they were kids, they had slangs, too, like, that's what she said, and things like that, right? So, next thing you know, he's like, oh, I show you the Japanese sweet potato.

1343
03:02:17.310 --> 03:02:19.390
Evelyn Thatcher: I'll show you my Japanese sweet potato.

1344
03:02:19.390 --> 03:02:25.390
Jerry Corley: You know, so, you know, so as a, as sort of like a,

1345
03:02:25.590 --> 03:02:29.810
Jerry Corley: symbol of that time, I now have a Bonsai tree.

1346
03:02:31.040 --> 03:02:33.279
Evelyn Thatcher: No, it's like…

1347
03:02:33.280 --> 03:02:38.190
Jerry Corley: Every time I see a Bonsai tree, I get wet, right? It's something, you know what I'm saying?

1348
03:02:38.400 --> 03:02:40.230
Evelyn Thatcher: I'm sorry, don't they have,

1349
03:02:40.340 --> 03:02:44.850
Evelyn Thatcher: Sorry, you know, like, the people who have the… the ones that go one direction or another?

1350
03:02:45.300 --> 03:02:47.090
Jerry Corley: Oh, like, priapism?

1351
03:02:47.090 --> 03:02:48.229
Evelyn Thatcher: Something like that.

1352
03:02:48.230 --> 03:02:51.170
Jerry Corley: Priapism, what do they call it when his broken dick,

1353
03:02:51.170 --> 03:02:52.220
Pappy: Peoronis.

1354
03:02:52.220 --> 03:02:53.070
Jerry Corley: Peronis.

1355
03:02:53.070 --> 03:02:55.990
Evelyn Thatcher: Maybe when it's… it's like a Japanese sweet potato, you know.

1356
03:02:55.990 --> 03:03:00.369
Jerry Corley: That guy has Peyronie, yeah. And what that means is he's just got Peyronie's.

1357
03:03:00.370 --> 03:03:01.160
Evelyn Thatcher: Right?

1358
03:03:01.160 --> 03:03:03.790
Kaz Okamoto: Oh, I thought that was an Italian cocktail.

1359
03:03:05.030 --> 03:03:10.460
Evelyn Thatcher: Brony, right, exactly. Or does that mean that those guys, they always have to turn left? Or they always have to turn right?

1360
03:03:10.460 --> 03:03:11.529
Jerry Corley: That's true.

1361
03:03:11.530 --> 03:03:12.250
Evelyn Thatcher: Sorry.

1362
03:03:12.250 --> 03:03:15.829
Jerry Corley: They can hit the G-spot, but you have to be laying on your left side.

1363
03:03:18.360 --> 03:03:19.020
Evelyn Thatcher: That's up.

1364
03:03:19.020 --> 03:03:20.850
Jerry Corley: Funny way to take that, right?

1365
03:03:20.850 --> 03:03:25.820
Evelyn Thatcher: What's his name, you know, Zoolander. He always had to go… he could only go left.

1366
03:03:25.820 --> 03:03:26.970
Jerry Corley: Oh, right, exactly.

1367
03:03:26.970 --> 03:03:27.860
Evelyn Thatcher: Right.

1368
03:03:27.860 --> 03:03:28.559
Jerry Corley: That's funny.

1369
03:03:29.560 --> 03:03:42.449
Janet Rapala: What happens if they're getting measured for a tailored suit? The tailor always asks, which side do you hang? Well, if they got Peronis, maybe they hang to the right, but the Peronis goes to the left. They say both?

1370
03:03:43.380 --> 03:03:44.570
Janet Rapala: We'll come back in a few minutes.

1371
03:03:44.570 --> 03:03:45.220
Evelyn Thatcher: Yeah, who knows?

1372
03:03:45.390 --> 03:03:46.020
Janet Rapala: It's gone.

1373
03:03:46.020 --> 03:03:48.780
Evelyn Thatcher: Does it have anything to do with political predisposition?

1374
03:03:48.780 --> 03:03:55.430
Jerry Corley: I've never had a tailor ask me which side, I hang, but I did have one with quick hands.

1375
03:03:55.790 --> 03:03:59.410
Jerry Corley: So, he figured it out for himself, I guess.

1376
03:03:59.510 --> 03:04:04.890
Jerry Corley: No, I mean, I did… I… you're right. When you said that, Janet, I went, oh, yeah!

1377
03:04:05.650 --> 03:04:06.520
Jerry Corley: Well, and…

1378
03:04:06.520 --> 03:04:09.500
Janet Rapala: Well, they allow you… material on that.

1379
03:04:09.500 --> 03:04:12.500
Jerry Corley: I forget what word he used, but I said, what do you mean by that?

1380
03:04:12.990 --> 03:04:21.970
Jerry Corley: And basically, they had explained to me what that meant, and I go, oh, I see, okay, yeah, well, I don't think you have to worry about having too much material. I'm Irish.

1381
03:04:23.540 --> 03:04:39.879
Jerry Corley: So, but anyway, so I know we've been doing a lot of… it's a lot of dick jokes here, but there's other ways to build that out. Like, that's why I went to the kiss. It's still, like, it's… it's innocent, but it's still… there's still anxiety. Like, like, that first kiss…

1382
03:04:39.880 --> 03:05:04.670
Jerry Corley: I remember it was a, 4th grade or something like that, a girl, like, her name was Terry, and I walked her home from school, and she said, I want to kiss you, let's kiss, and so we went into bushes, to the side of her house, and we basically closed our eyes and pressed our faces together for about 10 seconds, and that was the kiss, right? That was the kiss.

1383
03:05:04.970 --> 03:05:18.320
Jerry Corley: And then I remember having to walk down that long driveway after… you know, and then she goes, okay, bye, and she ran away. She ran into the house. And I remember having to walk that driveway at… that was my first walk of shame right there.

1384
03:05:18.320 --> 03:05:19.050
Evelyn Thatcher: Like, it's like.

1385
03:05:19.350 --> 03:05:24.139
Jerry Corley: down that driveway, but it was, so those types of moments, like, innocent.

1386
03:05:24.140 --> 03:05:24.890
Evelyn Thatcher: Yes.

1387
03:05:25.410 --> 03:05:26.130
Jerry Corley: And…

1388
03:05:26.130 --> 03:05:39.379
Evelyn Thatcher: Yeah, I was thinking… I always thought, like, my first… my… it wasn't my first real kiss, but you know when you… when you do spin the bottle, when you're, like, 12? So I had a… and we didn't know I had a kiss at that point, so you're just like… I remember going like this.

1389
03:05:40.480 --> 03:05:45.210
Evelyn Thatcher: Like this, and we had to do it for 60 seconds, so I remember doing it like this, with my arms open.

1390
03:05:45.210 --> 03:05:47.270
Jerry Corley: You know?

1391
03:05:47.270 --> 03:05:50.139
Evelyn Thatcher: Like, checking my watch to make sure it was 60 seconds.

1392
03:05:50.390 --> 03:05:51.210
Cliff Spenger: So…

1393
03:05:51.210 --> 03:05:52.009
Evelyn Thatcher: That would be a fu.

1394
03:05:52.010 --> 03:05:59.989
Jerry Corley: Oh, that's funny, in one eye open. Why'd you have one eye open? I had to see how long was… look at my watch, like, in time 60 seconds.

1395
03:05:59.990 --> 03:06:01.240
Cliff Spenger: I didn't really want to look.

1396
03:06:01.440 --> 03:06:07.219
Jerry Corley: You know, you could even set that up earlier, I'm an A student, I was an A student, I always wanted to make sure I got everything right.

1397
03:06:07.620 --> 03:06:14.189
Jerry Corley: I had to make sure and get everything right. I had to get it, do it right. And so we… the first time I played Spin the Bottle, you know?

1398
03:06:14.870 --> 03:06:20.149
Jerry Corley: And I don't know if it was set up that way, but there was, like, what could be the bottle you were spinning?

1399
03:06:20.870 --> 03:06:24.540
Evelyn Thatcher: Right. What could be the bottle? Hmm. Yeah, that's true.

1400
03:06:24.540 --> 03:06:25.279
Jerry Corley: Dr. Pecker?

1401
03:06:25.280 --> 03:06:30.120
Evelyn Thatcher: I think, Dr. Becker, yes, Dr. Becker? That's a good one. Yeah.

1402
03:06:30.120 --> 03:06:32.679
Jerry Corley: I was trying to think Orange Crush, right?

1403
03:06:33.110 --> 03:06:36.069
Evelyn Thatcher: And I mean, even to this day, I have to time everything.

1404
03:06:36.420 --> 03:06:38.530
Jerry Corley: Right, well.

1405
03:06:38.530 --> 03:06:42.550
Evelyn Thatcher: I'm wearing sex. Okay, put the timer on, see how long the guy.

1406
03:06:42.550 --> 03:06:44.099
Jerry Corley: That's funny, yeah.

1407
03:06:44.210 --> 03:06:48.139
Jerry Corley: That's good, like, everything. I can almost see, like, like a chess player.

1408
03:06:48.380 --> 03:06:49.510
Jerry Corley: Hitting the timer.

1409
03:06:49.510 --> 03:06:50.580
Evelyn Thatcher: All about the time.

1410
03:06:51.010 --> 03:06:57.189
Kaz Okamoto: Or you could be as naive as my mother. My father told me the first time he kissed her, she started crying.

1411
03:06:57.190 --> 03:06:58.379
Evelyn Thatcher: And holy ass!

1412
03:06:58.380 --> 03:07:03.160
Kaz Okamoto: Sir, what's wrong? And she'd go, INT!

1413
03:07:05.260 --> 03:07:05.890
Kaz Okamoto: I'm told!

1414
03:07:05.890 --> 03:07:06.240
Evelyn Thatcher: Dude!

1415
03:07:06.320 --> 03:07:12.040
Kaz Okamoto: Back then, in the 20s and 30s, that's how you got pregnant, by kissing.

1416
03:07:12.300 --> 03:07:12.890
Jerry Corley: I thought…

1417
03:07:12.890 --> 03:07:16.880
Kaz Okamoto: Not a lot of, you know, for all the weird, like,

1418
03:07:17.590 --> 03:07:37.290
Kaz Okamoto: strange ukule-A, you know, woodblock prints with these samurai guys with really long dicks and stuff. They like to exaggerate a lot, apparently, is what I was told, and my dad just said, I couldn't believe it, how naive your mother was. You picked her? Well, I don't know what to tell you.

1419
03:07:38.120 --> 03:07:41.130
Kaz Okamoto: You know, but that… my mother really believed that.

1420
03:07:41.130 --> 03:07:53.250
Jerry Corley: That's a really good premise, though. I mean, think of all the possibilities, if you're writing a scenario, like, there's that intimate moment of somebody being so naive, they don't know even the first

1421
03:07:54.050 --> 03:08:09.489
Jerry Corley: part of, you know, how the anatomy works or anything like that, and the idea that she thought, because they kissed, that she could be pregnant. And it's like, well, worse than that, she used to think that you could get pregnant from Japanese toes. Now you have it. There you go. Call that back in.

1422
03:08:10.110 --> 03:08:29.360
Jerry Corley: And then that could be a way to develop that story further. But you can see, as we're bouncing around ideas, going different places, like, you can be absurd and include somebody else, a dog, a cat, a, you know, a bird. Like, I remember I dated a chick, she had a parrot. That thing would never shut up.

1423
03:08:29.620 --> 03:08:31.129
Jerry Corley: The bird was cool.

1424
03:08:32.950 --> 03:08:44.149
Jerry Corley: That's the… that's the Jeselnik joke. That's using the two-character tango, where you have two characters, and you make the audience believe you're talking about one character. Like, for example.

1425
03:08:44.570 --> 03:08:53.210
Jerry Corley: It's a little trope you can use in these types of story development, scenarios, because we do have two characters, seems like, in most of the stories. Like,

1426
03:08:53.210 --> 03:09:10.549
Jerry Corley: One way to do the two-character tango is be, like, there was a article in The Sun, in the UK, it's one of their, like, gossip rags, and, in The Sun, they had a picture of Camilla Parker Bowles, side-by-side with a picture of the face of a horse.

1427
03:09:10.550 --> 03:09:11.360
Evelyn Thatcher: Oh my god.

1428
03:09:11.360 --> 03:09:16.100
Jerry Corley: implying that Camilla Parker Bowles had a horse face.

1429
03:09:16.620 --> 03:09:19.750
Jerry Corley: And the son was immediately sued for defamation.

1430
03:09:19.750 --> 03:09:20.830
Evelyn Thatcher: Wow.

1431
03:09:20.830 --> 03:09:21.630
Jerry Corley: by the horse.

1432
03:09:21.630 --> 03:09:23.360
Evelyn Thatcher: Yes.

1433
03:09:23.360 --> 03:09:37.760
Jerry Corley: So you see, you create that scenario where there's two characters, the audience is gonna, of course, lean into one, and you give them the other, give them the other one. Alright, so that's a way to develop a good, silly reverse in a story. Pappy.

1434
03:09:38.960 --> 03:09:46.219
Pappy: I was just thinking in the same regard, I guess you could take two objects and work it the same way, is that correct?

1435
03:09:46.220 --> 03:09:47.040
Jerry Corley: Absolutely right.

1436
03:09:47.040 --> 03:09:48.330
Pappy: So, yeah, yeah, okay.

1437
03:09:49.480 --> 03:10:03.900
Jerry Corley: you know, makes this… makes the audience, like, lean into one idea, and then you… what would be the obvious? Like, you know, if a person, you know, if I'm, my doctor was talking to me about the importance of losing.

1438
03:10:04.780 --> 03:10:07.730
Jerry Corley: 120 pounds over the next year.

1439
03:10:08.110 --> 03:10:11.949
Jerry Corley: And I told her, just dump that lazy husband of yours.

1440
03:10:12.150 --> 03:10:20.359
Jerry Corley: Alright, so it's like, but the statement is ambiguous, right? So it's like, she didn't say, me losing.

1441
03:10:20.760 --> 03:10:28.260
Jerry Corley: 120 pounds. It was like, like, the importance of losing her. My girlfriend would talk to me about getting a Brazilian butt lift.

1442
03:10:29.850 --> 03:10:32.030
Jerry Corley: I was like, then none of my shorts would fit.

1443
03:10:32.960 --> 03:10:42.430
Jerry Corley: Right? It's like, you can practice that, use that ambiguous line, how can you play that line? Of course, you know, my girlfriend talked to me about getting a boob job.

1444
03:10:45.300 --> 03:10:48.949
Jerry Corley: You know? And it's like, she didn't say about her getting a boo-shot.

1445
03:10:48.950 --> 03:10:49.450
Evelyn Thatcher: Right.

1446
03:10:49.450 --> 03:10:58.069
Jerry Corley: You could leave one of those pronouns out, and you could, like, use the ambiguousness of that, the ambiguity there, and take the audience the other direction.

1447
03:10:58.780 --> 03:11:09.039
Jerry Corley: So, little techniques you know you can use in those scenarios. So, for the sake of time, we're gonna, wrap up, but I just wanted to sort of, like.

1448
03:11:09.040 --> 03:11:24.089
Jerry Corley: Just go over real quick the other possibility here that we had in the story, so you can take that at home. Plus, you have the link, the link to, Adam Sandler's storytelling process. You won't get to watch him walk it through that.

1449
03:11:24.090 --> 03:11:32.320
Jerry Corley: And see all the possibilities in there. So the idea is, like, if this is true, what else is true? Here's one thing I really want you to work on.

1450
03:11:32.700 --> 03:11:35.550
Jerry Corley: Here's your obstacle. Your brain.

1451
03:11:35.700 --> 03:11:39.909
Jerry Corley: And it's also your advantage, because when we come up with a joke.

1452
03:11:40.090 --> 03:11:47.920
Jerry Corley: I mean, Cliff knows this, Cliff does this a lot, right? I do this sometimes. When we come up with a punchline, what does the brain do?

1453
03:11:50.150 --> 03:11:52.310
Jerry Corley: It makes a decision that you're done.

1454
03:11:52.310 --> 03:11:52.930
Evelyn Thatcher: Right.

1455
03:11:53.590 --> 03:11:55.640
Jerry Corley: Because you resolved the initial puzzle.

1456
03:11:56.080 --> 03:12:10.660
Jerry Corley: And the brain's very efficient, right? And it saves energy, right? So it, like, oh, you're done, we solved the puzzle. And it stops thinking further from there. Your job is saying, if this is true, though, what else could be true?

1457
03:12:11.470 --> 03:12:16.589
Jerry Corley: And then, that what else could be true? It might introduce another secondary idea.

1458
03:12:16.750 --> 03:12:31.419
Jerry Corley: that you can play the jokes off of that new idea, and keep building it out, right? So, like, if you, if you, change the setting of where you are located, maybe the setting becomes the beach, or the setting becomes

1459
03:12:31.420 --> 03:12:39.059
Jerry Corley: Costco, or the setting becomes a roller rink. And so, because you're in a roller rink, what else could be possible in that roller rink?

1460
03:12:39.120 --> 03:12:50.719
Jerry Corley: You know, what else could happen as a result of the scenario in the roller rink? So, you keep building it out. If this is true, what else is true? And so, it continues to go. You can literally…

1461
03:12:50.920 --> 03:12:52.470
Jerry Corley: Take one joke.

1462
03:12:52.580 --> 03:13:00.830
Jerry Corley: and do it forever. Because every time you introduce a new idea, you can bounce off of that and go a different direction. Right, so,

1463
03:13:01.130 --> 03:13:11.499
Jerry Corley: So, in that scenario, there's, like, we're gonna… I'm gonna share that PDF with you. There are actually 3 total exercises, so you can review each one and push yourself to see what you can do.

1464
03:13:11.900 --> 03:13:16.920
Jerry Corley: If you don't push yourself, if you don't actively apply it, it's never gonna happen.

1465
03:13:17.410 --> 03:13:36.249
Jerry Corley: Right? So it's, like, one of the things I had to learn when I started was, like, push yourself through, and then try it. And the more I did that, at first it was really bad, I sucked, and then slowly but surely, I started to see those interconnecting ideas. Like, I think Pappy was talking about that. All of a sudden, you start to see connections that weren't there before.

1466
03:13:36.670 --> 03:13:41.109
Jerry Corley: And if they're still not having connections, find the two main ideas, then list.

1467
03:13:41.820 --> 03:13:58.490
Jerry Corley: Right? So, Japanese sweet potatoes, Kaz came up with the… they're slender and twisted, that could be a, you know, could also be, you know, the bizarre shape of a penis, or a sex toy, or, you know, or,

1468
03:13:58.680 --> 03:14:10.230
Jerry Corley: You can go on with, what else? Oh, potatoes, what other styles of potatoes, produce, what other produce is there, and build out from there. Cliff?

1469
03:14:10.840 --> 03:14:26.729
Cliff Spenger: Yeah, I was just going to mention that on the website where the worksheet is, Jerry now has a section where you can do comments after these exercises, so if you come up with something and put it there, you can get some feedback from the rest of us.

1470
03:14:27.320 --> 03:14:43.510
Jerry Corley: Yeah, so now the lessons, like you see this lesson right here, this is gonna go on a video, and the PDF that we were just looking at that I put together for this is also going to be available to you, but now it's going to be available on a web page.

1471
03:14:43.510 --> 03:14:44.350
Evelyn Thatcher: Okay.

1472
03:14:44.350 --> 03:14:48.089
Jerry Corley: So you can watch the video on the webpage, download the PDF,

1473
03:14:48.090 --> 03:15:08.559
Jerry Corley: And then down below that, there is a comment section where you can put in suggestions and ideas that you might have, and get feedback from the other people who have attended the class. And it alerts me anytime somebody sends in a comment, and then I can get in there and look at it, maybe, you know, add on something and an idea. So, it was Cliff's idea to do that. I go, what a great idea! How come I didn't think about that before?

1474
03:15:08.560 --> 03:15:19.149
Jerry Corley: Because we did have the Facebook group, but Facebook screwed me over. I'm still trying to resolve it. Somebody stole my administrator's password.

1475
03:15:19.200 --> 03:15:33.349
Jerry Corley: took me off as the administrator, took over my site, started uploading porn to the site, and it's somebody with a Vietnamese, email extension, and wow, so, but Facebook, they're… it's…

1476
03:15:33.350 --> 03:15:50.899
Jerry Corley: It's automated, so they were like, you did it, you lost your account. And then they won't let me back on for even, like, for the business, like, to advertise. So, I now have to basically threaten to sue Facebook in order to reach somebody.

1477
03:15:51.070 --> 03:16:04.900
Jerry Corley: So I'm preparing the litigation papers to take it to their legal team. Once they see it, they'll actually look at it. And then maybe I get my Facebook back. But right now, I kind of like if we can do it all on the same page.

1478
03:16:05.200 --> 03:16:08.519
Jerry Corley: I think it'll be, it'll be a lot more interactive that way.

1479
03:16:08.810 --> 03:16:12.120
Cliff Spenger: It's good if people come to your site. They don't.

1480
03:16:12.120 --> 03:16:12.850
Jerry Corley: Yes.

1481
03:16:12.850 --> 03:16:14.990
Cliff Spenger: Intermediary section.

1482
03:16:14.990 --> 03:16:39.900
Jerry Corley: Because I have… yeah, it's my site, I don't have to worry about Facebook's rules, right? And I don't have to live on Facebook and rely on somebody else's platform, I can do it on my site. So, you guys don't have to worry about putting embarrassing or profanity there if that's what you want… where you want to take your joke. Nobody's gonna judge it. They're gonna say, hey, that's a funny joke for a dark room, or for a room that's, you're trying to get more edgy and adult.

1483
03:16:39.900 --> 03:16:41.590
Jerry Corley: And you don't have to worry about it.

1484
03:16:42.060 --> 03:16:43.340
Cliff Spenger: - yeah.

1485
03:16:43.820 --> 03:16:48.179
Cliff Spenger: Definitely, and they can always shut you out some other time, so why rely on them?

1486
03:16:48.360 --> 03:16:53.050
Jerry Corley: Exactly. Yeah. So, you're absolutely right, Cliff. Evelyn?

1487
03:16:53.050 --> 03:17:01.830
Evelyn Thatcher: This is a quick question that is, kind of unrelated, and maybe I can ask you about it, you know, privately or whatever, but I remember,

1488
03:17:01.940 --> 03:17:19.030
Evelyn Thatcher: I have to make a lot… I have to make money, because I was in a… speaking of lawsuits, I had to fire my contractor, and I just settle out of court, and… so I'm trying to think of the fastest way to make money in comedy. I remember you talking about the advertisement.

1489
03:17:19.050 --> 03:17:29.429
Evelyn Thatcher: person. Now, I'm wondering if that's something that, can one create a package, or is that, like, did they teach a… I couldn't remember the name of the person, if they taught a class or something?

1490
03:17:30.070 --> 03:17:39.279
Jerry Corley: That was probably Dave Roth, who is the Clio award-winning advertiser, as, and he talked about

1491
03:17:39.280 --> 03:17:51.580
Jerry Corley: going to, starting to create a packet so you can, you're writing funny commercials. Okay. So what I would start to do is, like, write some funny commercials.

1492
03:17:51.710 --> 03:18:11.669
Jerry Corley: It'd be best if you could shoot a funny commercial, and since you have Craig, there, maybe you guys can work together to help shoot a funny commercial, and it could be very simple, right? It's you trying to sell a product that exists, a real product, but you're doing your mock-up commercial for it.

1493
03:18:11.670 --> 03:18:14.270
Jerry Corley: So, once they see your chops.

1494
03:18:14.770 --> 03:18:22.310
Jerry Corley: On your website to go, wait a second, funny, this is funny, maybe she could do some animated explainers.

1495
03:18:22.450 --> 03:18:28.020
Evelyn Thatcher: So not animated explainers. So not a spoof, but an actual, like, you're really trying to sell the product.

1496
03:18:28.020 --> 03:18:29.500
Jerry Corley: Yeah, with some humor, yeah.

1497
03:18:29.500 --> 03:18:30.819
Evelyn Thatcher: Get some more. Okay, thank you.

1498
03:18:30.820 --> 03:18:47.139
Jerry Corley: You could even do a more exaggerated, spoofy one, but it's still selling the product. Like, you know, the old commercials for Red Rock, you know, with Leslie Nielsen. They were over the top, but they were still selling the product.

1499
03:18:47.140 --> 03:18:48.440
Evelyn Thatcher: Totally. Okay.

1500
03:18:48.440 --> 03:18:50.390
Jerry Corley: And they were very memorable, so…

1501
03:18:50.800 --> 03:18:51.189
Evelyn Thatcher: Thank you so much.

1502
03:18:51.190 --> 03:18:55.480
Jerry Corley: So, we can talk later. We can connect later, maybe jump on a Zoom and just chat about it.

1503
03:18:55.480 --> 03:18:56.439
Evelyn Thatcher: That would be great.

1504
03:18:57.310 --> 03:18:58.380
Jerry Corley: Okay, Evelyn.

1505
03:18:58.380 --> 03:19:00.000
Evelyn Thatcher: Thank you so much, everybody.

1506
03:19:00.000 --> 03:19:01.080
Jerry Corley: One class!

1507
03:19:01.080 --> 03:19:02.050
Evelyn Thatcher: Yeah, it was a lot of fun.

1508
03:19:02.340 --> 03:19:03.180
Evelyn Thatcher: Happy Thanksgiving!

1509
03:19:03.180 --> 03:19:07.289
Jerry Corley: Thanks for being here. Happy Labor Day. Happy Rosh Hashanah. Isn't Rosh Hashanah coming up?

1510
03:19:08.030 --> 03:19:12.350
Jerry Corley: Where are my Jewish friends? Anybody? No, they're gone, because it's Rosh Hashanah.

1511
03:19:12.350 --> 03:19:13.120
Evelyn Thatcher: Right.

1512
03:19:13.120 --> 03:19:15.550
Pappy: Here at the Hollywood Bowl next week.

1513
03:19:15.800 --> 03:19:18.180
Janet Rapala: According to my calendar, it's Friday.

1514
03:19:18.180 --> 03:19:26.290
Jerry Corley: Oh, it's Friday, it starts Friday. Oh, that's right. One of my students, she's got a show on Friday. She's Jewish, so none of her friends can come see the show, or fans.

1515
03:19:26.290 --> 03:19:27.010
Janet Rapala: Aww.

1516
03:19:27.010 --> 03:19:32.999
Jerry Corley: And she's like, and they're not promoting it, and the link for the tickets doesn't work. And I was like,

1517
03:19:33.000 --> 03:19:34.190
Janet Rapala: All man.

1518
03:19:34.190 --> 03:19:39.919
Jerry Corley: And she's like, I don't know whether I should just go through… and a bunch of other headliners complained that they canceled.

1519
03:19:40.160 --> 03:19:40.700
Evelyn Thatcher: Oh.

1520
03:19:40.700 --> 03:19:44.529
Jerry Corley: The show canceled, the venue canceled the night of.

1521
03:19:44.690 --> 03:19:48.279
Jerry Corley: She's like, I don't know if I want to put in all this work for them just to cancel.

1522
03:19:49.850 --> 03:19:58.609
Jerry Corley: And I said, well, you know, it's okay to say no sometimes if the venue's not doing their… not meeting up to their end of the bargain, right?

1523
03:19:58.670 --> 03:20:09.940
Jerry Corley: So, it's like, it's okay to say no, but give it a professional reason, even if you have to throw in a white lie. Like, anytime I had to cancel a gig, it was always because of professional reasons.

1524
03:20:10.020 --> 03:20:29.090
Jerry Corley: I have another gig, I got a commercial, you know, you know, something like that is, is always a… so you're not… they don't see you as a flake, they see you as somebody with a professional conflict, and that's more understood than, flaking and going, I ain't gonna go, you guys are cheap.

1525
03:20:29.090 --> 03:20:31.089
Jerry Corley: Right? As opposed to saying.

1526
03:20:31.090 --> 03:20:50.789
Jerry Corley: I just got… I can't pass up this gig. They're giving me $1,000 to, to do a spot in this place, at a corporate spot, so they can't check on it. In, she's out in Baltimore, it's in Washington, D.C, or something like that. I can't pass on it. And it's like… and then it's like, it lets them know that you don't have to go through that.

1527
03:20:50.790 --> 03:20:55.100
Kaz Okamoto: Yeah, and you could ask them to match it, and if not, then you gotta go to the other place.

1528
03:20:55.650 --> 03:20:56.370
Jerry Corley: That's right.

1529
03:20:56.370 --> 03:20:56.850
Kaz Okamoto: You know?

1530
03:20:56.850 --> 03:20:57.970
Jerry Corley: Absolutely right.

1531
03:20:57.970 --> 03:21:02.839
Kaz Okamoto: What day are you emceeing in Vegas for the World Series of Comedy?

1532
03:21:02.840 --> 03:21:03.990
Jerry Corley: Tuesday, Tuesday night.

1533
03:21:07.100 --> 03:21:08.769
Jerry Corley: Let me double-check that, too, because I know

1534
03:21:09.190 --> 03:21:13.219
Jerry Corley: One of the midnight shows. It's usually the day I do the seminar. I also do the midnight show.

1535
03:21:13.220 --> 03:21:22.980
Kaz Okamoto: Wednesday night, and then they sent me an email asking if I'd change to Monday or Tuesday. And I think the Wednesday night thing I saw of yours was from last year.

1536
03:21:23.300 --> 03:21:39.860
Jerry Corley: ask them, can I get on the show? Because I don't have the full schedule yet. I know I'm there from Monday through Thursday, so… and I teach on the Tuesday, do my seminar on the Tuesday, so… ask them, say, hey, can you put me on the show that Jerry Corley's hosting?

1537
03:21:40.710 --> 03:21:42.120
Kaz Okamoto: I'm not gonna do that.

1538
03:21:42.290 --> 03:21:42.629
Jerry Corley: We're not.

1539
03:21:43.100 --> 03:21:44.950
Kaz Okamoto: Because…

1540
03:21:45.100 --> 03:21:52.300
Kaz Okamoto: I have been known to… I don't like where you put me, so I'm gonna ask to go somewhere else.

1541
03:21:52.320 --> 03:22:05.540
Kaz Okamoto: you know, not in comedy, but not… you know, they asked me, are you willing to switch from Wednesday to Monday or Tuesday? And I said yes, and they… they chose the day. So I'm just gonna go with the flow.

1542
03:22:05.540 --> 03:22:06.610
Jerry Corley: Alright, go with the flow.

1543
03:22:06.610 --> 03:22:08.700
Kaz Okamoto: This is my first time going. Alright.

1544
03:22:09.130 --> 03:22:09.930
Jerry Corley: First time.

1545
03:22:10.460 --> 03:22:16.910
Jerry Corley: Alright, so, and if I, and if, well, yeah, I think it'll be fine, and…

1546
03:22:17.060 --> 03:22:21.510
Jerry Corley: If we get down there and it feels right, if you want, we can switch you.

1547
03:22:22.220 --> 03:22:22.920
Kaz Okamoto: Okay.

1548
03:22:23.460 --> 03:22:25.150
Jerry Corley: I'm… I'm Jerry Corley.

1549
03:22:25.350 --> 03:22:25.970
Kaz Okamoto: Yeah, I know.

1550
03:22:25.970 --> 03:22:42.539
Jerry Corley: love me there, because I do so much for them, right? Yeah. And so they're like, oh, anything, they usually say anything you want. So it's like, but it's because I constantly give them so much, right? And I, you know, and Jill Lowers and I are friends, so…

1551
03:22:43.640 --> 03:22:53.389
Jerry Corley: They're not gonna get mad if I say, hey, can a Kaz be on my show? Oh, yeah, we're gonna… you know, because I live to do you favors, Jerry, you know? And it'll be, you know, it's mocking, but we still have fun.

1552
03:22:53.390 --> 03:22:59.880
Kaz Okamoto: Yeah, and he… he knows me from Jason Rowland's class, because he came in and did a guest thing.

1553
03:23:00.280 --> 03:23:12.680
Kaz Okamoto: And they've actually been pretty nice to me, because I had nothing. I didn't post anything, I didn't try out, audition, or anything, and so I don't know why they're being so kind, but I'll take it.

1554
03:23:12.860 --> 03:23:13.669
Kaz Okamoto: You're right.

1555
03:23:13.670 --> 03:23:14.390
Jerry Corley: Yeah.

1556
03:23:14.680 --> 03:23:16.510
Kaz Okamoto: So… okay.

1557
03:23:16.840 --> 03:23:22.619
Jerry Corley: Yeah, they're in a, there's been a lot of, I think, a lot of cancellations this year for some reason. And I'm gonna…

1558
03:23:22.620 --> 03:23:25.170
Kaz Okamoto: volunteer, because I'll be there for 8 days.

1559
03:23:25.740 --> 03:23:27.000
Jerry Corley: Excellent.

1560
03:23:27.330 --> 03:23:29.309
Jerry Corley: that. They'll love that. Great days. Yeah.

1561
03:23:30.130 --> 03:23:31.020
Kaz Okamoto: Ew.

1562
03:23:31.020 --> 03:23:55.999
Jerry Corley: That's how you give some to get some, you know? It's like, it's like with, dave Connolly used to always volunteer with Vargas to do the sound at his events he was doing at the Comedy Store, so he would always get a spot there. And so every time he was at the Comedy Store, which was almost every week, he would put on Facebook at the Comedy Store, at the Comedy Store, a picture of him at the Comedy Store, at the Comedy Store. Then, he belongs to the British Academy of Film.

1563
03:23:56.000 --> 03:23:56.990
Jerry Corley: television.

1564
03:23:57.060 --> 03:24:09.180
Jerry Corley: Ricky Gervais was coming in town to do a little something at the British Academy of Film and Television, and they said, you can open for Ricky Gervais, since you've been obviously killing it at the Comedy Store.

1565
03:24:09.620 --> 03:24:10.760
Evelyn Thatcher: Nice.

1566
03:24:11.100 --> 03:24:14.340
Jerry Corley: So all of that stuff plays in. That's all good stuff.

1567
03:24:14.340 --> 03:24:16.729
Kaz Okamoto: Yeah. Okay. Alright, thank you!

1568
03:24:16.730 --> 03:24:17.929
Jerry Corley: Bye, everybody! Bye!

1569
03:24:17.930 --> 03:24:19.430
Evelyn Thatcher: Thank you so much, happy Labor Day!

1570
03:24:19.430 --> 03:24:20.070
Jerry Corley: Happy Labor Day.

1571
03:24:20.070 --> 03:24:21.189
Cliff Spenger: in Labor Day.

1572
03:24:21.190 --> 03:24:21.960
Jerry Corley: Bye.