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Jerry Corley: Hey, look at Steve Berger. What's happening, Steve Berger?

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Stephen Berger: Yo, yo, how'd you do last week?

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Jerry Corley: Great, great, great. I mean,

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Stephen Berger: Yeah. How great.

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Jerry Corley: It was, I tell you what, you know what's funny is as I've gotten older as a comedian, I think.

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Jerry Corley: You know, I had written an entire set, right, that I was gonna do to MC the the midnight show.

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Cliff Spenger: that.

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Jerry Corley: Now, the Midnight Show, you're in front of a bunch of mostly… the majority of the audience is comics, right? But there's a lot of, like, you know, there's a lot of public there, too, right? Not a lot of… a lot of sane people. And, I, basically ignored my set list.

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Jerry Corley: And riffed the entire moment and I, and I know that, I feel that.

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Cliff Spenger: Yeah.

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Jerry Corley: getting up there and being as the MC.

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Cliff Spenger: We.

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Jerry Corley: You're not constrained so much by the specific time. Your light's not shining.

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Cliff Spenger: you.

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Jerry Corley: on you, you know, after four and a half minutes, precisely. You've got a little more leeway. Your job is to warm up the audience.

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Jerry Corley: So, I find that in those moments, just letting myself go and being in the moment with the group.

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Jerry Corley: Was better than, you know, try to stick to a script of some sort.

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Jerry Corley: Or even be constrained by anything. It just let the room take me where it was gonna take me. So I think once you get…

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Jerry Corley: And that's one thing I was like, as I was going through the Tom Segura stuff here.

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Jerry Corley: Once you get, I think confident.

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Jerry Corley: with 3 or more, you know, I'd say 3 to… 3 structures. That's really all you need, right? Like, analogy, incongruity, reverse.

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Jerry Corley: And then, now, maybe 4, wordplay, definitely. Wordplay's gotta be there, double entendre and wordplay. Once you get comfortable with those four.

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Jerry Corley: I think you can get up on stage and confidently riff. Well, shit. Then there's compare and contrast, that always comes in favorable when you're up there riffing, and the three-way build-up, because you almost feel that momentum, because it helps you in that moment. You know, I already established a pattern, let me shatter that pattern.

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Jerry Corley: And get the laugh.

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Jerry Corley: Right? You know, if you're like, you know, you can just… it's like, you know, I work a lot of places, like, work, you know, all the big cities, you know, New York, LA, Fresno, and then, you know, you get a quick laugh in there, and they're gonna fall for it, because they have no choice, because that's the way their brains work. So once you get that, I think…

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Jerry Corley: You can get up there and sort of riff. So, and the workshop.

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Jerry Corley: The funny thing about the workshop is I do an hour and a half with a bunch of comics, right? So, a lot of people showed up for that. Joe Lowers, the head of the World Series of Comedy, said, you know, some of them.

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Jerry Corley: some of the people came, he said, you know how many people came up to me and said, the only reason I'm here is for Jerry's workshop? I said, are you shitting me? Is that what they're saying? He said, no, totally serious, man. They love to come to your workshop.

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Jerry Corley: So that's a good thing, you know?

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Stephen Berger: That's the only reason I'm here this morning.

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Jerry Corley: Yeah, see, that's good. Like, not for Joe Lowers, right?

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Jerry Corley: Like, he knows that, but I mean, the… I would say that Kaz and I just had this conversation, too. It was like the, the one thing I think the World Series of Comedy can benefit from is having a female win it.

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Jerry Corley: You know, a woman, win it, because there were some funny ladies there. One gal, can't remember her name off the top of my head, she cracked me up.

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Jerry Corley: She was just the one with the kinky hair. Do you know her name, Kaz?

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Jerry Corley: What? She's divorced. I was talking to her a little bit during the break.

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Kaz Okamoto: New York kind of balding. She actually performs at flappers often.

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Jerry Corley: Dan.

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Kaz Okamoto: remember her name.

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Jerry Corley: Okay, I'm gonna have to look it up, because I thought, when I first saw her set, I go, she's funny as And she was fast, she kept it moving, you know, as opposed to Tom Segura. We're gonna get into… and tell me how many of you think he looks, kind of reminds you a little bit of Nate Bargazzi?

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Kaz Okamoto: Literally.

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Jerry Corley: And his storytelling, easygoing thing. And, you know, I'm not sure who was influenced by who. But it lets you know that…

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Jerry Corley: You don't have to rush

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Jerry Corley: You don't have to rush, you can ease, you can go, you can, you know.

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Jerry Corley: Take your time with your material. The audience will find your groove.

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Jerry Corley: And I want you to sort of write that down. The audience will find your groove. All these comics get up there and they feel the pressure to rush. Oh, I gotta have laughs per minute.

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Jerry Corley: You know, the most important thing is your persona. It's like, how is your angle coming through? How's your view on life? How's your quirkiness coming through? What makes you interesting? You know, the audience is asking the dramatic question, who are you, and why should I care?

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Jerry Corley: Right?

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Kaz Okamoto: But we're all taught, but Jerry, we're all taught, even by you, so many jokes per minute, so many jokes per minute. They don't want to hear, you know, everybody that I go to when I do open mics and

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Kaz Okamoto: you know, audition at different places. Oh yeah, no crowd work, no crowd work! And then everybody fucking does crowd work when you go see their show. And then they tell you, we need jokes and punches, jokes and punches, we don't want to hear stories.

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Kaz Okamoto: And then everyone's doing…

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Jerry Corley: No, no, that's bullshit. I talk about story is great, but there's got to be some laughs.

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Kaz Okamoto: Last per minute, too.

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Jerry Corley: There's gotta be some laughs. Yeah. When you're starting.

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Jerry Corley: So let's clarify that when you're starting, the most important thing they're looking for is

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Jerry Corley: Can she or he make the audience laugh?

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Jerry Corley: And so it's gotta happen quick, and there's gotta be a lot. And I know that based on my history, one of the things… and times have evolved, right? Comedy evolves. Audiences have evolved, comedically, what they like and what they don't like. When Nate Bergazzi hit the scene, he's been at this 20…

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Jerry Corley: something years.

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Jerry Corley: Before he became famous.

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Jerry Corley: That's a long drag, right? That's a long drag.

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Kaz Okamoto: And some of us don't have that time left on Earth.

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Jerry Corley: Right. Exactly. But…

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Kaz Okamoto: Right Cliff? Oh sorry.

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Jerry Corley: He was always fun… his stories were always funny, but he didn't catch on for a while, and there's probably a reason for that. You know, you look at.

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Jerry Corley: What's his name?

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Jerry Corley: Johnson.

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Kaz Okamoto: Josh.

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Jerry Corley: Josh Johnson. Josh is kind of cool and casual, too, with this thing, and he's been experimenting with how to present his comedy. There is a, you know, one… who was I talking to recently? I was talking to.

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Jerry Corley: I'm talking to one of our students, he… what's his name? Plays the guitar. My brain is fried from the whole weekend.

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Jerry Corley: Rob Roles. So Rob Roles, I've been trying to tell him.

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Jerry Corley: Do like interstitials.

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Jerry Corley: in between each of your bits, while you have that guitar there, to just non-sequitur, start, you know, nowhere. There's one guy who was a student of ours, back in the day, an older guy.

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Jerry Corley: you know, as a grip from Hollywood, you know, been working as a grip his entire life. He started having a little bout of Parkinson's later on, but, he had, you know, his material was so-so, and his whole act was, I'm a mediocre guy, you know? of, like, my, you know, striving to just reach mediocre was my goal.

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Jerry Corley: And so his pacing was kind of slower.

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Jerry Corley: Buddy.

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Jerry Corley: He had these little interstitials, music interstitials, that, like, he'd walk into a room, into the studio, and he'd be singing a random pop song from back in the 80s or 70s.

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Jerry Corley: You know, all of a sudden, he'd just be like…

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Jerry Corley: You know? And all of a sudden, it'd be like, it would catch your ear, and you'd go, yeah! Right? So, I say, take your favorites, 10 of your favorites, and make those interstitials in between songs. Just drop them in, non-sequitur drop-ins. That means non-sequitur, it means there's no prep, there's no explanation, you just sort of… it comes out of left field.

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Jerry Corley: And so, and then… Pause right at the point where we're ready to jump in in the chorus.

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Jerry Corley: Or sing the next line.

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Jerry Corley: Disrupt that pattern and just start talking.

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Jerry Corley: And so he started to do that.

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Jerry Corley: People loved it!

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Jerry Corley: I was surprised at the response. They were like, you know, and so when he was in the 45 days to 45 minutes class.

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Jerry Corley: He.

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Jerry Corley: when he did his… when he did his… you know, because the 45 days to 45 minutes is… so you spend 45 days, about 6 weeks, prepping 5 to 8 minutes of new material every week. And we punch it up in the class. It's a very small class, about 4 students.

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Jerry Corley: And we put it up on the screen, and we punch it up. And then…

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Jerry Corley: After you've got that 45 minutes, you cull it down to 30 minutes.

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Jerry Corley: And then rehearse it for 2 weeks.

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Jerry Corley: And to perform it in front of an audience, 30 minutes.

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Jerry Corley: and get it videotaped. And so he did that, and he added the interstitials, and plus the music interstitials, you know the music. You don't have to go find the music, you don't have to search for the words in your head. That's not something you need to memorize. You just know you're gonna drop in a song. And he did that, and then during the song, he was able to think of what the next bit was.

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Jerry Corley: You know, because it's like, you're memorizing 30 minutes in 2 weeks. And so he got up there and he did it, and the feedback from people was really something. I was surprised to see that. That's what kept it moving.

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Jerry Corley: Right? So in Tom Segura, I think sometimes he needs that because he doesn't, he's kind of slow. So let's get into, let's get into this.

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Jerry Corley: And, we've got, 7… I know there's a couple more people gonna join here. Jack's here. Hey, Jack, good to see you, man. And we got Justin here. It's Justin Simpkins. Can't go wrong with a fighter pilot.

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Jerry Corley: In that seat is, who's that is? That looks like a fighter pilot. What is this guy, a gamer? What is it? Who's this picture of?

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Kaz Okamoto: Hey, and I want to acknowledge, Justin, you've lost a lot of weight.

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Kaz Okamoto: Right?

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Kaz Okamoto: Justin!

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Kaz Okamoto: Hello.

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Justin: Absolutely. More more like gained a lot of weight.

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Kaz Okamoto: Okay, then forget what I said. Okay, good to see you.

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Justin: But no, Jerry, that's the, Venezuela president. That was his mugshot.

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Jerry Corley: Oh, shit! Alright. Oh, they got him, looks like they got him, yeah, that's his mugshot right there, the Venezuelan president.

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Jerry Corley: Is that Maduro?

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Justin: I think so.

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Jerry Corley: It's hard to keep track of all these guys that, you know, in the world. All right, so, we're, you know, waiting for, I think, a couple more people. We're not going to wait anymore, we're just going to continue with the class. Let's get into, Tom Segura.

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Jerry Corley: It's, let me just, like, make sure I've got it right at the top of the page.

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Jerry Corley: There it is.

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Jerry Corley: So, one of the, let's see, I'll share the document before I start talking, because otherwise I'll be all over the place.

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Jerry Corley: Alright, so…

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Jerry Corley: And remember, with this class, jump into the chat, say hello to people, you can, share your socials if you want, your social media, not your social security, Kaz. And.

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Jerry Corley: if you, you can… you drop some jokes in there, some ideas in there. If you have any questions, you can always interrupt. This is… we try to treat the room like a writer's room, you know, and so if you have any idea that's, like, burning and it can't wait.

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Jerry Corley: first of all, get it checked by a doctor, but if it, if it can't wait, let's talk about it, because it's one of those things that if you leave it, you might forget about it, because so many… a lot of data moves fast in this class.

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Jerry Corley: So, one of the things I would recommend to people, I've said this before, I'll say it again repeatedly, because it, you know, it's very… it's refreshing, you know, is to look at the quotes

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Jerry Corley: from comedians. So watch interviews of certain comedians, of all comedians, really, because you're going to get an insight from different comedians that you never thought

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Jerry Corley: You know, you know, I was never into this comic, or I was never into this comic, but you'll… every one of the comedians that you learn from gives you

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Jerry Corley: Kind of a new inspiration, a new approach, a new way to look at something.

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Jerry Corley: And it might open up your mind a little bit, might put you at ease a little bit. Like, for example, I like to watch Tom Segura in interviews, because he's a different guy than he is on stage a little bit. And he's like, one of the things was, he says, I'm at my funniest when I have a silly mindset going.

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Jerry Corley: I mean, meaning just goofing off, being a kid, almost.

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Jerry Corley: And, you know, I've said lots of times, sometimes when you're approaching a topic you want to talk about.

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Jerry Corley: Think about it like you're high.

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Jerry Corley: Pretend you're a stoner, play a character, see if it gives you some new ideas and new approaches, because your brain

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Jerry Corley: when it takes on a new character, we'll find a new way to approach the piece, right? So, I think that's… that's a way to take a look at pieces sometimes, and just sometimes just riff out the pieces, like, talk them out.

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Jerry Corley: Rather than writing out everything.

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Jerry Corley: You know, because, like, remember that one part of your brain, that one side of the brain that's worked, that works mostly on writing, can be very constricted, right? And then when you try to talk, we're using a different part of the brain. You're using a more expressive part of the brain. And sometimes you can overwrite a joke, and then you need to get, just talk it out like you're in a conversation, and then learn to write the way you talk.

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Jerry Corley: Right? So, in this case, Segura likes to just sort of, like, have a silly mindset, the way he approaches things. He says, most of his comedy's made for him while he's on the stage. I find that interesting. He writes his best comedy when he sits around and thinks about what makes him laugh, but he says… he said they… he said.

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Jerry Corley: he… it really shapes itself when it's on the… when he's on the stage, so that's something to think about. I like to, sit down and write. I also like to be on stage fleshing out a story. I find the more I write, the easier it is to get on stage and rip something out. Like, if I'm writing a bit.

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Jerry Corley: and then I get up on stage and sort of rip that bit, new ideas will come to me, because why… of course they will, because they're just, you know, you have a whole different part of your brain working, you're live, you have the interaction with the audience, you feel the pressure to perform now. So, you're gonna have some new stuff. Now.

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Jerry Corley: If you think about the difference between stand-up and being an actor, an actor is restricted by the lines that are on the page. He's supposed to stay in the script, for the most part.

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Jerry Corley: Because writers spent hours and hours finding just the right words. And so that's also a craft.

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Jerry Corley: You have to learn too, is like, how can I take these words and make it sound like it's right off the top of my head, or I'm completely in the moment and I've never said these words before, but now this is the 1600th performance as a, as an actor, and I've gotta make these words sound like I just walked into this room and I just saw this guy banging my wife, and now I've got, these words have to be like they've never happened before.

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Jerry Corley: And every night you got to live that, relive that moment.

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Jerry Corley: So, you know, so it's like that is, that, you know, as an actor, that happens. As a comedian, we get up there and be spontaneous every night, right, when we're on the stage. We have our material, but we still have to be spon- you know, make it seem spontaneous.

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Jerry Corley: When you're doing TV, you don't have as much leeway. When you're doing TV, certainly like network TV, you are constrained by the clock.

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Jerry Corley: Right? Every thirty seconds is expensive. So, they wanna keep you on track, and you you have to get that four and a half minutes in for a late night set, and it's gotta go it's gonna go, it's gotta go tight. You can't sit there and leave the script and improvise because they're gonna play you off.

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Jerry Corley: So…

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Jerry Corley: So, but I like the balance between writing and riffing out an idea on stage. Like, your instincts… more… the more jokes you write, the sharper your instincts for improvisation become.

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Jerry Corley: So then you know where you're going. You can trigger… you know where the structures are to trigger laps. We mentioned that at the beginning. Like, if you suddenly you find yourself talking about something, you're in a three-way build-up.

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Jerry Corley: you know that, oh, I can just drop in a third pattern disruptor here, and I know I'm gonna get a quick laugh, right? So.

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Jerry Corley: Let me just make sure I'm gonna open the gallery in this part, just in case you guys start asking questions, or you give… you furrow your brow, and you seem a little lost. Alright, so Segura…

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Jerry Corley: 6 Netflix stand-up specials. I didn't know he had that many. I thought he had, like, 3.

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Jerry Corley: He's got 6.

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Jerry Corley: Holy crap! So there's a lot of material you can consume. It's funny to watch his evolution, because he goes from… it's funny, Kaz, the way you brought up with Justin gaining weight or losing weight, you see that with Segura. He went through this phase of gaining weight.

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Jerry Corley: Then…

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Jerry Corley: Lately, his latest special, he had… obviously, it's GLP-1s, because it just shredded, you know, it didn't shred, it fell right off.

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Jerry Corley: Right, so it's like you could see, possibly, you know, he's made some money, right, he's doing well, he's successful, he's got a doctor now that gives him those GLP-1s, he's able to lose that weight, so he's trimming down, and we'll see how long it works for him. But, you'll get to see his ups and downs of his career. When you're learning from a comic.

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Jerry Corley: Don't just watch their most recent stuff.

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Jerry Corley: watch their earlier stuff, too, because that's when they were evolving and learning and growing, right? So it's… you get to see a little bit of the build-up. Like, when one of the best videos to watch is Jim Gaffigan's first 20-minute set, because in that first 20-minute set, which he did for Comedy Central.

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Jerry Corley: You could see… how he… had his…

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Jerry Corley: His core 5 minutes, his first Type 5, showed up at the beginning of that set, and then the rest of the set evolved, you know, from that.

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Jerry Corley: But it was fun to watch… you watch that, you see, wow, this is his tight 5, right here. And it's, like, his first tight 5. So you get to see that, and you see a lot from it. Plus, you see, with Gaffigan, how back in the day, he was losing his hair, he was really receding, and then today, he's kind of got this kind of comb-over thing happening, little thing, you know, so he's able to

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Jerry Corley: To get his hair back a little, so it looks a little different, but,

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Jerry Corley: Like, if he let it go, he would have been, you know, he would have just been bald, but you get to see how he works with looking at the earlier stuff. So 6 Netflix specials, completely normal, mostly stories, disgraceful, ball hog, sledgehammer.

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Jerry Corley: And it's like, it's all, like, you notice the titles say a lot. Completely normal, mostly stories, disgraceful, ball hog, sledgehammer, and teacher.

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Jerry Corley: So, you know, one word.

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Jerry Corley: Titles towards the end here, right? Disgraceful, no, this disgraceful here, completely normal, mostly stories, disgraceful, ball hog, sledgehammer, and teacher. Among his notable accolades, Sledgehammer debuted at number one on Netflix. And his book, I'd like to play alone, I'd like to play alone, please, became a New York Times bestseller. So, and he received an Emmy nomination for his performance in Bad Thoughts, this Netflix series.

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Jerry Corley: So also acting. So think about that.

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Jerry Corley: You know, so isn't that interesting? As a stand -up comedian, you don't receive any Emmy nominations for your specials, your stand -up specials, but you get an Emmy nomination for being in a Netflix series as an actor called Bad Thoughts. Segura began doing stand -up in 2002. Think about it, it's 2026, so he's been at it 24 years, right? So more than two decades on stage, known for his deadpan delivery, dark observations, and story

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Jerry Corley: which ordinarily make people astonishing. Like, this is the, like, these are my words, but this is how I put it. Like, taking ordinary people make really bad decisions.

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Jerry Corley: Ha!

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Jerry Corley: Right? Astonishingly bad decisions. Like, so, and it's like, it gives us a chance to judge other people and make fun of ourselves. So what is the audience going through when we do that?

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Jerry Corley: What's that one thing? We're making the audience feel what?

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Kaz Okamoto: A part of?

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Jerry Corley: Superiority.

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Jerry Corley: So if a joke is not working.

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Jerry Corley: Odds are…

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Jerry Corley: The audience doesn't have a chance, they're not having a chance to feel superior. They're not having a chance to experience schadenfreude.

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Jerry Corley: Does that make sense?

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Jerry Corley: They want to be able to make fun of something.

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Jerry Corley: And often you'll see a lot of times that people are doing a joke, but they're not… we're not… it's not clear what their target is, who they're making fun of, what situation they're making fun of. So, make them feel superior.

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Jerry Corley: So this, we're going to take a look at Segura and take some notes if something comes up. And it's like, this is like, it's a piece about buying weed, right? So it's like, we'll take some notes.

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Audio shared by Jerry Corley: But we, as a nation, we have been traumatized…

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Audio shared by Jerry Corley: But we, as a nation, we have been traumatized…

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Jerry Corley: You guys can hear that okay?

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Jerry Corley: Yeah, okay.

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Audio shared by Jerry Corley: By these horrific laws and people being imprisoned for having weed, and it highlights the absurdity of not only it having been illegal and so crazy for so many years, but also highlights how the next generation will not believe our stories about it at all.

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Jerry Corley: So what did he do there with the setup?

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Jerry Corley: He started with a profound setup, like, it's very profound, like, you know, oh, you know, he's trying to make a big point, like, almost like he's gonna take on the system. And then he adds the other insight, the other thing.

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Jerry Corley: is how the next generation will not believe our stories at all. And it's kind of the funny part of it. So he takes this… heavy moment, and then lightens it up by giving another look at it. What's the other thing? How are other people gonna look at this? And that's where the… that's where that payoff comes from. That's where he gets that nice laugh in there. So…

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Jerry Corley: Think about that when you're delivering

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Jerry Corley: a piece. You'll see how this piece now comes together. At first, he's saying the absurd laws dealing with weed, and he's like, but it also explains, it also underscores how our next generation will never believe us at all. And that's a funny premise. Now, now we get a laugh just getting into it.

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Jerry Corley: And a nice compare and contrast set up. And now he's going to go into showing those examples.

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Audio shared by Jerry Corley: There's a 0% chance they will understand what we're talking about. It'd be like trying to tell a kid now, like, hey, you know, pigeons used to deliver messages to people. They'd be like, the are you saying right now?

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Audio shared by Jerry Corley: It'll be the same thing.

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Audio shared by Jerry Corley: I'm gonna sit my son down one day and be like, you know, when I was your age, to get weed, I almost died.

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Audio shared by Jerry Corley: And he'll be like, why, was 7-Eleven on fire or something?

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Audio shared by Jerry Corley: They didn't sell it at 7-Eleven. Daddy used to get in cars with strangers.

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Audio shared by Jerry Corley: Where are we going? Chill out, alright.

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Audio shared by Jerry Corley: Three-hour round trips to buy weed.

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Audio shared by Jerry Corley: And if you're like, oh, what kind of weight were you moving? $20 worth of marijuana.

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Audio shared by Jerry Corley: That kind of major shit?

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Audio shared by Jerry Corley: I bought weed from a dude in a standalone trailer one time. Not a trailer park. A solo trailer. The most terrifying housing situation that exists.

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Audio shared by Jerry Corley: Like, where other trailer people were like, get the out of here, and they kick him out.

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Audio shared by Jerry Corley: I just walk up to that shit 15 and this dude's like you trying to get a sack I was like oh shit yeah

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Audio shared by Jerry Corley: He goes we could go do that I was like alright cool

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Audio shared by Jerry Corley: And he goes, we just need to go get it. I was like, you don't fucking have it?

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Audio shared by Jerry Corley: Isn't that your sole responsibility?

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Audio shared by Jerry Corley: So I tried to play cool. I was like, all right, let's go get it. He goes, I'll go get it. You stay here and watch my place. And I was like…

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Audio shared by Jerry Corley: Okay.

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Audio shared by Jerry Corley: And he goes, "There's a .357 and a shotgun on my bed. Anybody comes in here, blast them."

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Audio shared by Jerry Corley: Inside? Paralysis.

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Audio shared by Jerry Corley: But what I said was, "That's what's up." Like, yeah, man.

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Audio shared by Jerry Corley: And then he stopped at the door and he goes but don't shoot my mom I go can we get a description before we agree to terms

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Audio shared by Jerry Corley: How about a height and weight on old mom?

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Audio shared by Jerry Corley: Not everybody agrees on weed, that's fine.

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Audio shared by Jerry Corley: That's funny, not everybody agrees on weed, that's.

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Jerry Corley: Hey, so Kaz?

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Jerry Corley: Oh, Kaz is gone. Kaz disappeared.

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Jerry Corley: Just for a second.

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Kaz Okamoto: No, what? I was making something to drink.

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Jerry Corley: Give us a, give us an assessment on his contouring.

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Kaz Okamoto: What do you mean?

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Jerry Corley: On his makeup.

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Jerry Corley: Oh!

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Kaz Okamoto: It sucks.

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Jerry Corley: It's like they give like, like this.

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Kaz Okamoto: Beard.

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Jerry Corley: This contouring on his, like, on the sides of his face to make it look like he's got some, like, color, right? Because he's a pretty pale dude. He's not, I mean, he's not pale pale, he's got like.

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Kaz Okamoto: That's not how you make men look healthy. That's the wrong pattern.

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Jerry Corley: Okay, that's good to know, right?

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Kaz Okamoto: It looks like you were in the sun, so think about it. I like the… here in the forehead, he's got a receding hairline, the bridge of the nose, and the tops of the cheeks, and the jaw, but they just did this whole thing to make his head look smaller, like, thinner.

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Jerry Corley: That's funny, yeah, that's.

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Jerry Corley: That's… yeah, so, oh, is that what they did to make his head look thinner? Is that what that is?

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Kaz Okamoto: Yeah. To elongate it. But the beard makes it look bigger because it's not trimmed nicely.

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Jerry Corley: Right. Yeah.

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Kaz Okamoto: No, that's just my professional.

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Jerry Corley: No, that's good, because I noticed that's the thing that stood out for me, was the look, right? So, you know, and that's one thing we're going to be running into as well, is there are some people, there are some comedians I know that, in their careers, they would never even take the stage without some sort of, like.

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Jerry Corley: You know.

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Jerry Corley: Makeup, right? I was like, really? Dude, I just get up there, you know?

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Jerry Corley: But notice how he built this bit, right? And he put… he tells us… he tells us… he's telling the kids about the weed.

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Jerry Corley: And then he says, you know, I got into a car with strangers. And then he escalates it, and then he tells us about another bit he did. So the escalation is important in your storytelling, right? So it's like, here's the explanation of what I'm gonna tell you.

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Jerry Corley: Here's what it… here's what happened one time. Here's… here's how I told it to my kids. They're not gonna believe it. And then he reframes it. One time, I actually went and bought weed from a guy in a stand-alone trailer.

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Jerry Corley: So he escalates it, right? And everybody's like, oh no, right? That's, like, the way… the most terrifying housing setup

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Jerry Corley: you can find, right? And he lets everybody know he's walking into this really, terrifying situation, right? So he, you know, basically… so he goes to the trailer, and he's now taking us through the act out. Sets it up, now he puts himself in the situation.

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Jerry Corley: And since we already know it's a terrifying situation, that's comedic irony. The audience is aware, but one of the characters is not because he's now walking into this situation. So he's not aware of this is a terrifying situation yet. He's here, right? And so he puts him in the situation. It's just like when I say one time I dated twins, right? I dated a gal who was an identical twin.

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Jerry Corley: But she didn't think I knew about it.

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Jerry Corley: So she thought it would be funny if she had her sister answer the door during the at the second date, and she would be wearing just a towel.

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Jerry Corley: And to see if I would… if they could fool me. So I went to her house.

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Jerry Corley: And now I'm in the situation, I set it up, now I'm in the situation.

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Jerry Corley: So that's… that's a literary device called

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Jerry Corley: dramatic irony. And it's there for a reason. When we give the audience the setup, then we put ourselves in the situation, they feel… the audience feels superior.

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Jerry Corley: Because they're going, okay, what's gonna happen now? He doesn't know that this is an identical twin, or she doesn't think he knows, so the joke is actually on her, not him.

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Jerry Corley: So I go to the door, it opens, there's Jennifer, her sister, wearing just a towel. And she says, I'm ready for you.

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Jerry Corley: So I went inside.

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Jerry Corley: And about 15 minutes later, Stephanie shows up.

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Jerry Corley: And she said, so, did I fool you?

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Jerry Corley: The audiences can't wait, they can't wait to hear my responses.

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Jerry Corley: Because they're riding along with the tension of that story.

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Jerry Corley: And so he's telling, did I fool you? And I said, no, you don't have that birthmark on your labia.

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Jerry Corley: And the audience definitely is gonna… you know the audience is gonna laugh. It's just right there.

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Jerry Corley: So that kind of story structure, building that story, super important. If you really, we can't just look at the jokes. You have to break down piece by piece. What is he doing here? Literary. How is he building this story? Right. So despite the fact it's not super hyper in the energy, it's not, it's not, he's not selling the jokes with pops or hey, zing, bang, boom.

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Jerry Corley: He's telling the story that is structurally sound that keeps the audience on the hook.

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Jerry Corley: Right? So, and it's a situation, you can feel the danger, feel the tension.

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Jerry Corley: Does anybody feel the tension of buying the weed? I know Steve Berger is having flashbacks.

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Jerry Corley: Right? Kaz, possibly.

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Jerry Corley: Cliff, maybe.

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Jerry Corley: Jack Rain, he was the one in the trailer.

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Jerry Corley: So, Justin knows, right? Right? We've all had some sort of experience. I've never done that myself, but I have been with another comedian.

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Jerry Corley: Who wanted to go get some weed.

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Jerry Corley: And I was the one with the car.

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Jerry Corley: So I had to drive him to this place. He picked up this gal, she said, okay, we're going to this other place.

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Jerry Corley: And… all of a sudden, she had, like, this ghetto voice.

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Jerry Corley: Right? And I was like, this, like, urban street voice. Like, when we first met her, she was, like, real sweet, real sweet energy, nice, kind person. And she's like, we gotta go to this other place. I was like, oh shit, that was not the way you want to hear that, right? And so we go to this place, and it's like an industrial park.

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Jerry Corley: you know, like, and some storage facilities. I'm like, this is not… I'm like… so I go, I'm gonna turn around here, you go inside, and I turned around with the car facing out, right? I said, I'm not facing in, I'm facing out. I'm not gonna get trapped in here, right? So,

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Jerry Corley: So he went inside, and he was in there for, like, 20 minutes.

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Jerry Corley: I'm like, oh, shit, man. And he comes out, and they get in the car, and then in the back of the car, they're both in the back seat, and all of a sudden he goes, oh, shit, what is that, a rock?

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Jerry Corley: Didn't get weed, she got crack!

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Jerry Corley: And he bought it.

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Jerry Corley: So she was actually looking for somebody to suck her, so that he could buy her some crack.

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Jerry Corley: And so… and he brought her back to the condo, right, the comedy condo. I left. I said, I'm out, you know? I went down to the… where the club is, sat there at the front bar, and had a beer, waiting for the show. And then, you know, she was totally fucked up.

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Jerry Corley: And when we got to… she was the devil when we got to see her. You know, when I went back to see her, she was like, her eyes were bloodshot, she's all crazy, where's my $20? You know, she was like, all of a sudden, where'd this person come from?

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Jerry Corley: But it was like, that was a scary situation. But that was only… I've only had, like, one or two experiences like that. So this… so you probably have stories where you can talk about the first time you bought weed, right? Or the first time you had to do that. Was it scary? Was it a situation?

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Jerry Corley: You know, how can we heighten the comedy there? Like, and he's like, hey, inside I got a 357 and a shotgun. If somebody comes around his place, shoot him.

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Jerry Corley: Right? It's like, wait, what? But don't shoot my mom. Can we get a description? I don't know who these people are. So he… you can see the audience is feeling totally superior here, because he's in the dilemma, right?

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Jerry Corley: So, you play that out a little bit. Let's continue with this.

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Audio shared by Jerry Corley: Of height and weight on old mom.

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Audio shared by Jerry Corley: Not everybody agrees on weed, that's fine, I don't care. Like, my parents, you know, we don't agree on it, they're not cool with weed. I don't care, they're old. I still love them.

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Audio shared by Jerry Corley: My dad's a Vietnam vet, you know, some of them are cool with weed, some of them are not. Some of them don't want to talk about Vietnam. My dad does.

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Audio shared by Jerry Corley: Some vets are like, I don't want to talk about it. And my dad's like, what do you want to know?

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Audio shared by Jerry Corley: Here's what I wanted to know when I was a kid. It's terrible to ask a stranger this, but it was my own father. You know, I'd seen a lot of movies, so I'd be like, you're in the war. Did you kill anybody? The first time I asked him that, he goes, no, I didn't. I go, alright, okay.

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Audio shared by Jerry Corley: A few years later, I asked him again, did you ever kill anybody? He goes, it wasn't like that. I was a lieutenant, I was in charge of people, it just didn't work like that.

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Audio shared by Jerry Corley: I said, okay. And then a few years later, I asked him again. I go, did you ever kill anybody? And he goes, I threw grenades in the bunkers.

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Audio shared by Jerry Corley: I go, "Were there people in there?" He goes, "There were, yeah."

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Audio shared by Jerry Corley: Just little pieces by the time I got in there.

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Audio shared by Jerry Corley: And then last year I go, "Did you ever kill anybody?" And he goes, "There's no better feeling than killing the enemy."

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Audio shared by Jerry Corley: Whoa.

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Jerry Corley: So we mentioned the word escalation before, right? Did you see how this escalated?

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Jerry Corley: in this story, very simple example of escalation in telling the story. He said, basically, and he could be using creative license to exaggerate the story. The first time I asked him, he said, no, I never killed anybody.

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Jerry Corley: Second time, no, no, I was lieutenant, it didn't really work that way, right? And then the third time, he's like, well.

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Jerry Corley: And.

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Jerry Corley: You know, define kill.

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Jerry Corley: Then it's like, the next one as well, I did throw grenades into bunkers.

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Jerry Corley: Alright, and then, like, it's like, were there people in there? There were.

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Jerry Corley: And how Dad is, like, short with the answers, right? And then it's like, they were just pieces when we checked, right? And then all of a sudden, then, on the final beat.

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Jerry Corley: It's like, there's no better feeling than killing the enemy.

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Jerry Corley: So, he probably went through onstage some several iterations of this build-up of the story. He may have even said at one point, there's no better feeling than killing someone.

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Jerry Corley: Right? You can almost see that. And then he refined it to, there's never, there's no better feeling than killing the enemy. And also, the audience, since the escalation happens, what happened with the audience? Doing the same joke, the same question, the different, different sort of escalating answers, but watch the audience's response. They kind of chuckle.

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Jerry Corley: Chuckle again, chuckle more, and by the time he gets to that end, there's an applause.

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Jerry Corley: So that escalation is important when you're coming to storytelling. So if you let's take a look at that piece of that piece again because it's like, this is worth the study.

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Jerry Corley: Right? It's, to take this apart and watch this piece, because it's like, you know, it really works. Somebody's like, I want you to listen to it, and, you know, if you can't… if you want, make a note.

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Kaz Okamoto: as.

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Jerry Corley: Kaz, you had a question. Yeah.

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Kaz Okamoto: So, how do you know not to go too far? Like, if you were… if he was to ask his dad again, who now has Alzheimer's, and his dad said, this, you know, any…

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Kaz Okamoto: Specifically and explicitly tells about killing some… an enemy.

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Kaz Okamoto: soldier, whatever, but in morbid detail. Like, is that too far?

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Kaz Okamoto: It depends.

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Jerry Corley: depends, right? So your audience will tell you that. And I said, here's the important thing.

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Jerry Corley: Stop worrying about being too far, and test it.

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Kaz Okamoto: Mmm…

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Jerry Corley: Right? And go ahead and feel the freedom. It's your mic, it's your stage. There's gonna be nights the audience doesn't agree, there's gonna be nights the audience is like, oh shit, I can't believe she said that, wow, she's so cool! Right? Because it's like taking that risk.

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Jerry Corley: Everybody wishes they could be on stage and take that risk and be naughty.

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Jerry Corley: I mean, and just be no-filter person, right? Just tell the story. You know, I could even see if he is… if, you know, it depends on what his story is with his dad, like, him using, like, racial pejoratives, right? Because of these guys in Vietnam War. When you're in war, it's crazy, right?

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Jerry Corley: What's the common term that was used in that war? Gooks.

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Kaz Okamoto: Goop.

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Jerry Corley: Right? Gook, ouch, right? But we've heard it, we've seen it on gritty movies, and we're, like, totally riveted with the movie, because a character can talk that way. But if we're, like, you know, imagine he's, like, he did, like, and then once my dad started having a little dementia.

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Jerry Corley: All of a sudden, he, you know, it all changed, right? He was like, you know, we have to kill those gooks! You know, that kind of thing, you know, right? And so all of a sudden, he's, like, having flashbacks in a way. That could be one way to escalate it, too.

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Jerry Corley: Right. Does anybody have any war story they can think about where they can like talk about something like that and they can almost see the escalation? But let's take a look at how we how we how we escalates. We'll go from the transition from the drug transaction then to the Vietnam thing.

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Audio shared by Jerry Corley: Not everybody agrees on weed, that's fine, I don't care. Like, my parents, you know, we don't agree on it, they're not cool with weed. I don't care, they're old.

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Jerry Corley: So you see how he did that, right? He was talking about the weed, going to buy weed, and then he goes, you know, not everybody agrees on weed.

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Jerry Corley: Now, remember, this isn't first draft. This has been refined and polished, right? To get him to, okay, how do I transition? Let me… how am I gonna write this transition? Well, not everybody agrees on weed, you know, like my parents. And now he's into… the parents thing, and then he's gonna isolate it to his dad.

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Jerry Corley: And he's gonna now… and then he segues into, you know, the war. Let's see.

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Audio shared by Jerry Corley: I still love him.

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Audio shared by Jerry Corley: My dad's a Vietnam vet.

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Jerry Corley: Right there. So, where's the transition? He goes, not everybody agrees on weed, like my parents, you know? I still love them.

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Jerry Corley: My dad's a Vietnam vet.

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Jerry Corley: See, it almost doesn't… it doesn't… it doesn't sequence On the page, does it?

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Jerry Corley: Because he kind of… he starts with a topic, but he… that transition is smoothing into my parents, not my dad.

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Kaz Okamoto: But he also talks about his parents being old. So he's setting up the historic line timeline, right?

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Jerry Corley: Right. Right. Right. Right. You know? It's and which is not that important because when we're doing stories, when we're talking about ideas in comedy, in conversation, we often just come in with non sequiturs.

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Jerry Corley: Right?

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Jerry Corley: So we just sort of come in with not just come in with a non sequitur. We're like, you know, boom. At a party, it would be like, you know, oh my god, did you hear about Janice? No, she got in an accident, car crash, you know, she car car, you know, she was dating that firefighter. That dude, I don't trust that dude for an instant, you know. One time I was over near his place while he was doing this. Well, then he, you know, and you next thing you know, you're in a story, right? And the story.

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Jerry Corley: is…

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Jerry Corley: kind of disjointed, but that's how people talk, right? But in this case, he's, like, he's making it pretty smooth, right? Smooth, you know, pretty smooth in his approach.

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Audio shared by Jerry Corley: You know, some of them are cool with weed, some of them are not. Some of them don't want to talk about Vietnam. My dad does.

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Audio shared by Jerry Corley: Some vets are like, I don't want to talk about it. And my dad's like, what do you want to know?

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Audio shared by Jerry Corley: Here's what I wanted to know when I was a kid.

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Jerry Corley: So, right there, what did he do? Compare and contrast. Some people don't want to talk about it. No, I don't want to talk about it.

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Jerry Corley: You know? And it's like, not my dad, he's like, what do you want to know?

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Jerry Corley: Right. So he has a nice compare and contrast right there. Some people quiet, don't want to talk about it, they want to keep it under the keep it under the radar. And his dad was like, What do you want to know? So he has a nice compare and contrast right there. So in telling a story, you know that compare and contrast can come into play. And then we mentioned that when we're going through those at first I said three, I was like, no, compare and contrast has got to be in there, three-way buildup's got to be in there.

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Jerry Corley: So when you understand that, now you can use the device to get the laugh just continuing with the story. It's not the ending of a joke, it's the middle of a story. And they use that compare and contrast to move the story along, get a nice laugh as he moves forward. You got that, Kaz? You know, for those of you who are telling story jokes.

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Jerry Corley: Right? He's used a compare and contrast in the middle of that story, even in the setup, to get that lab to move forward with it. Now we're dying to see how his dad, once he says, oh, what do you want to know? Now we want to know.

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Jerry Corley: Right? Now it's a great hook, too. So, you know, it's weird I get this excited about storytelling, but it's so true to see, oh man, you see how he's keeping that audience on the hook?

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Jerry Corley: He doesn't have a lot of energy, he's not jumping around, he's not animated, he's not doing voices, he's just telling a story, but these hooks are very.

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Jerry Corley: Strategically placed to keep us on board.

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Audio shared by Jerry Corley: It's terrible to ask a stranger this, but it was my own father. You know, I'd seen a lot of movies, so I'm like, you're in the war, did you kill anybody? The first time I asked him that, he goes, no, I didn't. I go, alright, okay. A few years later, I asked him again, did you ever kill anybody? He goes, it wasn't like that, I was lieutenant, I was in charge of people, it just didn't work like that.

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Audio shared by Jerry Corley: I said, okay. And then a few years later, I asked him again. I go, did you ever kill anybody? And he goes, I threw grenades in the bunkers.

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Jerry Corley: Three-way buildup, right?

347
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Jerry Corley: No, didn't kill anybody. No, didn't kill anybody.

348
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Jerry Corley: And he finds a unique way of saying yes, instead of saying yes, I threw grenades into bunkers. He doesn't say yes, but he says, I threw grenades into bunkers.

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Jerry Corley: And we practice this when we do the three scenarios. Like, somebody asks you a question, how do you answer the question? You answer the question, then, like, you're, you know, you're supposed to say yes, but you say… or you're supposed to say no, but you're, but you say yes. Like, does this dress make me look fat?

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Jerry Corley: You know, and you're like,

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Jerry Corley: How do you… how do you… you know, you could build that into a three-way build-up. First time my wife asked me, does this dress make me look fat? I said, no, no, man, no, no, it doesn't make you look fat.

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Jerry Corley: And the next time, like, a couple years later, she's like, does this dress make me look fat? And it's like, oh, come on now. You know, that, you know, it doesn't matter. That doesn't matter. You don't look fat. It looks good. Looks good on you. You know, finally, like, a few years later, she said, does this dress make me look fat?

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Jerry Corley: Instead of saying no, I'm gonna say yes, but I'm gonna say it without saying it. So I'll be like, so does this dress make me look fat? It's time we stop blaming the clothing.

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Jerry Corley: Right? Now you're saying it without saying it. So this is a strategy. He's doing a three-way buildup here, and he gets a nice laugh on that three-way buildup. Look at that nice laugh he gets.

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Jerry Corley: Now he's gonna escalate it with a tag or a topper. Hey, Pappy's here!

356
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Jerry Corley: Say, we can't have a class without Pappy, we're glad he's here. It's like, and I like that color shirt you got on there, it stands out nicely. I'm wearing salmon today, what do you think of that?

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Jerry Corley: So we're just looking at studying the structure of his story, and he just used a three-way build-up. Now he's gonna… now he's gonna escalate it with an act-out moment.

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Jerry Corley: So, it's a three-way build-up. He had three moments, specific moments, and they escalated. Now, and the last one, the pattern disrupted, right? I was like, I did throw grenades into bunkers.

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Jerry Corley: after two no's, did you kill anybody? And then he finally gets here, and now he's like, no, now he's gonna tell… now he's gonna do that. Now he's gonna do the act out, and it's gonna escalate. Yes, Cliff.

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Cliff Spenger: Does this dress make me look fat? No, but it's spreading some terrible rumors about you.

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Jerry Corley: Yes, that's a good way to say that. Right. Well done. I like that. So we're looking for, you know, so in this case, he's taking a moment and instead of saying, yes, I killed somebody, he's saying it without saying it, but I threw some grenades in the bunkers, which is a much more interesting way to say yes.

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Jerry Corley: You know? And so, as a comedy writer, we think of ways to say yes, you know, if we're doing a reverse, it's better to be on the nose, but when we're doing other situations, it's almost better to say it without saying it. How can you say it without saying it? And then, like, because what is saying it without saying it? Can anybody tell me off the top of their head?

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Jerry Corley: What, comedic, structure is that?

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Jerry Corley: Saying it without saying it is comedic irony.

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Jerry Corley: Right? So it's like, saying it without saying it is comedic irony.

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Jerry Corley: So, if you can find ways to say something without saying it, then you're gonna… it's like, instead of saying, we're having sex.

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Jerry Corley: Like, I want you to think about that right now. In fact, having sex, take the idea of having sex, instead of saying having sex, I want you to come up with different ways to say it.

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Jerry Corley: So what did you do last night?

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Jerry Corley: Hey, man, I heard you went out with Rita last night. What'd you guys wind up doing?

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Jerry Corley: You know what that guy's looking for. He's looking for the… he wants to hear the dirty story, he wants to hear the nitty-gritty, right? So what's a different way of saying, I had… we had sex?

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Jerry Corley: So let's, let me give you about 3 minutes to come up with that. And I'm just gonna… I'm gonna turn off my camera so the pressure's not on. I want you to just really think about… and if you can think about 3 different ways to say you're having sex.

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Jerry Corley: Think of the three different ways to say you were having sex. We'll try that and see if you say it without saying it. We had sex.

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Justin Iphone (2): Oh, I already got one, Jerry.

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Jerry Corley: Go ahead and shout it out.

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Justin Iphone (2): Now, coming from a fat guy, it's like…

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Justin Iphone (2): But, we were porking last night.

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Jerry Corley: Porkin', that's good. You know, and if you said we're porkin' last night, I know it sounds crass, but remember, it's coming from a fat guy, so that's gonna get two laughs right there, right? That's really good, I like that. Let me check out, I'm with 3 minutes, 3 minutes to come up with 3 different ways to say we had sex.

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Jerry Corley: Let's see what we came up with here. What do we got? We got, Justin, what do you got?

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Jerry Corley: But Justin's frozen.

380
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Jerry Corley: He's… I think he's driving, so…

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Jerry Corley: We'll see when he gets… oh, here he is.

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Justin Iphone (2): Can y'all hear me?

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Jerry Corley: Yeah.

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Justin Iphone (2): Okay, I got three.

385
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Justin Iphone (2): Lay it out. Let's hear it.

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Justin Iphone (2): Now, my sense of humor is pretty dark, but, So…

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Justin Iphone (2): I'm having a threesome, I'll be like, I'm knocking down the Twin Towers.

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Jerry Corley: That's good.

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Justin Iphone (2): Got one that's, like,

390
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Justin Iphone (2): I dove in… I dove into her Pearl Harbor.

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Jerry Corley: Nice.

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Justin Iphone (2): And then the last one is I stormed her capital.

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Jerry Corley: You tore into her capital. Yeah, I stormed her capital. Nice. Yeah, good. Those are good metaphors, I like them. Those aren't dark, those are good. I, you know, the 9-11 thing, not… I'm not…

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Jerry Corley: I'm a comedian, that doesn't bother me. Some people like to get oversensitive about stuff like that. Yes, I lost… and I lost some friends in that thing, so, but that's our coping mechanism, is we use humor to work around those things. Good, that's a good, good work with that. Who else has, we've got, Kaz, what do you got? No, it's, yeah, was it Kaz or Cliff? We got Cliff. Let's do Cliff and then Kaz.

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Jerry Corley: And then Pat.

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Cliff Spenger: Okay.

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Cliff Spenger: Okay, what'd you guys… did you… you and, Sheila go out last night?

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Cliff Spenger: No, I went in.

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Jerry Corley: I love it, good. That's a compare and contrast. Opposites, right? And you did the opposites, and the opposites were like, did you go out last night? No, I went in.

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Cliff Spenger: we played Twister with our body parts.

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Jerry Corley: Nice, yeah, yeah.

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Cliff Spenger: And.

403
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Cliff Spenger: I swapped some semen for some chlamydia, apparently.

404
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Jerry Corley: Yes, nicely done. Like, now, once you hit the twister, Cliff, once you do the twister line, what else do you have now? It's like, and let's just say.

405
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Jerry Corley: My le- you know, I had, let's see, I had, my, my left foot on, my left foot on blue, but my dick went into red.

406
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Cliff Spenger: Yeah, I knew Red Dick was going to come up. Yes.

407
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Jerry Corley: So, like, Twister gives you all kinds of things you could play around with, so you… perfect little second idea to drop in there, because it's… how many people sold the Twister, mat?

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Jerry Corley: Right? You see the colors, right? And right there, we're locked in. If we're locked into the image, the better the imagery, the better the laugh. We're locked in. All of a sudden, it's like, you know, I was like, left foot on blue, you know, and it's like, and my dick was in red. Yeah, what? What does that mean? Think about it, bro.

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Jerry Corley: Oh, shit, she was on her period, yeah. So, I went down to, you know, to look for some pearls, you know? Like, that's anti-aging right there, there's some stem cells in that juice. What? You know, you could just keep… hit a metaphor after metaphor after metaphor, and the audience would be going, ew, but laughing at the same time, because you keep saying it without saying it. They cannot resist the laugh.

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Jerry Corley: when you say it without saying it, and you're just filling it full of these metaphors. Unless you get really too gross, and then maybe they get a little bit…

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Jerry Corley: you know, certainly can't do that in a group full of Mormons. They feel… they feel offended, and they feel offended because they don't want anybody else to know they're laughing, because they know they're being judged.

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Jerry Corley: So, that's basically human behavior. We're very image conscious. I really thought that was good, Cliff. Kaz, what do you got?

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Kaz Okamoto: I… I wrote 3. I met an astronaut, and before I knew it, his rocket was exploring my black hole.

414
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Kaz Okamoto: It might be better if I'm black, but, you know, I'll…

415
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Jerry Corley: No, it's not, because it's dark in there. There's no lights in there.

416
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Cliff Spenger: Black hole.

417
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Kaz Okamoto: No, I do. I have party lights in mind, so hang on.

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Cliff Spenger: Just.

419
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Kaz Okamoto: Make sure people know where they're going. He took.

420
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Cliff Spenger: whatever.

421
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Kaz Okamoto: From behind, he took me from behind and I took him for all he's worth.

422
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Jerry Corley: There you go, yeah.

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Kaz Okamoto: Jeffrey, that's a special divorce joke for you.

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Jerry Corley: Yeah, yeah, like, like…

425
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Jerry Corley: You know, it's like, so much so that he wasn't even able to leave a deposit.

426
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Cliff Spenger: Good morning.

427
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Jerry Corley: Give me the other one. Give me the other one.

428
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Kaz Okamoto: I went to a southern barbecue and before I knew it, someone slipped his hot link into my bun.

429
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Jerry Corley: Nice! Well done!

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Kaz Okamoto: I.

431
00:56:31.150 --> 00:56:40.790
Jerry Corley: I like that… I like, you know, what you're getting good at now. You're now adding the connector that made that joke work, which was the barbecue.

432
00:56:41.000 --> 00:56:43.609
Jerry Corley: Right? Before, you might… you might have just said the…

433
00:56:43.610 --> 00:56:44.460
Kaz Okamoto: Barbecue.

434
00:56:44.460 --> 00:56:59.189
Jerry Corley: You might have just said the line, and then we would have went hot link into my… that still would have made sense enough, but you gave it a little barbecue twist. You added the barbecue, which gave it southern barbecue, and it's like, let's say you put his hot link into my bum, right? Nice.

435
00:56:59.770 --> 00:57:15.359
Jerry Corley: That's it. Well done. Good, good job. And the audience likes to… likes that puzzle, likes to see, oh, Southern Barbecue, and now they see that li… they don't see the list, you do, and now you do an associative joke that makes it make more sense. It heightens the coincidence.

436
00:57:15.610 --> 00:57:18.050
Kaz Okamoto: Well, I like the part when you taught us about

437
00:57:18.260 --> 00:57:22.890
Kaz Okamoto: Those two words, Southern Barbecue, has an incredible…

438
00:57:23.040 --> 00:57:30.330
Kaz Okamoto: visualization for everybody. Because everyone's been to a barbecue, and if you've been to a southern barbecue, it's slightly different.

439
00:57:30.680 --> 00:57:36.160
Kaz Okamoto: What their barbecue is just not hot dogs and hamburgers. They're barbecuing everything.

440
00:57:36.160 --> 00:57:37.569
Jerry Corley: Yes, yes.

441
00:57:37.570 --> 00:57:37.980
Kaz Okamoto: So.

442
00:57:37.980 --> 00:57:56.379
Jerry Corley: would be like, once, as I think of the barbecue, I'm thinking about ribs, I'm thinking about, you know, all I can say is, like, we were, it was like, we were at a southern barbecue, he put his hot link into my, into my buns, and and they were like, and you know, thank goodness, all I, the whole night, I just kept saying, I think I need some extra napkins.

443
00:57:57.790 --> 00:57:59.029
Jerry Corley: Or we… we might…

444
00:57:59.030 --> 00:58:00.200
Kaz Okamoto: We might need.

445
00:58:00.200 --> 00:58:01.469
Jerry Corley: Some extra napkins.

446
00:58:01.470 --> 00:58:02.610
Kaz Okamoto: Burning.

447
00:58:04.050 --> 00:58:07.110
Jerry Corley: Well, then you gotta see the doctor. Pappy, what do you got?

448
00:58:09.760 --> 00:58:14.849
Pappy: My eel hid in the cave.

449
00:58:17.340 --> 00:58:20.779
Pappy: I sent my canoe down a wet ravine.

450
00:58:20.780 --> 00:58:23.350
Jerry Corley: There you go. I like that one. That's a funny one.

451
00:58:23.350 --> 00:58:26.990
Pappy: I put my wetsuit on and went diving deep.

452
00:58:27.360 --> 00:58:41.250
Jerry Corley: There you go. Now, if you were doing this on stage, and every time you deliver something like that, always imagine yourself on stage and how the audience is going to respond to you, because you can feel that energy. If you did that in a stack like you just did, you

453
00:58:41.420 --> 00:58:57.090
Jerry Corley: quite possibly on the third one could get an applause break. So, but when you map it out, you want to map it out so it escalates. Each one gets maybe a little more shocking or visual, and it's like, you know, and it's like.

454
00:58:57.090 --> 00:59:08.130
Jerry Corley: It was like, I went, I went kayaking down a wet ravine. Let's see, Category 5, right? So, it's like, is that what they call those when they're going whitewater rafting?

455
00:59:08.680 --> 00:59:14.680
Pappy: That kind of fits with the rule of three things where you escalate as you, is that?

456
00:59:14.680 --> 00:59:15.649
Jerry Corley: you go through.

457
00:59:15.650 --> 00:59:17.010
Pappy: Yeah, yeah, yeah.

458
00:59:17.010 --> 00:59:23.440
Jerry Corley: And when you do 3 metaphors and stack them like that, if you did that on stage, most comics will say the one.

459
00:59:23.860 --> 00:59:25.709
Jerry Corley: I go, well, I already said it.

460
00:59:26.790 --> 00:59:33.330
Jerry Corley: But the joke is the escalation, right? And so if you said… if you did 3 metaphors back-to-back like that.

461
00:59:33.470 --> 00:59:48.410
Jerry Corley: odds are, in a decent audience, you get an applause on the third one, especially considering the perception. He's an old guy, right? Oh, he's not gonna have anything funny, yet Pappy gets up there and does this escalation with 3 things, boom, gets a nice laugh out of that.

462
00:59:48.510 --> 01:00:01.199
Jerry Corley: Did Jack Day fall off? I thought he was… oh, there he is. Do you have one? Let's go to Lena first, and then we'll go to Jack, because I don't want… Jack doesn't raise his hand, he doesn't know where the thing is, usually, but we'll get to Jack in a second. Let me, Lena, what do you got?

463
01:00:02.170 --> 01:00:07.470
lina alva: Yes, we went to… Paso Robles. And then the second…

464
01:00:07.500 --> 01:00:10.090
Jerry Corley: You what? That's funny.

465
01:00:10.090 --> 01:00:13.420
lina alva: Okay, and then the second one is, let's just say…

466
01:00:13.730 --> 01:00:16.259
lina alva: I had to change my sheets this morning.

467
01:00:16.400 --> 01:00:18.010
lina alva: And my back hurts.

468
01:00:18.340 --> 01:00:30.640
Jerry Corley: Very nice. You know? Yeah. That's funny. I had to change my sheet. Let's just say let's just escalate that. Let's just say, I think I'm gonna need some new pillows. I have no idea what that means, but it sounds like a good time.

469
01:00:31.140 --> 01:00:36.240
lina alva: Let's just say… There's an eyelash on my pillowcase.

470
01:00:36.240 --> 01:00:47.480
Jerry Corley: Good. Nice job. Well done. I like that. Well done. Funny visual also makes us hyper curious. Oh, what really happened?

471
01:00:47.480 --> 01:00:51.789
lina alva: There's a fake lash. There's a fake. There's a fake strip lash on my. On my.

472
01:00:51.790 --> 01:00:58.090
Jerry Corley: There's a fake… there's a fake… there's some fake lashes on my pillowcase. It's like, and they're not mine.

473
01:00:58.330 --> 01:01:00.280
lina alva: I like that.

474
01:01:00.280 --> 01:01:05.349
Jerry Corley: So you got to stop fucking rock stars. No, I promise I'm done.

475
01:01:05.350 --> 01:01:06.500
lina alva: I'm done.

476
01:01:06.500 --> 01:01:11.949
Jerry Corley: Funny. Alright, so let's see, that was good. Jack Day, what do you got?

477
01:01:16.420 --> 01:01:20.820
Jerry Corley: Wait, you just muted yourself. You were unmuted and you hit the button again. There you go.

478
01:01:20.820 --> 01:01:22.959
Jack Day: No, I didn't come up with anything.

479
01:01:24.080 --> 01:01:29.160
Jerry Corley: So, if you were… let's put ourself in a situation. Say you were…

480
01:01:29.710 --> 01:01:50.070
Jerry Corley: Like, say there were, like, somebody in the room you didn't want to hear, you didn't want to talk about that stuff with, how could you say it? Remember we used to say, like, bumpin' uglies, or we were… we were doing the twist, or, we're doing the two-person tango, or, you know, what might you say in that moment?

481
01:01:54.160 --> 01:01:55.629
Jack Day: I can't think of anything.

482
01:01:55.630 --> 01:02:00.150
Jerry Corley: Okay, yeah, let's just say we didn't go to church.

483
01:02:01.200 --> 01:02:04.949
Jerry Corley: That's a different way of saying it, right? And it might be, like.

484
01:02:04.950 --> 01:02:07.540
Kaz Okamoto: You went to heaven. Okay, you got to add that in.

485
01:02:07.540 --> 01:02:08.969
Jerry Corley: Say it again?

486
01:02:08.970 --> 01:02:11.589
Kaz Okamoto: I said, but you went to heaven. You didn't go to church, but you went to heaven.

487
01:02:11.590 --> 01:02:18.709
Jerry Corley: go to church, but we went to heaven. That's a fun… yeah, that's good, Kaz, I like that. That's a fun… and because when you're writing.

488
01:02:18.880 --> 01:02:22.130
Jerry Corley: One of the things they teach about in creative writing is simile.

489
01:02:22.130 --> 01:02:40.210
Jerry Corley: You know, how do we use simile or analogy, metaphor, using a way of saying it without saying it? It's like, how can you color that up? Her, you know, her smile was sunshine. That's simile, right? You're basically saying her smile is sunshine, not is like sunshine, her smile is sunshine.

490
01:02:40.210 --> 01:03:04.980
Jerry Corley: you know, and it's and that gives, it gives the gives the the story more color, and it gives it more, you know, more energy, and it makes us see those visuals. The better the imagery, the better to laugh. And if you can come up with a with a real quirky one, and it might be, you know, the the length of time your brain is not feeling creative and but if you gave yourself some time.

491
01:03:04.980 --> 01:03:13.240
Jerry Corley: I wrote down different ways to say it. I bet you could come up with a few. Remember, it's only I only gave you three minutes, so there's a lot of pressure there. Cliff, what do you got?

492
01:03:13.610 --> 01:03:15.479
Cliff Spenger: We went fishing.

493
01:03:15.650 --> 01:03:18.440
Cliff Spenger: We didn't catch any fish, but we did hook up.

494
01:03:19.120 --> 01:03:27.030
Jerry Corley: Yeah, nice, yeah, we didn't catch any fish, but, you know, let's just say, you know.

495
01:03:27.180 --> 01:03:30.319
Jerry Corley: There was, there was, Chum was involved.

496
01:03:34.570 --> 01:03:54.159
Jerry Corley: That's funny, that's good. So, again, it's just a fun exercise to say… take a phrase we say normally, right? It's a normal, everyday thing. It kind of titillates, because it's, you know, we're talking about having sex, and we're trying to say it quietly without saying it, so we're being a little naughty, and then you're saying euphemisms.

497
01:03:54.160 --> 01:04:00.070
Jerry Corley: You know? But I like that one that, that lina says, I went to Paso Robles.

498
01:04:02.000 --> 01:04:14.909
Jerry Corley: makes no sense, but I knew exactly what she was talking about, right? So, maybe find some things that make no sense, but you know what we're talking about. So, what'd you guys do on your date last night? We went all the way to Paso Robles.

499
01:04:15.700 --> 01:04:24.170
Jerry Corley: That's just funny. It makes me say, did they or didn't they? But still, it sounds like they did, and we're gonna buy into it. Steve, what do you got?

500
01:04:28.520 --> 01:04:34.319
Stephen Berger: I said… We hung out in the activity room.

501
01:04:34.320 --> 01:04:36.800
Jerry Corley: Nice! Oh, I like that, yeah.

502
01:04:37.110 --> 01:04:40.760
Stephen Berger: And, well, we closed the deal.

503
01:04:40.760 --> 01:04:43.170
Jerry Corley: There you go, nice, well done.

504
01:04:43.310 --> 01:04:47.860
Stephen Berger: And then, we did the horizontal bop.

505
01:04:47.860 --> 01:04:50.970
Jerry Corley: The horizontal bob. We remember that one. The horizontal bob.

506
01:04:51.240 --> 01:04:52.170
Jerry Corley: Yeah!

507
01:04:52.660 --> 01:04:59.470
Jerry Corley: to Bob Seger, right? And it's like, now it's like, it's like, let's just say we went to the activities room, you know?

508
01:04:59.780 --> 01:05:02.919
Jerry Corley: We didn't play ping pong, but balls were involved.

509
01:05:03.020 --> 01:05:19.630
Jerry Corley: Or you say, we didn't play ping pong, but paddles were involved. It's like, what? It's kind of kinky, right? So, but still, that was good. That was really good. I like that a lot. That's good work. It's like, it's one you can have fun with.

510
01:05:19.630 --> 01:05:24.700
Jerry Corley: You know, just as an exercise. It's one of those, I call them airport exercises.

511
01:05:24.720 --> 01:05:47.890
Jerry Corley: Like, you're sitting at an airport, you wanna, you know, you don't wanna just sit there, you got this time, you got a little, maybe the plane's delayed, so you got this time, what am I gonna do? I wanna stay creative, so I might look in my Evernote, or in my notebook, that I keep this in my Evernote now, which is on my phone, or on my laptop, or iPad, so…

512
01:05:47.890 --> 01:06:03.199
Jerry Corley: I'll look up airport exercises, and one is, say it without saying it. Take 10 phrases that we say normally, and then find a way to say it without saying it, and you could sit there and just have fun writing 3

513
01:06:03.290 --> 01:06:21.550
Jerry Corley: phrases, for different moments, and you can come up with new ideas. You know, I went grocery shopping, and I find 3 different creative ways to say it. And it really does stretch your brain, because grocery shopping… how would I say I went grocery shopping? I've never used a metaphor for that.

514
01:06:21.660 --> 01:06:28.440
Jerry Corley: You know? So it's like, let's say I'm gonna head down to Ralph's and do their job for them.

515
01:06:30.930 --> 01:06:41.640
Jerry Corley: You know, because you wind up checking yourself out, right? So it's like, so it's… and remember, we used to get a discount going to food for less, because you bagged your own groceries. Guess what?

516
01:06:42.630 --> 01:06:48.920
Jerry Corley: You know, you're still, the prices have gone up and you still have to bag your own groceries.

517
01:06:49.550 --> 01:07:12.860
Jerry Corley: All right, so let's continue on with this idea. So you can, when you're telling stories, you do that three-way buildup. We learned, like, with metaphors, with Pappy, you take each one, you can feel it escalate. You can do one after the other and stack them, and you can see how that can play. Now it's a great little technique. One thing I like about Tom Segura is his pacing isn't so fast.

518
01:07:12.860 --> 01:07:15.499
Jerry Corley: Where you're not able to keep track

519
01:07:15.500 --> 01:07:25.229
Jerry Corley: and learn from it. You know, you still pause, and you take a beat, and you sort of deconstruct it, but this is what helps you to get better, is taking that…

520
01:07:25.230 --> 01:07:32.260
Kaz Okamoto: He uses facial expressions really subtly, like he just does a side eye, or… You know…

521
01:07:32.260 --> 01:07:39.469
Jerry Corley: Right, and that's a little like… that's exactly… that little move right there is to… it's almost like a slow burn, in a way.

522
01:07:39.900 --> 01:07:44.520
Jerry Corley: You know, it's a deadpan, you're letting the audience know, okay, yeah, you know what I'm saying.

523
01:07:45.220 --> 01:07:57.220
Kaz Okamoto: Yeah, like, when he does the thing about his dad, you know, oh, okay, and then the next time I asked him, and then when it gets to the point where the last, yeah, well, you know, did you ever kill anybody? Well, you know.

524
01:07:58.110 --> 01:08:00.459
Kaz Okamoto: How good it feels when you kill your…

525
01:08:00.460 --> 01:08:01.739
Jerry Corley: That third one right here.

526
01:08:01.740 --> 01:08:04.620
Audio shared by Jerry Corley: And he goes, I threw grenades in the bunkers.

527
01:08:05.560 --> 01:08:06.250
Jerry Corley: So that's the…

528
01:08:07.650 --> 01:08:08.260
Audio shared by Jerry Corley: That's the.

529
01:08:08.260 --> 01:08:10.740
Jerry Corley: Third in the three-way build-up, now here's the act out.

530
01:08:10.740 --> 01:08:12.559
Audio shared by Jerry Corley: There he goes, there were, yeah.

531
01:08:14.320 --> 01:08:16.809
Audio shared by Jerry Corley: Just little pieces by the time I got in there.

532
01:08:18.040 --> 01:08:22.549
Audio shared by Jerry Corley: And then last year, I go, did you ever kill anybody? And he goes, there's no better feeling than killing the enemy.

533
01:08:25.810 --> 01:08:27.210
Audio shared by Jerry Corley: Whoa.

534
01:08:28.319 --> 01:08:29.260
Audio shared by Jerry Corley: I can remember…

535
01:08:29.350 --> 01:08:33.829
Jerry Corley: So, in that final escalation, that got the applause. Hear that?

536
01:08:34.560 --> 01:08:42.529
Jerry Corley: And that was, like, he did a three-way build-up, then he goes into a little bit of an act-out, and then he tops it by going, and then last year.

537
01:08:43.830 --> 01:08:59.609
Jerry Corley: Or just, you know, and then I just, you know, and then he makes it recent. And last year, I asked him, and he said, there's no better feeling than killing the enemy. Applause, right? So it, like, escalates. How far can it escalate, right? So there's a strategy to doing that build-up.

538
01:08:59.870 --> 01:09:05.429
Jerry Corley: And it's like, if he opened… if he started with that, there's no better feeling than killing the enemy.

539
01:09:05.880 --> 01:09:09.169
Jerry Corley: Then we're losing the momentum of the buildup.

540
01:09:09.270 --> 01:09:14.120
Jerry Corley: So the strategy of building… of making that piece work is very important, right?

541
01:09:14.120 --> 01:09:16.469
Kaz Okamoto: The audience waits for his reaction.

542
01:09:16.590 --> 01:09:23.060
Kaz Okamoto: Right? So when he raises his eyebrows, like, what the fuck? You know, that's what we're thinking.

543
01:09:23.350 --> 01:09:25.610
Kaz Okamoto: When he does that. I like that one.

544
01:09:25.830 --> 01:09:27.469
Jerry Corley: Yeah, that's a good one to learn from right there.

545
01:09:27.470 --> 01:09:28.300
Audio shared by Jerry Corley: Remember.

546
01:09:28.680 --> 01:09:39.419
Audio shared by Jerry Corley: The first time we ever talked about weed, because it was Christmas Day. That's why it stood out. I was 12 years old. I think my sister brought it up. She was like, I wanna smoke weed. And…

547
01:09:39.979 --> 01:09:51.460
Audio shared by Jerry Corley: My dad goes, you wanna know what I think of marijuana? And I was genuinely curious. I go, what, dad? He goes, I was at a party one time, and somebody pulled out a marijuana cigarette, and I said, I'm outta here.

548
01:09:53.220 --> 01:09:56.089
Audio shared by Jerry Corley: And I was like, "Cool story, nerd. You got any other ones?"

549
01:09:58.760 --> 01:10:17.430
Audio shared by Jerry Corley: And he goes, well, yeah, one time, I was in Vietnam, and some Viet Cong tried to sell my Marines marijuana. So I found him, and I picked him up by his throat, and I threw him on the ground, and I put my M16 in his face, and I said, if you ever come here again, I'll fucking kill you. And I go, do you have any stories in between those two stories?

550
01:10:18.550 --> 01:10:21.970
Audio shared by Jerry Corley: Jesus, it's Christmas, bro! Goddamn!

551
01:10:26.210 --> 01:10:30.940
Audio shared by Jerry Corley: Two years after that, there was a woodpecker fucking up our house.

552
01:10:31.680 --> 01:10:34.200
Audio shared by Jerry Corley: This will all make sense. And…

553
01:10:34.330 --> 01:10:34.930
Jerry Corley: I.

554
01:10:35.420 --> 01:10:57.209
Audio shared by Jerry Corley: Woodpeckers can really damage your house. I remember my dad paid a guy $500 to patch up that part of the house. A month later, the woodpecker returned. This time, my dad did not call the guy. He woke me up, his teenage son, on a Saturday morning. Picture you're dead asleep, and my dad whispering in your ear with his potent dad breath.

555
01:10:57.830 --> 01:11:02.300
Audio shared by Jerry Corley: He just whispers in my ear, dead asleep. He goes, I need you to shoot a bird.

556
01:11:04.180 --> 01:11:06.759
Audio shared by Jerry Corley: I just go, I don't do that.

557
01:11:07.430 --> 01:11:09.409
Audio shared by Jerry Corley: He goes, figure it out.

558
01:11:10.380 --> 01:11:13.140
Audio shared by Jerry Corley: So I said, "Okay, Lieutenant." And I got…

559
01:11:13.630 --> 01:11:21.170
Audio shared by Jerry Corley: An air rifle. I shot the woodpecker. I remember I shot it mid-peck, so it was going like…

560
01:11:22.350 --> 01:11:41.579
Audio shared by Jerry Corley: Landed in front of me, so much bigger up close. Really big, red feathers, distinct features. I was blown away. I bagged it up, I threw it away, and then I went over to my girlfriend's house. I started telling her family about it over lunch. I should mention, at the time, my girlfriend's family ran a wildlife conservation center, so…

561
01:11:41.970 --> 01:11:44.429
Audio shared by Jerry Corley: I didn't know my audience, but…

562
01:11:45.540 --> 01:11:54.590
Audio shared by Jerry Corley: I heard a few forks drop, and I look up, and her dad goes, oh my god, you killed a long-billed woodpecker. That's an endangered species.

563
01:11:54.960 --> 01:12:00.720
Audio shared by Jerry Corley: And I go, oh… I said, "My dad made me do it."

564
01:12:01.420 --> 01:12:06.320
Audio shared by Jerry Corley: And he goes, how does that make you feel, knowing that you did that? And I said…

565
01:12:06.440 --> 01:12:09.999
Audio shared by Jerry Corley: There's no better feeling than killing the enemy. Yeah, I was waiting for it.

566
01:12:11.100 --> 01:12:12.259
Audio shared by Jerry Corley: I love this.

567
01:12:13.620 --> 01:12:19.310
Audio shared by Jerry Corley: Those birds are extinct now. I did that I don't give a I'm crazy, so…

568
01:12:20.720 --> 01:12:30.879
Jerry Corley: That's wild, what a great story to escalate all the way to the callback. I knew when he had said, you know, no better feeling than killing the enemy.

569
01:12:31.030 --> 01:12:40.179
Jerry Corley: I was like, alright, that is… that's the… that's the piece that stands out. That's the line that's imprinted in our brain now. Is he gonna call this back?

570
01:12:40.900 --> 01:12:50.969
Jerry Corley: And so, in that… in that build-up, that's why people hate watching movies with me. Because the… when the camera focuses on something, nothing…

571
01:12:51.230 --> 01:12:52.810
Jerry Corley: Is in the frame.

572
01:12:53.320 --> 01:12:55.599
Jerry Corley: That is not intended to be in the frame.

573
01:12:56.080 --> 01:13:08.400
Jerry Corley: And if you know that as, you know, about watching movies or making movies, there's nothing that shows up in the frame that's not intended to be in the frame. Like, the thing of the woman's walking down the stairs into the basement.

574
01:13:09.250 --> 01:13:24.150
Jerry Corley: And the camera shows her, and then shows her feet as she's walking down the stairs, and she walks past the frame, past the stairs, and it stays focused on this fire engine, this little toy fire engine on the stairs.

575
01:13:24.280 --> 01:13:40.860
Jerry Corley: You know that fire engine is coming back. Somebody's gonna trip on that fire engine, right? So that's how we build stories and callbacks. It's like, we have that moment in there, and he may have discovered this later, or experimented with different things, because you know he also called back Lieutenant.

576
01:13:41.400 --> 01:13:44.460
Jerry Corley: Right? And it was a little more subtle. He goes, okay, Lieutenant.

577
01:13:44.630 --> 01:13:50.880
Jerry Corley: And then, like, what's surprising to me is the audience didn't abandon him.

578
01:13:51.580 --> 01:13:54.020
Jerry Corley: On killing an endangered animal.

579
01:13:54.600 --> 01:14:00.779
Jerry Corley: You know how sometimes that could happen, right? So in this case, because it was him against the family.

580
01:14:01.900 --> 01:14:24.110
Jerry Corley: See what I'm saying? It's like, if you look at the movie Pulp Fiction, in Pulp Fiction, there are two guys who become the heroes, in a way, and they're bad dudes. They're not good guys, they're bad dudes. But we laugh at them because their boss is more notorious than they are, so we understand the dilemma of having a really, you know.

581
01:14:24.110 --> 01:14:28.539
Jerry Corley: Domineering boss that is the, so we actually want them to.

582
01:14:28.590 --> 01:14:32.229
Jerry Corley: You know, beat the balls, but at the same time.

583
01:14:32.290 --> 01:14:42.210
Jerry Corley: They're… they're bad guys. Same thing with Goodfellas. When they're doing the story about Goodfellas, the movie Goodfellas, we get to see these gangsters, these mobsters. They're not good people.

584
01:14:42.770 --> 01:14:46.980
Jerry Corley: But, you know, we're still empathizing with their story.

585
01:14:47.060 --> 01:15:04.600
Jerry Corley: And their dilemma. So that's how, you know, in understanding how stories go, we can follow along and suspend our disbelief and root for them to win, even, you know, in their situation, despite the fact that they're not good people. So he's, like, his dad made him do it, but still.

586
01:15:06.300 --> 01:15:17.360
Jerry Corley: Imagine if you got, you know, that's a long-billed woodpecker. They're an endangered species. Like, oh, shit. And, like, he's a kid, he doesn't know what that means.

587
01:15:18.260 --> 01:15:23.380
Jerry Corley: Right? He doesn't know he just broke the law. Is that a misdemeanor or a felony, you know?

588
01:15:23.380 --> 01:15:42.130
Jerry Corley: and killing an endangered species. Imagine, like, what that could be… what that could turn out to be. And I wonder what, you know, if that went any further than that, or if that's just the story. So that's one example of taking it apart. What did you grab from that, watching that video? Anything stand out to you, as far as from the writing perspective?

589
01:15:45.360 --> 01:16:00.270
Jerry Corley: with the use of metaphor, which we learned, comedic irony, which I think we learned, escalating, three-way build-ups, and then once you hit that three-way build-up, you get the laugh on the three-way build-up, then he took it to the act-out.

590
01:16:00.280 --> 01:16:09.709
Jerry Corley: and escalate it even further in a tag or a topper, right? So, that's like knowing, get the laugh on the 3-way buildup, but I can still extend that to 4.

591
01:16:09.830 --> 01:16:14.439
Jerry Corley: But I'm gonna separate it and do it as an act-out, and then take it to the next level.

592
01:16:14.560 --> 01:16:19.049
Jerry Corley: So it's like, and it's all on one joke, one topic, one premise.

593
01:16:19.130 --> 01:16:43.039
Jerry Corley: So instead of just doing one joke and walking away from it, he continues with this one joke, and says it in multiple ways. So that's something I really want you to think about. Jim Gaffigan uses that technique a lot. Taking one joke, one premise, and then hitting it from, like, 5 different sides, with an act out, a reframe, then my grandma heard it, and then this is what happened. I remember I told my girlfriend, and she was like, man, this, and it's like.

594
01:16:43.040 --> 01:17:00.850
Jerry Corley: And it's like, and the whole time, I didn't know, but my kids were in the car, and or, you know, I forgot, but my kids were in the car, and they got to hear the whole story about how their dad bought… took weed off a dead guy, you know? And he reframes the story again, and then.

595
01:17:00.850 --> 01:17:12.410
Jerry Corley: You know, because when he's in the middle of the story, you know, he could easily… it's plausible that he could get lost in the story and forget the kids are there, and then all of a sudden, you know, you know, or the kid fell asleep in the story.

596
01:17:12.410 --> 01:17:36.990
Jerry Corley: And then as you tell the story again, maybe you tweak that part, and the kids fell asleep, and so I'm telling the story to my wife, and then and it's like, and then I'm like, you know, then just then I realized the kids woke up, and then I then then it hit me that I the kids just heard their dad tell a story to their mom about the time he got he took weed off a dead guy, right? And so that's like, oh shit, right now it escalates the the buildup of the story.

597
01:17:36.990 --> 01:17:38.320
Jerry Corley: Cliff.

598
01:17:38.910 --> 01:17:47.600
Cliff Spenger: Yeah, I was just gonna say that I thought it was a great piece, especially in the beginning, what we watched, the escalation. I really liked that. That was really great.

599
01:17:47.730 --> 01:18:00.989
Cliff Spenger: And also I was going to say that if you do many different takes on the same joke, different structures, if you come up with several different jokes that work, then you have a theme.

600
01:18:01.340 --> 01:18:02.889
Jerry Corley: Yeah, right, exactly.

601
01:18:02.890 --> 01:18:04.739
Cliff Spenger: A group of jokes about the same subject.

602
01:18:04.740 --> 01:18:24.040
Jerry Corley: Right, it's a bit now, it's a bit that's on the same theme, and it's like… and then he weaved it back around, you know, as he goes through all this stuff, and he weaved it back around to the weed thing, and the Christmas and, you know, the Christmas story in the weed, and how the dad looks at weed. I saw some guy light up a marijuana cigarette.

603
01:18:24.350 --> 01:18:37.579
Jerry Corley: that word choice is very important, because you got the old square saying, marijuana cigarette, right? And it's like, you know, it's like, okay, nerd, right? And it's like, and then, and then he's like.

604
01:18:37.810 --> 01:18:53.090
Jerry Corley: And, you know, and it's like, and then he tells that one time, one time, did it with, you know, one time, a Viet Cong was, like, trying to, like, sell weed to my, you know, to my men, and I grabbed him by the throat, and I put my M16 in his face.

605
01:18:53.140 --> 01:19:12.829
Jerry Corley: You know? And it's like, wow, do you got any other stories like that? Something in between that? Right? And then he goes into the killing the bird thing, the woodpecker killing the bird, and one thing he didn't, that what I… I was surprised, the logic would be, why is the woodpecker banging his beak on the wood of your house?

606
01:19:15.290 --> 01:19:17.139
Jerry Corley: Probably because there's termites.

607
01:19:17.860 --> 01:19:21.689
Jerry Corley: So, you just killed the alarm system.

608
01:19:21.920 --> 01:19:36.439
Jerry Corley: That's like, you know, you're like, tell me the story about how the… how the house had to then get, then get reconstructed because it was so damaged by termites, right? That's… that would be the logic my brain would go there, you know?

609
01:19:36.510 --> 01:19:50.919
Jerry Corley: You know, it's, like, interesting, because I know in my brain, if something like that was happening, my dad would go, you know, why is a woodpecker banging on the side of a house? Because that wood is dead. That wood's not alive. There's not, you know, there's bugs in there. So what kind of bugs would be in wood?

610
01:19:50.920 --> 01:20:05.509
Jerry Corley: termites. It's like, we might have termites, you know, but his dad was like, kill the bird, right? So you could see that how the different ways to look at that, if I was building a story like that, I would… that's where my logic would take me.

611
01:20:05.510 --> 01:20:22.060
Jerry Corley: in a totally different direction. So it's like, in… you know, so I think that's a pretty cool way to look at it. You see how you might think about it, how he thinks about it, and you… how your viewpoint would change the trajectory of that story. A different character, different trajectory. Pappy.

612
01:20:24.160 --> 01:20:43.639
Pappy: Yeah. What I thought was really interesting was the, I don't know if it's the, I'm not sure what made it funny, but the exaggeration, I'm gonna say, between the mild marijuana cigarette bit and the, and the gruesomeness of, you know, putting a gun in the guy's face.

613
01:20:43.880 --> 01:20:51.169
Pappy: And then turning that into funny, just by pointing out the vast difference between these two.

614
01:20:51.710 --> 01:20:52.060
Jerry Corley: Yeah.

615
01:20:53.150 --> 01:20:56.330
Jerry Corley: I'm glad you pointed that out, because the.

616
01:20:56.510 --> 01:20:59.639
Jerry Corley: Anytime you have a tension moment.

617
01:21:00.990 --> 01:21:06.570
Jerry Corley: Right. There's a, it's like, you know, I took it by the throat and I was like, and I put my M16 in his face.

618
01:21:07.150 --> 01:21:14.100
Jerry Corley: I said, if you ever do that again, I'm gonna blow your head off. Right? That's heavy tension right there, right? How do you escape?

619
01:21:15.430 --> 01:21:17.579
Jerry Corley: Attention. An aside.

620
01:21:18.470 --> 01:21:24.739
Jerry Corley: So he changes the… the emotion entirely. Hey, you got any stories that are in between that? It's Christmas!

621
01:21:25.570 --> 01:21:26.510
Jerry Corley: Right!

622
01:21:26.860 --> 01:21:39.489
Jerry Corley: And that little aside there of, you know, just sort of being frivolous about this intense moment, automatically the comedy's gonna be there, just because it's a release of tension. You know, in the comedy structures.

623
01:21:39.490 --> 01:21:48.050
Jerry Corley: Release, we don't focus enough time on, because release is one of your best friends. Like, where else does tension come into play? When you're bombing.

624
01:21:48.830 --> 01:21:51.110
Jerry Corley: you know you do one joke yeah go ahead Pappy.

625
01:21:51.110 --> 01:22:03.530
Pappy: Could you also… I was just thinking of the same moment. If you got rid of the marijuana cigarette part of it, and he just had this gruesome moment that his dad did about marijuana cigarettes in Vietnam.

626
01:22:03.650 --> 01:22:15.800
Pappy: It seemed like that might have been just as funny to go there and without the reference of the other story, he could just say, hey, you got any other, you know, you got any fairy tales or whatever, you know.

627
01:22:15.800 --> 01:22:16.500
Jerry Corley: Right, yeah.

628
01:22:16.500 --> 01:22:22.490
Pappy: So, and so the same tension release, but without the… the comparison, I guess, I don't know.

629
01:22:22.770 --> 01:22:36.589
Jerry Corley: Yeah, it's like, you get, you get to say, like, like, because there is, there is a comparison there, too, because it's like, is there anything else? Is there, hey, you have anything that's not maybe, you know, maybe, hey, Dad, it's like, Dad, do you got any…

630
01:22:36.840 --> 01:22:46.790
Jerry Corley: You know, it's like, do you get anything in between that and, you know, nearly murdering a guy? You know, it's like… it's like, really? So marijuana now deserves the death penalty?

631
01:22:46.790 --> 01:22:57.079
Jerry Corley: Yeah, when he's giving it to my men, you know? Do you have any lighter stories, Dad? Maybe a leprechaun is involved somewhere? Maybe a bunny? Can you do a story about a bunny? Oh yeah, I killed one once.

632
01:22:57.080 --> 01:23:12.469
Jerry Corley: You know, that kind of… it keeps going back and forth between… you can see the fun, you can… it's a tension story versus lighter story, you know, really fluffy, you know, story, you know? Anything… maybe anything involving some elves. It's Christmas, you know?

633
01:23:12.850 --> 01:23:21.179
Jerry Corley: So, you know, Elf on the Shelf, yeah, I've always wanted to shoot that fucker, you know? It's like that kind of thing, you'd always see that, how that plays out. Alright.

634
01:23:21.220 --> 01:23:39.490
Jerry Corley: Now we're at the bottom of the hour, so it's 1124. If we jump into something, we're gonna wind up right in the middle of our break, so let's take a quick screen break, and we're gonna come back, we're gonna look at another… the clip that got me interested in Tom Segura in the first place, and then we'll.

635
01:23:39.490 --> 01:23:45.460
Jerry Corley: And then we'll, we've got some writing exercise set up in addition to what we just did. Kaz, did you have a question?

636
01:23:46.470 --> 01:23:47.650
Jerry Corley: We're gonna take a… we're gonna take.

637
01:23:47.650 --> 01:23:51.889
Kaz Okamoto: No, I heard it all. I had to do something, so I put my headset in, so…

638
01:23:51.890 --> 01:23:52.710
Jerry Corley: Okay.

639
01:23:53.080 --> 01:23:53.480
Kaz Okamoto: So.

640
01:23:53.480 --> 01:23:56.110
Jerry Corley: Well, screen break, 10 minutes, we'll see you guys in 10.

641
01:40:01.280 --> 01:40:04.530
Kaz Okamoto: Hey Pappy, I want to answer your question.

642
01:40:06.060 --> 01:40:08.189
Kaz Okamoto: On speaker, yeah, it was great!

643
01:40:09.320 --> 01:40:10.770
Kaz Okamoto: Very interesting.

644
01:40:12.520 --> 01:40:22.580
Kaz Okamoto: There's a lot. So Pappy's question was, did I enjoy the World Series of Comedy? And yeah, I was able to go up as an alternate.

645
01:40:25.610 --> 01:40:26.900
Pappy: How much time did you do?

646
01:40:27.820 --> 01:40:29.160
Kaz Okamoto: 4 minutes.

647
01:40:29.830 --> 01:40:31.019
Kaz Okamoto: And I bombed.

648
01:40:31.160 --> 01:40:34.760
Kaz Okamoto: And then the next night I went to an open mic with a bunch of people.

649
01:40:35.040 --> 01:40:38.059
Kaz Okamoto: And that one, five minutes, I bombed there too.

650
01:40:38.390 --> 01:40:39.740
Cliff Spenger: Okay.

651
01:40:39.740 --> 01:40:55.199
Kaz Okamoto: People told me I did good, but man, it felt bad. It really felt like, oh, what the fuck? Why did I come? You know, that kind of thing. And but the people that you meet and the mingling, and Jerry was the host of the midnight show on Wednesday, and…

652
01:40:55.720 --> 01:41:08.800
Kaz Okamoto: That was a tough one for me to, like, stay up to midnight, and the show went for 2 hours. It's like, oh, God, I should just kill myself now, because I usually am asleep by 11 nowadays, and.

653
01:41:08.970 --> 01:41:10.310
Pappy: 11 too late for me.

654
01:41:10.440 --> 01:41:15.180
Kaz Okamoto: Yeah, but that, I mean, it's… Cause…

655
01:41:15.520 --> 01:41:21.329
Kaz Okamoto: I turned 70 in May. Everything is loud. All these guys are loud.

656
01:41:21.370 --> 01:41:37.359
Kaz Okamoto: And it's 95% men and 5% women, and these guys are loud, and they all think they're funny, and they're all… I mean, it was a lot, you know? And, there's some people that I knew that lived in Vegas that were here, and other people that.

657
01:41:38.580 --> 01:41:41.900
Kaz Okamoto: I do a standing once a month at Comedy Chateau.

658
01:41:42.120 --> 01:41:44.070
Kaz Okamoto: And people that perform there.

659
01:41:44.070 --> 01:41:45.640
Pappy: Wait, you do a what?

660
01:41:45.950 --> 01:41:46.310
Kaz Okamoto: Dan.

661
01:41:46.310 --> 01:41:46.810
Pappy: one.

662
01:41:47.080 --> 01:41:50.649
Kaz Okamoto: Standing gig at the Comedy Chateau in North Hollywood.

663
01:41:50.650 --> 01:41:52.219
Pappy: What's a standing gig?

664
01:41:52.220 --> 01:41:56.369
Kaz Okamoto: Well, it means I get to go once a month. I can pick whatever day Saturday.

665
01:41:56.370 --> 01:41:57.090
Pappy: Cool.

666
01:41:57.530 --> 01:41:58.990
Cliff Spenger: And,

667
01:41:59.800 --> 01:42:09.770
Kaz Okamoto: And so a lot of those, the people that I saw at the World Series of Comedy that I knew were from that, also from Flappers, which is a club in Burbank, and

668
01:42:11.650 --> 01:42:15.629
Kaz Okamoto: Bookers, club owners, agents.

669
01:42:16.000 --> 01:42:34.989
Kaz Okamoto: they talked… the seminars were the best. Cruise… about cruises, and doing corporate gigs, and, you know, stuff that Jerry's talked about before, like, it was an a la carte class. And then, Jerry did that seminar on, joke structure, and a lot of people never even

670
01:42:34.990 --> 01:42:43.430
Kaz Okamoto: There's, like, structure and so… and then, here's me. Yeah, go on Jerry's website, and you can order the DNA of comedy.

671
01:42:43.430 --> 01:43:00.000
Kaz Okamoto: And you can download a 500 page booklet. No hype. And, you know, you could do that. And, you know, if you ask him, and if you ask him, hey. I really can't afford it. He might give you a discount. You never know. So I pushed start. Hi, Jerry.

672
01:43:00.000 --> 01:43:07.320
Jerry Corley: Yeah, I'm giving everybody a huge discount. Everybody, always at the World Series of Comedy, I drop it down to 27 bucks.

673
01:43:08.430 --> 01:43:17.920
Kaz Okamoto: Oh, man, you should have told me, I would have just gone out and told everybody. Because there were some people that said, you know him? I go, yeah, he's, my, you know, teacher, he's my…

674
01:43:18.080 --> 01:43:31.279
Kaz Okamoto: He's the doctor. But anyway, and so, hey, I didn't get a chance to talk to him because I was volunteering, and I want to, get a copy of the PowerPoint, so there's a couple people that gave me their information that I have to.

675
01:43:31.280 --> 01:43:35.039
Jerry Corley: Yeah, definitely. Get it to me after and I'll I'll send it to him. Yeah.

676
01:43:35.040 --> 01:43:42.860
Kaz Okamoto: People were really fascinated. They said there was so much information that you gave in that lecture. Their heads were spinning like what?

677
01:43:42.860 --> 01:43:47.849
Jerry Corley: I fire hose them. And the reason I fire hose them is so they can come back to me for clarity.

678
01:43:48.040 --> 01:43:55.700
Jerry Corley: And that's like, first bump's on me, and now they need more, right? And it's like… and what it also says to them.

679
01:43:56.230 --> 01:44:15.069
Jerry Corley: I know what the fuck I'm talking about. I've been doing this for 35 years, and I'm one of the few people, like, George Carlin was the one who sent me on this path. He said, really get down and investigate why this works. Now, if you can even get to the point of why people laugh, and you can answer that question, that's gonna be brilliant.

680
01:44:15.070 --> 01:44:21.050
Jerry Corley: Right? And it's like, because he said, label, find the patterns that seem to be repeated in comedy.

681
01:44:21.420 --> 01:44:39.670
Jerry Corley: Find those patterns and label them. Give them a name. That way, they're teachable. And so that's what started me on the approach. Plus, I found Melvin Hellitzer, who wrote the book Comedy Writing Secrets. Now, he's a journalism professor, and so… and he did some labeling, so I kind of, like.

682
01:44:40.100 --> 01:45:02.970
Jerry Corley: took his core labeling devices, and I added some of my own based on my experience doing stand-up. He doesn't do stand-up, he's a journalism guy, but he is a teacher, and he knows how to frame it for teaching, so it's a great book to get if you can get past his hokey jokes, right? And you just, like, you get what he's doing with the joke.

683
01:45:02.970 --> 01:45:12.949
Jerry Corley: And so you can learn from it a lot. That was the first book I got that really was like opened it up for me was Comedy Writing Secrets by Melvin Helitzer. And then I just expanded from there.

684
01:45:12.950 --> 01:45:21.620
Jerry Corley: and took the investigation further to the science of laughter and how it all works. Like, what triggers the laughter?

685
01:45:22.060 --> 01:45:28.419
Jerry Corley: what, you know, what is… what's the stimuli, and then how to trigger it. And now, once you have those tools, they're like, holy shit.

686
01:45:28.780 --> 01:45:29.790
Jerry Corley: And it basically…

687
01:45:29.790 --> 01:45:39.100
Kaz Okamoto: I told people that if you can, like, look at your set, here's you talking, and transcribe it, and then…

688
01:45:39.610 --> 01:45:47.179
Kaz Okamoto: Deconstruct your joke, right, and break it down to see what it is, then you can reconstruct it.

689
01:45:47.370 --> 01:45:52.580
Kaz Okamoto: And use that formula to reconstruct other things to make it funnier.

690
01:45:52.580 --> 01:45:56.329
Jerry Corley: To get more laps, yeah, definitely. And still have it make sense and make.

691
01:45:56.330 --> 01:45:56.870
Kaz Okamoto: not.

692
01:45:56.870 --> 01:45:57.670
Jerry Corley: sound.

693
01:45:57.670 --> 01:45:58.909
Kaz Okamoto: Know how to explain it.

694
01:45:58.910 --> 01:46:11.190
Jerry Corley: Make it not sound like it's, like, contrived, make it sound like it's spontaneous. Like, people say, well, I think sometimes using structure makes it sound contrived. And I was like, well, that's on you.

695
01:46:12.240 --> 01:46:23.200
Jerry Corley: You know, because if you take a script, if you take a script, and you look at that script, it's all contrived. But you get an actor that takes those words and makes them come alive. Is Tom Hanks contrived?

696
01:46:23.880 --> 01:46:34.580
Jerry Corley: Right? Is Jack Nicholson contrived? You know? You know, it's like, no, because they're driving it through emotion and making the words come off the top of their heads. That's the craft.

697
01:46:34.950 --> 01:46:35.510
Kaz Okamoto: Yeah.

698
01:46:35.510 --> 01:46:41.769
Jerry Corley: You know, so if it sounds contrived, you're not spending enough time with the craft of making it sound spontaneous, right?

699
01:46:41.770 --> 01:46:43.460
Kaz Okamoto: You have a workshop coming up.

700
01:46:43.940 --> 01:46:47.019
Jerry Corley: I got the two-day workshop in Vegas coming up November 7th and 8th.

701
01:46:47.020 --> 01:46:54.479
Kaz Okamoto: I wish you had some kind of whatever advertisement because then I I would have been there pushing that one for you for because there's a lot.

702
01:46:54.480 --> 01:46:59.489
Jerry Corley: No, that was in the, that's gonna be in the slideshow that they get, too.

703
01:46:59.490 --> 01:47:00.310
Kaz Okamoto: Oh, good, okay.

704
01:47:00.310 --> 01:47:24.500
Jerry Corley: So it'll be in there, so they'll be able to go through, oh, wait, there's this happening. And also on the landing page for the big sale I just did for the groups of 10 How to Write Likes, at the top is a little banner, and so a couple of people have already bought into coming to that workshop, so it's like, that's one of the, I think, one of the best workshops, is the two-day immersion into comedy.

705
01:47:24.500 --> 01:47:47.849
Jerry Corley: There's so much learning that happens. They get to apply it right there in the class. We do it as a writer's room, so everybody gets to experience the individual energy of one another, and we learn, and then even we eat lunch in there, just like you would in a writer's room. Like, we have a deadline, we have to get the script done, we're all in there, and so we talk, and we do the exercises, we write jokes, we say them out loud.

706
01:47:47.850 --> 01:48:06.170
Jerry Corley: And you get the laughs, and if we have enough time, I usually do, the 2-minute speed drill at the end, where each comedian gets to get on the stage at the mic and do 2 minutes. And, to see how some of their stuff works, or see what an existing joke they've had for a while that's not…

707
01:48:06.200 --> 01:48:22.610
Jerry Corley: hitting as much as they want it to hit, how we can fix it. So it's like, that all happens really quickly, but man, no better… and on top of that, because we're in Vegas, I got a guy who sets up a mic that we all go to, you know, on Saturday night, so it.

708
01:48:22.610 --> 01:48:24.330
Kaz Okamoto: When is it? November what?

709
01:48:24.330 --> 01:48:26.109
Jerry Corley: November 7th and 8th.

710
01:48:26.940 --> 01:48:30.130
Kaz Okamoto: Yeah. And then the following week, Kill Tony.

711
01:48:30.390 --> 01:48:32.549
Kaz Okamoto: It's gonna be in Vegas.

712
01:48:32.690 --> 01:48:39.570
Kaz Okamoto: And so, I'm planning on going to see if I can get on stage with a one-minute with my.

713
01:48:39.720 --> 01:48:41.540
Kaz Okamoto: Japanese German jokes.

714
01:48:41.540 --> 01:48:47.010
Jerry Corley: Well, we'll have to talk about that. We gotta give you some real, like, real, like, deadly.

715
01:48:47.220 --> 01:48:50.640
Jerry Corley: Crafty, edgy, dark… Jokes.

716
01:48:50.640 --> 01:48:52.359
Kaz Okamoto: I want to do my lampshade thing.

717
01:48:52.360 --> 01:48:57.140
Jerry Corley: Yeah, definitely. That would be good, I think, for Kill Tony. Okay, so…

718
01:48:57.160 --> 01:49:15.110
Jerry Corley: One of the things that, what I love about doing these… going in and looking at a comedian is during watching their work is the inspirations that occur that can help do a… create an isolation exercise to enhance a particular skill.

719
01:49:15.350 --> 01:49:37.409
Jerry Corley: And, one of the things I just, you know, so I designed a couple of exercises, but just watching it this time, we did that one with the, you know, three different ways to say, you know, did you have sex, right? So how do you say something without saying it? The other thing that I just got from this exercise is when you ask a profound question.

720
01:49:37.980 --> 01:49:39.509
Jerry Corley: Did you kill anybody?

721
01:49:40.300 --> 01:49:46.100
Jerry Corley: The response… Writing a response from 3 different character points of view.

722
01:49:47.450 --> 01:50:05.250
Jerry Corley: So, did you ever kill anybody? Now, not a lot of people, you know, you don't… not everybody's gone to war, right? So you can't say… ask everybody, hey, did you kill anybody? That would be really weird, when you go, like, so did you find everything you were looking for? Well, I have a question for you. Have you ever killed anybody?

723
01:50:05.820 --> 01:50:09.850
Jerry Corley: That'd be weird, right? Wouldn't it? And she's like, huh? That's weird.

724
01:50:10.040 --> 01:50:13.669
Jerry Corley: You know, no? Yeah? Yeah? Have you ever thought about it?

725
01:50:14.110 --> 01:50:17.070
Jerry Corley: No, really, have you ever thought of killing somebody?

726
01:50:17.540 --> 01:50:20.319
Jerry Corley: I think everybody's thought about killing somebody, haven't you?

727
01:50:22.780 --> 01:50:35.640
Jerry Corley: Security, right? You know, like, what would that… wouldn't that be weird if you went in through a, you know, just checking out, and have you ever killed anybody? You're at a strip club, you know, yeah, nice ass, so…

728
01:50:36.460 --> 01:50:55.960
Jerry Corley: Have you ever killed anybody? You know, just with this pussy, you know, it's just like, you know, you could almost hear that, that'd be a different take, right? So that, now, now, so we're gonna take, just a little example here, so I was writing it out during the break, and I put it on the exercise sheet, so let's take a look at…

729
01:50:56.830 --> 01:50:59.349
Jerry Corley: Take a look at it, see if,

730
01:51:00.380 --> 01:51:06.309
Jerry Corley: We're going to take it as an exercise and apply it, because it comes fresh off of that, that.

731
01:51:06.430 --> 01:51:07.669
Jerry Corley: Fresh off that…

732
01:51:07.670 --> 01:51:32.670
Jerry Corley: that video we just saw. So, one big question, three different characters. Choose a profound question, such as, did you kill anybody in the war? That one, you know, you don't have to ask, but that's still, now, once I said… I was gonna leave that off, then I go, well, wait a second, what if he has a rando that, you know? Like, it's totally unexpected, wouldn't that be weird? It's like, this guy I just coached, he's a

733
01:51:32.670 --> 01:51:35.220
Jerry Corley: 71 year old man in Australia.

734
01:51:35.430 --> 01:51:53.759
Jerry Corley: Funny as He, you know, he'd just been in comedy 5 months, and we had a field day, spending an hour on the, you know, punching up his set that he's gonna be doing at a competition, and I think he's gonna certainly, you know, be in the running for it, but

735
01:51:53.760 --> 01:52:10.119
Jerry Corley: he was just… he's got this… this, you know, strange, like, unique thing, very much like me. He says, you know, I… sometimes I'll go clothes shopping with my wife, you know, she wants to go clothes shopping, I go with her. He says, but if I'm bored, I'll start asking people if they need help.

736
01:52:10.610 --> 01:52:23.469
Jerry Corley: You know? I'll be… I'm there in my, you know, my shorts, a t-shirt, and flip-flops, and I'll be like, so, do you need some help finding something? Right? And they always look at me, and one lady was like, do you have this jacket at a larger size?

737
01:52:23.590 --> 01:52:42.769
Jerry Corley: And I was like, oh, nobody's ever said, you know, yes, I need help. So I was like, oh, you've got to talk to Fred in the back. He's got… he's got the larger sizes, you know? And there's no Fred back there, but I'm just pointing it out, and it's like, then I see my wife, I go, we gotta go, we gotta go, right? So in that sort of thing, she goes, why do you do that? Because it's fun!

738
01:52:43.130 --> 01:53:00.700
Jerry Corley: Nobody's living, everybody's just, like, I think… I'm 71, I don't know how much time I've got left, you know? I was like, I'm gonna have fun, right? And I was like, that's what I do, right? So it's like, it's being spontaneous and being without filters. So, in this case, I want you to take…

739
01:53:01.430 --> 01:53:04.179
Jerry Corley: One or three of these questions.

740
01:53:04.180 --> 01:53:22.240
Jerry Corley: Alright, as many as you can feel like you can handle, like, do you believe in God? That's a big question, right? And a lot of people have different answers, right? Are you pro-life, pro-choice? Should women decide what happens to their own bodies? Or, if you have a tough question.

741
01:53:23.340 --> 01:53:29.789
Jerry Corley: Do you think, you know, you know, it's like, what do you think of.

742
01:53:31.010 --> 01:53:36.969
Jerry Corley: You know, what's another hot button issue? You know, it's like, do you think.

743
01:53:37.940 --> 01:53:39.250
Stephen Berger: Immigration.

744
01:53:39.720 --> 01:53:43.590
Jerry Corley: Yeah, immigration. What about immigration? What's the question?

745
01:53:46.150 --> 01:53:52.450
Jerry Corley: Because that's a vast… that's a vague topic, right? So there's immigration. We have immigration in this country.

746
01:53:52.450 --> 01:54:08.380
Jerry Corley: Right? We've had immigration since the onset that this country was basically, you know, basically, I'm Native American, so all those motherfuckers are immigrants, right? So it's like, so you can take that angle, but I've, like, well, like, what is your… what are your thoughts on…

747
01:54:08.380 --> 01:54:27.949
Jerry Corley: immigration. You know, it's not… my thoughts don't matter. The Constitution says any citizen that comes on to… sets foot on this, puts their… plants their foot on this soil is entitled to a magistrate in a hearing to determine whether or not they, they can stay based on if they have, if they're being, you know.

748
01:54:29.380 --> 01:54:49.279
Jerry Corley: Or do they deserve amnesty based on the fact that they could be politically persecuted, maybe their lives are in danger in another country, and if the judge listens and determines yes, then they are legally allowed to stay in this country, right? The whole Statue of Liberty with the beacon and the torch, that's what this symbolizes, right? So it's like.

749
01:54:49.330 --> 01:55:07.640
Jerry Corley: But asking that question, yeah, like, now give us 3 different takes of who would… how that different responses would be. Like, so example question, like, do you believe in God? A politician? I believe that's a question best answered by… after the election.

750
01:55:07.970 --> 01:55:21.919
Jerry Corley: It's like, a 6-year-old, is he the one who tells Santa when I'm bad? Like, or a gambler, only when the last card turns over, right? So it's like, so I think there's, like, different… you see different approaches, 3 different people.

751
01:55:22.050 --> 01:55:41.380
Jerry Corley: Right? You can come up with your own characters. I chose these specific characters. Like, first of all, when there's a bit that Segura does about a 5-year-old or a 6-year-old, that's where that guy came from, that 6-year-old. A gambler, you know, because we were just in Vegas, and a politician, because the election is coming up.

752
01:55:41.380 --> 01:55:48.250
Jerry Corley: So… So, and I just put this answer in, so I want you to take… One of these questions.

753
01:55:49.840 --> 01:55:56.700
Jerry Corley: Or… Like, I think Steve came up with his own. What about… what do you think about immigration?

754
01:55:56.740 --> 01:56:15.700
Jerry Corley: Which is a great… I think the vagueness of it might actually be more powerful than talking about, you know, illegal immigration. Like, immigration, it's such a vast subject. Somebody's gonna go right to, I think the illegals need to be thrown out, you know? It's like, you know, I think everybody has a right to freedom, you know? It's like, so it's like…

755
01:56:15.820 --> 01:56:20.020
Jerry Corley: So, take us down the 3 different, answers that you could come up with.

756
01:56:20.390 --> 01:56:22.699
Jerry Corley: Does anybody have any questions on this exercise?

757
01:56:25.010 --> 01:56:27.079
Jerry Corley: You ready to go? Okay, 10 minutes.

758
01:56:28.410 --> 01:56:31.030
Jerry Corley: And we'll see you guys in 10.

759
02:06:18.000 --> 02:06:23.319
Jerry Corley: All right, we are back, and let's see what we came up with, how many people,

760
02:06:23.440 --> 02:06:31.740
Jerry Corley: We're able to come up with something. I'm going to unshare this for a moment so I can look at your faces. What do we got, Cliff?

761
02:06:33.750 --> 02:06:46.780
Cliff Spenger: Well, the the one that's, are you pro life or pro choice? The politician says, Oh, I'm I'm pro both. I'm pro in fact, I'm so pro I'm pro pros.

762
02:06:48.570 --> 02:06:49.130
Cliff Spenger: Okay.

763
02:06:49.670 --> 02:06:54.670
Jerry Corley: Yeah, so this… so I'm pro-prose, so this answer might be long.

764
02:06:54.670 --> 02:06:55.869
Cliff Spenger: Yeah. You know, might be.

765
02:06:55.870 --> 02:06:58.319
Jerry Corley: This might be a long answer.

766
02:06:58.320 --> 02:07:00.950
Cliff Spenger: The combat veteran.

767
02:07:01.940 --> 02:07:04.220
Cliff Spenger: Says.

768
02:07:06.370 --> 02:07:11.169
Cliff Spenger: Oh, I'm lost, because I did a couple of them. Oh…

769
02:07:12.490 --> 02:07:23.179
Cliff Spenger: Well, this one is similar to the body one, and I did the body one last. Should a woman be. I'll just do the body one first, and then maybe it'll get out of my brain.

770
02:07:23.630 --> 02:07:29.470
Cliff Spenger: Should a woman be have have dominion over her own body?

771
02:07:29.660 --> 02:07:41.580
Cliff Spenger: or be in charge of her own body? And the politician says, and politician and the combat veteran both say, sure, as long as she uses that body to get me a beer. And then six year old says.

772
02:07:41.930 --> 02:07:42.460
Jerry Corley: True.

773
02:07:42.460 --> 02:07:57.910
Cliff Spenger: As long as she uses that body to get me some chocolate, which brings me back to the pro-choice, the politicians pro-pros, the six-year-old that's pro-chocolate, and the combat veteran is…

774
02:08:00.520 --> 02:08:02.739
Cliff Spenger: I think he doesn't… he…

775
02:08:02.920 --> 02:08:14.700
Cliff Spenger: I again, I was looking at the one about, do you believe in God? And I actually, I got mixed up because I don't have paper. I'm just doing all this in my.

776
02:08:14.700 --> 02:08:15.960
Jerry Corley: Right, yeah, yeah.

777
02:08:15.960 --> 02:08:18.560
Cliff Spenger: That'll be all I… that'll be all for me.

778
02:08:18.560 --> 02:08:28.349
Jerry Corley: It's easy to get lost, especially in a new example, because it is. It's not simple. It's not one-word answers.

779
02:08:28.490 --> 02:08:31.779
Jerry Corley: So it's like, you kept track pretty well, considering.

780
02:08:32.730 --> 02:08:43.180
Jerry Corley: Alright, Kaz, what do you got? But I like that, I like some of that, the answer, get me a beer, as long as she uses that body to get me a beer. That's a funny response.

781
02:08:43.180 --> 02:08:43.890
Cliff Spenger: Okay.

782
02:08:43.890 --> 02:08:48.929
Kaz Okamoto: So once again, I have a headache because I have to think really fast.

783
02:08:48.980 --> 02:08:49.920
Jerry Corley: Great.

784
02:08:49.920 --> 02:09:05.569
Kaz Okamoto: But I was looking at these and thinking, what can I put in that the answer is the same for all three things, a politician, a 6-year-old, and a gambler. So my question was, do you pray? And the answer is.

785
02:09:05.570 --> 02:09:05.990
Cliff Spenger: Oh.

786
02:09:05.990 --> 02:09:07.549
Kaz Okamoto: Only when I'm in trouble.

787
02:09:07.550 --> 02:09:09.100
Jerry Corley: And then.

788
02:09:09.100 --> 02:09:14.349
Kaz Okamoto: you know, only when I'm in trouble for the situation. And then I put in other things, like, only when…

789
02:09:17.410 --> 02:09:18.350
Kaz Okamoto: Absolutely.

790
02:09:18.690 --> 02:09:19.370
Kaz Okamoto: Oh.

791
02:09:19.940 --> 02:09:22.280
Kaz Okamoto: Do you pray,

792
02:09:22.890 --> 02:09:31.339
Kaz Okamoto: Shit, don't… don't let the voters know that I lied. Don't let the government know that I cheated them.

793
02:09:31.630 --> 02:09:45.549
Kaz Okamoto: Then the 6-year-old, you know, do you pray? Please don't let my parents know I lied. Please don't let my teacher know I cheated. Please don't let my brother know I stole his money. And the gambler, only when I'm waiting for that card.

794
02:09:45.810 --> 02:09:56.249
Kaz Okamoto: I pray. Yeah, only one. But I was trying to think of something that, for some reason, that would be the same answer for all those three things, people.

795
02:09:56.490 --> 02:10:14.779
Jerry Corley: Well, that's an interesting look. Yeah, it reminds me of that, that example they showed an actor's face, and they gave 3 different scenarios that he was responding to, and when they explain the scenarios and play the music underneath, right, for each different emotional expression.

796
02:10:14.890 --> 02:10:20.770
Jerry Corley: You were fascinated to find out at the end that the expression was exactly the same.

797
02:10:21.670 --> 02:10:34.740
Jerry Corley: So it's like we decide what's behind that actor's eyes, you know, almost like, you know, so many actors try to indicate something and you don't have to. It's all behind the eyes, but we can see it, right? So given the, given the context.

798
02:10:34.740 --> 02:10:40.050
Kaz Okamoto: And I was thinking about what you said before, the example you said about immigration.

799
02:10:40.410 --> 02:10:45.829
Kaz Okamoto: You know, and all I could think about was, yeah, I'm all for it, as long as they don't move into my neighborhood.

800
02:10:46.000 --> 02:10:52.640
Jerry Corley: Yeah. What do you think about, affordable housing? Oh, that's fine, as long as it's not my neighborhood.

801
02:10:54.130 --> 02:10:59.850
Jerry Corley: You know, oh, we got affordable housing, it's under the overpass, it's called tents, right?

802
02:10:59.850 --> 02:11:16.199
Jerry Corley: Right? So it's like, you have that, that's a funny response. It's frivolous, and it's… and then there's, you know, what do you think about affordable housing? I said, what do you mean by affordable? The place across the street from me was listed at $1.2 million, it sold for $3 million. Is that affordable?

803
02:11:16.590 --> 02:11:20.760
Jerry Corley: You know? It's that, who can afford that? Not regular people.

804
02:11:21.480 --> 02:11:22.330
Jerry Corley: You know.

805
02:11:22.870 --> 02:11:46.039
Jerry Corley: So it's like, so in that case, like, the prices of real estate are just going… and the rent are going so high that people are getting priced out of their own homes. Like, you know, when they, like, people that live on a fixed income and Social Security, they can't afford to live these days. I mean, it's just, the pressure is so enormous.

806
02:11:46.040 --> 02:11:46.800
Jerry Corley: It's like, it's not…

807
02:11:46.800 --> 02:11:47.180
Kaz Okamoto: All.

808
02:11:47.180 --> 02:11:47.820
Jerry Corley: attainable.

809
02:11:47.820 --> 02:11:50.619
Kaz Okamoto: Fires, right? My friend was in Altadena.

810
02:11:51.280 --> 02:12:05.250
Kaz Okamoto: And, both her and her husband work pretty good jobs, and they said, Jesus, even, you know, they'll never give us back what the house was worth to build a new house, and it's just the way it goes, but what can you do?

811
02:12:05.800 --> 02:12:12.250
Jerry Corley: Yeah, so you get insurance, you pay it your whole life, and then at the end they say, we can't give you what the house is worth.

812
02:12:12.490 --> 02:12:13.110
Kaz Okamoto: Yeah.

813
02:12:13.290 --> 02:12:20.000
Jerry Corley: Right? And it's like, why are we paying for insurance? It's all a scam. Should have just taken that insurance money and invested in the stock market.

814
02:12:20.330 --> 02:12:36.820
Jerry Corley: And, you know, or in a, you know, mutual fund or whatever, you probably would have had more money in case something happened, but then again, it could have happened when the stock market was down. Right now, the stock market is still over $50,000. So, I mean, if you invested it back then, you'd probably, you know.

815
02:12:37.050 --> 02:12:38.140
Jerry Corley: Who knows?

816
02:12:38.390 --> 02:12:50.660
Jerry Corley: But that's crazy, that's such an interesting concept now. You're making me think, Kaz. I might be writing a bit on that, because it's an extension to my Eaton Canyon Palisades Fire bit that I do.

817
02:12:50.870 --> 02:12:58.949
Jerry Corley: And now there's, you know, so the victims are double-fucked, you know? They have insurance in their homes, but the insurance isn't gonna…

818
02:12:59.060 --> 02:13:04.069
Jerry Corley: Be able to pay, pay for a rebuild in that area for the same house?

819
02:13:04.400 --> 02:13:05.589
Jerry Corley: Not gonna happen.

820
02:13:06.040 --> 02:13:07.760
Jerry Corley: All right, Pappy, what do you got?

821
02:13:11.540 --> 02:13:26.070
Pappy: Unmute. Hey, Cuddy Forskin here out on the street asking the public questions. I see this looks like a Gen Z guy here and want to know, should euthanasia be illegal?

822
02:13:26.690 --> 02:13:31.170
Pappy: And, Gen Z said, That's just stupid!

823
02:13:31.340 --> 02:13:34.160
Pappy: I want to go backpacking in France.

824
02:13:37.380 --> 02:13:38.170
Pappy: Way too subtle.

825
02:13:40.570 --> 02:13:45.319
Pappy: All right, this gentleman here, what gen are you? I'm Gen X.

826
02:13:47.890 --> 02:13:50.069
Pappy: If you met my granddad.

827
02:13:50.330 --> 02:13:52.560
Pappy: You would want it to be legal.

828
02:13:53.120 --> 02:13:54.190
Pappy: Today!

829
02:13:57.110 --> 02:14:03.479
Pappy: And do I have any more here? Yeah, yeah, there's a Gen Alpha dude.

830
02:14:04.020 --> 02:14:09.070
Pappy: And would you want euthanasia to be illegal?

831
02:14:11.040 --> 02:14:17.400
Pappy: Gen Alpha's, no, I just couldn't do it.

832
02:14:18.570 --> 02:14:20.820
Pappy: but I wish my grandma would.

833
02:14:21.200 --> 02:14:26.669
Jerry Corley: Yeah, that's good, alright. And also, like, think about the wordplay there, euthanasia.

834
02:14:27.080 --> 02:14:31.720
Jerry Corley: It's like, you know, it's like, Kids are people, too.

835
02:14:33.120 --> 02:14:38.510
Jerry Corley: Right? So, it's like, what do you think about the euthanasia? I said, kids are people too, they should be allowed to live.

836
02:14:38.720 --> 02:14:41.690
Jerry Corley: Huh? Yeah, oh, the euthanasia? Yeah.

837
02:14:41.920 --> 02:14:45.699
Kaz Okamoto: But also, why only Asia? Why can't there be youth in Europe?

838
02:14:45.700 --> 02:14:47.050
Jerry Corley: Can't it be used in Europe?

839
02:14:47.050 --> 02:14:56.120
Kaz Okamoto: Yeah. And then a friends of mine had a band called Euthanasia. And so if you don't know what that euthanasia is, it's just like, is that a new band? You know that?

840
02:14:56.120 --> 02:15:00.460
Jerry Corley: Yeah, right. Yeah, euthanasia. Whoa, is that a new band? Can I get tickets?

841
02:15:00.550 --> 02:15:17.220
Jerry Corley: Right? So that's funny, too. That's good. That's a good interpretation of that. And it's a word with so many possibilities, too. And it is a heightened friction, right? It's like, do you believe in euthanasia? Well, I asked my grandpa, who's got stage 4, you know, bone cancer, he'd want it right now.

842
02:15:17.220 --> 02:15:22.940
Jerry Corley: You know, it's like, so in California, it's legal, and I think Oregon, it's legal. What other states is it legal?

843
02:15:23.310 --> 02:15:28.770
Jerry Corley: It's like, you'd move, you'd move my, you know, remember it was Oregon started it, right?

844
02:15:28.770 --> 02:15:30.779
Pappy: Used to be Michigan.

845
02:15:31.020 --> 02:15:31.640
Jerry Corley: Yeah.

846
02:15:32.640 --> 02:15:32.990
Pappy: Kavor.

847
02:15:32.990 --> 02:15:34.379
Jerry Corley: And then they made it illegal?

848
02:15:36.170 --> 02:15:38.629
Pappy: It wasn't legal. Kevorkian was doing it.

849
02:15:38.630 --> 02:15:53.360
Jerry Corley: Oh, yeah, Kevorkian was doing… then he moved to Portland or something like that, or whatever. Like, it's like, yeah, so it's like, you know, we can… it's like, we can put down a dog, we can put down a cat that's suffering, but humans?

850
02:15:53.620 --> 02:15:54.450
Jerry Corley: Nope.

851
02:15:54.670 --> 02:15:55.900
Jerry Corley: You gotta suffer.

852
02:15:56.280 --> 02:16:06.180
Jerry Corley: Right? It's like, wait a second, you know, like, yeah, you said you don't believe in hell, we're gonna make you go through it right now. Right? So it's like, for the next 6 months to a year, or whatever it is.

853
02:16:06.740 --> 02:16:17.680
Jerry Corley: So, that's why, like, you know, when my mom was dying of cancer, you know, she was at Motion Picture Television Hospital, and they did the next best thing, they just put her on morphine.

854
02:16:18.860 --> 02:16:31.089
Jerry Corley: you know, high levels of morphine, so she was almost in, like, a comatose situation, you know, as she was, like, as her body was giving up on her. But that was, you know, still hard, you know, it was like, come on, let's…

855
02:16:31.540 --> 02:16:34.800
Kaz Okamoto: And she couldn't even enjoy the drug. That's the hard part, Jerry.

856
02:16:34.809 --> 02:16:36.449
Jerry Corley: That is the hardest part.

857
02:16:36.450 --> 02:16:37.329
Kaz Okamoto: Fucked up.

858
02:16:37.330 --> 02:16:37.829
Jerry Corley: Yeah, it's like.

859
02:16:37.830 --> 02:16:41.570
Pappy: They need a combination of LSD and morphine.

860
02:16:42.299 --> 02:16:44.229
Jerry Corley: Yeah, that's what they need.

861
02:16:44.549 --> 02:16:56.819
Jerry Corley: Exactly, you know, it was like, so it was like… and that's a good twist on that story, Kaz, it's like, you know, it was really hard for the family, fuck that, you know, she… I think the worst part is she didn't even get to enjoy the morphine.

862
02:16:57.479 --> 02:17:00.789
Jerry Corley: Right? That's the funny part. That's like…

863
02:17:00.929 --> 02:17:04.459
Jerry Corley: Have I been on morphine? I don't know, but I'm sure it's great.

864
02:17:05.629 --> 02:17:07.419
Jerry Corley: Jack Day, what do you got?

865
02:17:17.049 --> 02:17:18.020
Jack Day: Okay.

866
02:17:18.209 --> 02:17:19.349
Jack Day: I've done, can you?

867
02:17:19.559 --> 02:17:26.260
Jack Day: humorous, but I did come up with some things related to the opinion of illegal immigrants.

868
02:17:26.570 --> 02:17:30.209
Jack Day: That would be the opinion of the radical.

869
02:17:30.680 --> 02:17:39.649
Jack Day: Trump follower that if they're here illegal, ship them back. If they'll be killed from their own country, ship them to another country.

870
02:17:39.930 --> 02:17:49.870
Jack Day: And then the ESL teacher would emphasize that don't ask if they are here, help them to be productive.

871
02:17:50.100 --> 02:18:01.340
Jack Day: And then the child who came here as a child with his parents, and doesn't know his parents' language, then just, help him become a citizen.

872
02:18:02.129 --> 02:18:26.929
Jerry Corley: Nice, yeah, so the good… so there's 3 good takes on that. And it's like, that would actually be probably the politician's response, right? He'd give 3 takes, right? It's like, well, if I'm a… everybody's gonna have their own opinion on it, you know, if I'm a… if I'm a, you know, MAGA, I'm gonna be like, if you, if they're here illegally, ship them back, you know, if, if they're back in their own country.

873
02:18:26.929 --> 02:18:46.189
Jerry Corley: they're, they're, you know, they're not… their lives aren't threatened, then ship them to another country where their lives are threatened. Like, we're gonna make this fun, right? And it's like, so it's… so, and then, like, and then, like, you got the… the funny part for me is, like, when you've got the conservatives.

874
02:18:46.339 --> 02:18:48.589
Jerry Corley: Who are also Christian.

875
02:18:49.089 --> 02:18:54.459
Jerry Corley: Who are going to church every Sunday, and they're like, we gotta stop them people coming across the border.

876
02:18:54.559 --> 02:19:03.249
Jerry Corley: Right? It's like, well, wait a second, what happened to I am my brother's keeper, right? What happened to the Good Samaritan? Luke 10, 29 through 30? Well, you know, except when they're brown.

877
02:19:04.659 --> 02:19:19.409
Jerry Corley: You know, that kind of, like, exaggerated response. So, that was good. I like where you're going with that. And given time, you could probably find some escalation in there of how to take that, but you have 3 distinct, different approaches to one idea. And that's, like, that's as comedians.

878
02:19:19.889 --> 02:19:27.729
Jerry Corley: We've got to expand on that. We've got to practice our creativity, and this is what one… this is what, kind of, what this exercise does for us.

879
02:19:27.869 --> 02:19:30.019
Jerry Corley: Justin, what do you got?

880
02:19:37.520 --> 02:19:38.780
Justin Iphone (2): Alright, so…

881
02:19:39.650 --> 02:19:44.949
Justin Iphone (2): Should a woman decide what happens to their own body? Now I asked a group of people this question.

882
02:19:45.070 --> 02:19:51.379
Justin Iphone (2): The church lady said, absolutely not. God said the husband shall do what I please to his wife.

883
02:19:53.380 --> 02:19:54.549
Justin Iphone (2): Isn't that rape?

884
02:19:54.940 --> 02:19:55.940
Jerry Corley: laughs.

885
02:19:56.410 --> 02:19:58.030
Justin Iphone (2): Then I asked a politician.

886
02:19:58.170 --> 02:20:03.030
Justin Iphone (2): He said, absolutely. A woman, especially a young woman.

887
02:20:03.720 --> 02:20:07.690
Justin Iphone (2): Should decide that she's too young to have my kids. I mean, to have a kid.

888
02:20:12.390 --> 02:20:13.880
Justin Iphone (2): Then I asked my wife.

889
02:20:15.100 --> 02:20:17.839
Justin Iphone (2): And then I remember we're Christians, so it's my choice.

890
02:20:18.230 --> 02:20:35.969
Jerry Corley: Nice, nice job, I like that, that's funny. No, that's good. You get, again, 3 distinct possibilities, and you get the different takes on each. You know, God makes that decision, I like that one. And then there's, like, the politician, the young girl.

891
02:20:35.970 --> 02:20:41.829
Jerry Corley: I think, yeah, especially young girls, they should decide that, no, they're too young to have my baby, that baby.

892
02:20:42.170 --> 02:20:50.099
Jerry Corley: Right? It's like, good, I like that, where you went with that, that's a funny one. And it's like, and I like the fact that you went around and asked people.

893
02:20:50.440 --> 02:21:01.590
Jerry Corley: Right? So it's like, now it's like, it's not on you anymore, right? It's not… you're not saying it. You're asking people what they think. And that's like, that's a great way to tell that story and to get into it.

894
02:21:02.160 --> 02:21:04.100
Jerry Corley: And then somebody asked me.

895
02:21:05.380 --> 02:21:20.580
Jerry Corley: about that, and I was like, well, you know, and then you go in and tell the story, so you gave other takes right there, now it's you, so the onus is kind of off of you, it's not just a singular idea and a single perspective, you're giving multiple perspectives, and I think it's a fun way to approach it. Steve Berger, what do you got?

896
02:21:24.810 --> 02:21:28.989
Stephen Berger: So I used a couple questions with a couple different characters.

897
02:21:29.230 --> 02:21:30.100
Stephen Berger: Odd.

898
02:21:31.320 --> 02:21:33.219
Stephen Berger: Do you believe in the war?

899
02:21:33.750 --> 02:21:42.249
Stephen Berger: And my ex-wife said, No, but my lawyer sure did. Or did you kill anyone in the war? And my ex-wife said, No, but my lawyer sure did.

900
02:21:42.700 --> 02:21:43.540
Jerry Corley: Hehehehe.

901
02:21:45.050 --> 02:21:52.180
Stephen Berger: And then and then, I use the same character with one of the other questions. Do you believe in god? This is my ex wife.

902
02:21:52.520 --> 02:21:56.499
Stephen Berger: Sure do, became a strong believer after my divorce settlement.

903
02:22:00.780 --> 02:22:10.190
Jerry Corley: That's good. I like great, great response right there. That's a… that's a joke you could use right now. I mean, right now, because it does… it does pertain to you and your situation.

904
02:22:15.010 --> 02:22:22.250
Stephen Berger: And then, how do you feel about illegal immigration? That's the politician. Woohoo! More votes for me!

905
02:22:28.310 --> 02:22:30.039
Jerry Corley: Is that it? That's what you got?

906
02:22:30.040 --> 02:22:30.520
Stephen Berger: Yeah.

907
02:22:30.520 --> 02:22:44.049
Jerry Corley: Good, good work. I like that. Nice job. You know, who else? Anybody else have one they want to share? I think everybody… everybody did theirs, right? That's a good one. Alright, so let's move on to…

908
02:22:44.490 --> 02:23:03.519
Jerry Corley: This, we're gonna take a look at, another clip of Tom Segura. This particular clip is the reason, that I kinda, like, started liking Tom Segura in the first place, what turned me on to him in the first place, and it was, this, little clip right here.

909
02:23:04.350 --> 02:23:09.429
Jerry Corley: It's actually… it was, so we're gonna take a look at it from two different perspectives. First, we're gonna look at the short.

910
02:23:10.280 --> 02:23:25.800
Jerry Corley: It plays out the short. Then we're gonna look at the short with the context added to it. So, one… this is a neat little technique. A lot of people put shorts up, and it's just the moment that gets the laughter.

911
02:23:26.030 --> 02:23:40.909
Jerry Corley: And then, you look at the full piece, and you have the context, the setup, the game of the scene part of it, and how do you get into a piece, because a lot of people have a hard time figuring out how to get into a piece to intro

912
02:23:41.070 --> 02:23:44.960
Jerry Corley: the joke, if you will. So this particular thing, we'll take a look.

913
02:23:44.960 --> 02:23:46.459
Audio shared by Jerry Corley: It's when you go to a kid, you go like.

914
02:23:46.460 --> 02:23:47.170
Jerry Corley: Second?

915
02:23:47.770 --> 02:23:50.320
Jerry Corley: You guys, you can see that okay?

916
02:23:52.310 --> 02:23:53.599
Jerry Corley: Do you see the video?

917
02:23:54.180 --> 02:23:56.479
Jerry Corley: Yeah? Okay, good. All right.

918
02:23:56.480 --> 02:24:02.670
Audio shared by Jerry Corley: Hey, were you outside? And they go, yeah! And you're like, why don't you dial that back? That was crazy, okay?

919
02:24:03.010 --> 02:24:27.280
Audio shared by Jerry Corley: And then you ask one question like, how was that? And they go, I have, when Jeanette came by, she brought the yellow cup that she didn't want to kick the ball back. But I said, because Brian's cup is red, that if you don't have it now, then you don't have to bring the blue, because the blue one that Jane had was…

920
02:24:27.280 --> 02:24:38.220
Audio shared by Jerry Corley: with her. I said, if you don't have it, you can use mine now, but then… then next, it's my turn. You go, that was a great fucking story. Thank you.

921
02:24:43.930 --> 02:24:50.240
Jerry Corley: So he's getting the applause break right there, just on the sheer recognition of

922
02:24:50.240 --> 02:24:52.969
Jerry Corley: Us seeing a kid tell a story.

923
02:24:52.970 --> 02:25:10.949
Jerry Corley: Right? His… the story is just so, like, oh my god, I've seen that, and he sounds… and here's this big old guy right there, he sounds exactly like a 5-year-old would sound, and you see the 5-year-old, but you see Tom Segura at the same time. So that little paradoxical experience your brain's going through also creates a little tension.

924
02:25:10.950 --> 02:25:34.190
Jerry Corley: Because it's like, how do I solve this problem? He looks like a… he's sounding like a 5-year-old, he's a 5-year-old, but it is Tom Segura, and it's like… and he's doing it so well, that's exactly how a kid… when I saw that, I go, I gotta investigate this guy. That's funny shit. That bit, by the way, is one of the bits that made him famous, was that 5-year-old bit. So now we're gonna look at that same bit, and we're gonna see it in the context.

925
02:25:34.190 --> 02:25:36.380
Jerry Corley: of…

926
02:25:36.720 --> 02:25:45.470
Jerry Corley: him just setting it up. It's just, you'll see there's just a little bit of a setup before it that makes that, play out. So, let's see…

927
02:25:50.450 --> 02:25:52.020
Audio shared by Jerry Corley: All of us, when we were…

928
02:25:52.880 --> 02:25:58.319
Audio shared by Jerry Corley: All of us, when we were kids, and all kids now, for a certain period of time.

929
02:25:58.320 --> 02:26:13.440
Audio shared by Jerry Corley: the worst storytellers ever, okay? You don't know about editing information, enhancing things, keeping people's interest. So, every… look, you don't have to have a kid to know about this. Talk to any kid, a friend's kid, a niece, a nephew. It's when you go to a kid, you go like, hey,

930
02:26:14.200 --> 02:26:15.309
Jack Day: Can't see it.

931
02:26:15.830 --> 02:26:17.160
Jerry Corley: Oh, you can't see it? I'm sorry.

932
02:26:17.160 --> 02:26:23.590
Kaz Okamoto: No, it has, like, that great, like, hiding thing, and then the, hand down.

933
02:26:23.590 --> 02:26:26.360
Jerry Corley: Oh, I see, that's what's happening. Hold on.

934
02:26:32.370 --> 02:26:34.360
Jerry Corley: It went to the wrong one.

935
02:26:40.190 --> 02:26:41.190
Jerry Corley: There we go.

936
02:26:42.600 --> 02:26:47.060
Audio shared by Jerry Corley: When we were kids, and all kids now, for a certain period of time.

937
02:26:47.060 --> 02:27:04.460
Audio shared by Jerry Corley: the worst storytellers ever, okay? You don't know about editing information, enhancing things, keeping people's interest. So, every… look, you don't have to have a kid to know about this. Talk to any kid, a friend's kid, a niece, a nephew. It's when you go to a kid, you go like, hey, were you outside? And they go, yeah!

938
02:27:04.460 --> 02:27:07.149
Audio shared by Jerry Corley: And you're like, why don't you dial that back? That was crazy, okay?

939
02:27:07.920 --> 02:27:32.210
Audio shared by Jerry Corley: And then you ask one question, like, how was that? And they go, I have. When Jeanette came by, she brought the yellow cup that she didn't want to kick the ball back. But I said, because Brian's cup is red, that if you don't have it now, then you don't have to bring the blue. Because the blue one that Jane had was.

940
02:27:32.210 --> 02:27:43.030
Audio shared by Jerry Corley: With her. I said, if you don't have it, you can use mine now, but then next it's my turn. You go, that was a great fucking story. Thank you.

941
02:27:49.320 --> 02:27:51.290
Audio shared by Jerry Corley: Jesus.

942
02:27:53.050 --> 02:28:11.180
Audio shared by Jerry Corley: And then, kids accidentally tell their first good story. They don't mean to, it's an accident. That's why it leaves an impact. Because you go, were you at the park? And they go, yeah. And you go, how was that? And they go, I saw Uncle Jeff, he had a lady sitting on his lap.

943
02:28:11.490 --> 02:28:14.590
Audio shared by Jerry Corley: But it wasn't Aunt Maria. And you're like, what?

944
02:28:19.420 --> 02:28:24.130
Audio shared by Jerry Corley: And the kid's like, I've never seen that fucking face before!

945
02:28:24.540 --> 02:28:41.799
Audio shared by Jerry Corley: And you're like, that's a good story. Go find more stories like that. That's burned into your psyche. That's why you go to work, you see your coworker, you're like, hey, I got some juice. And they're like, is it gonna negatively impact somebody's life? Yeah.

946
02:28:42.020 --> 02:28:43.599
Audio shared by Jerry Corley: And they're like, fucking hooked us?

947
02:28:49.530 --> 02:29:05.569
Jerry Corley: Now, that's a funny bit, it's a funny way of looking at it. So he's basically, kind of, like, describing philosophically or psychologically, how people respond to good gossip stories. And why are we interested in gossip?

948
02:29:05.830 --> 02:29:13.070
Jerry Corley: Does anybody know? Psychologically, sociologically, why are we so keyed and wired to get gossip?

949
02:29:13.070 --> 02:29:14.680
Cliff Spenger: Superiority.

950
02:29:14.680 --> 02:29:28.749
Jerry Corley: Yes, superiority, definitely. Without a doubt. That's… you nailed it, Cliff. It's like, that's why the guy's like, he was almost like a drug. Well, hook us up! Right? Because we, if we hear somebody else is suffering.

951
02:29:28.770 --> 02:29:38.699
Jerry Corley: You know, and it's not having… and they're not dying, necessarily, but they're experiencing obstacles, or they got caught doing something they shouldn't be doing.

952
02:29:39.610 --> 02:29:54.720
Jerry Corley: no matter what our situation, we feel good about ourselves, right? So it's like, okay, I've done some shitty shit thing, but this guy, fuck him, right? So, and we're able to live through that.

953
02:29:55.200 --> 02:29:59.490
Jerry Corley: The other thing, sociologically, from an anthropological point of view.

954
02:30:00.610 --> 02:30:03.229
Jerry Corley: We survived through gossip.

955
02:30:03.230 --> 02:30:28.189
Jerry Corley: So during human evolution, we heard the other tribe is using, oh, they found fire. Really? What's this fire thing? Tell me more. You mean I can eat meat without dying? You know, let's hook it up. Let's, so we learn new things and we can get better. That's why people are riveted when they see new recipes. People are get, the fix it, how to things you get on YouTube. Oh, shit. That's really cool. I mean, I could clean the rust off of that by doing that.

956
02:30:28.190 --> 02:30:51.929
Jerry Corley: Oh, that's awesome. You know, the befores and afters, that kind of thing we're super interested in. You know, how to tell if a woman wants to be kissed, I gotta get that book, man. So all of those things, you think about telling stories when you're looking for topics sometimes, pick one of those topics that we can't, we need some new information.

957
02:30:51.930 --> 02:31:03.119
Jerry Corley: How do I how do I learn that? Where do I you know, that's a great point of view to tell the story from. Right? So, once he gets let you he gave you the key to telling stories.

958
02:31:03.190 --> 02:31:09.870
Jerry Corley: Like, what's the story that makes us feel better, makes us feel like we're superior? That's it. Somebody had their hand up. Steve, you still have your hand up?

959
02:31:10.200 --> 02:31:11.090
Stephen Berger: Oh, no.

960
02:31:11.090 --> 02:31:12.520
Jerry Corley: Somebody else had put their hand up.

961
02:31:12.520 --> 02:31:13.520
lina alva: I said…

962
02:31:14.030 --> 02:31:15.070
Jerry Corley: What do you, what do you got?

963
02:31:16.210 --> 02:31:19.340
lina alva: About the gossip. Why is it…

964
02:31:19.570 --> 02:31:21.530
lina alva: Why do we like it? Because…

965
02:31:21.890 --> 02:31:25.789
lina alva: Depending on where you get it from, depending on the source, it's funny.

966
02:31:27.330 --> 02:31:28.750
Jerry Corley: Yes, yeah.

967
02:31:28.750 --> 02:31:33.250
lina alva: It's humorous. And I mean, at least for me, and I know a lot of people did too.

968
02:31:35.450 --> 02:31:38.419
lina alva: A lot of gossip is told in a humorous way and it's

969
02:31:39.290 --> 02:31:41.700
lina alva: It's all about, like, how they tell it.

970
02:31:41.960 --> 02:31:44.019
Jerry Corley: So sometimes it makes us laugh, and all.

971
02:31:44.020 --> 02:31:44.350
lina alva: Yeah.

972
02:31:44.350 --> 02:31:53.069
Jerry Corley: There's that other hidden thing of like, you know, if it's at somebody else's demise, that's schadenfreude, right? We're getting the experience like that.

973
02:31:53.070 --> 02:32:09.320
lina alva: Yeah. And deep inside of us, I mean, like our shadow selves, like we hear the gossip about somebody who might, we feel might deserve it. So it's like, oh, it's, you know, divine, it's justice, you know? I don't know, maybe that's a little evil, but.

974
02:32:09.320 --> 02:32:20.269
Jerry Corley: No, that's… no, it's not evil, it's human nature, right? So it's like, remember something about Mary, that show, that movie? Yeah. With Ben Stiller, and that, what's her name, got.

975
02:32:20.270 --> 02:32:20.810
Kaz Okamoto: So.

976
02:32:20.810 --> 02:32:22.080
Jerry Corley: Cum in her hair.

977
02:32:22.490 --> 02:32:24.000
Kaz Okamoto: Was that Gwyneth Paltrow?

978
02:32:24.000 --> 02:32:26.580
Jerry Corley: I know it was, wasn't it?

979
02:32:26.580 --> 02:32:27.650
lina alva: Cameron Diaz.

980
02:32:27.650 --> 02:32:50.409
Jerry Corley: Cameron Diaz, yes, Cameron Diaz, got cum in her hair, and she, like, walks outside in public, and she's got cum in her hair, you know, and they were like, oh, you got a little schmutz in your hair, or whatever. We're laughing, we know what it's about, yet she didn't know what was there. And so, and we're imagining, oh my god, what would I do in that situation? Thank God that didn't happen to me.

981
02:32:50.410 --> 02:33:04.970
Jerry Corley: So it's like, you know, she's not dying, she didn't get, you know, get hit by a bus, right? Which, certain people, that might be funny, but in most cases, it's not. But it's like, but she's got, you know, she walks out, and she's got this on her head, you know.

982
02:33:04.970 --> 02:33:09.479
Jerry Corley: On her… on her… in her hair, that's funny, right? So if, like.

983
02:33:09.520 --> 02:33:20.700
Jerry Corley: When we see those things, and we can, like, oh, did you hear about so-and-so? Yeah, she showed up at work and cum in her hair. What? Tell me the story! Right? So, it's like, those types of stories, what…

984
02:33:21.170 --> 02:33:35.140
Jerry Corley: you know, what are those stories? If you go back in your life and find those stories, those real good stories, like, that's kind of like… that's what Tom Segura does, is he finds these moments and tells those stories. So I think, you know.

985
02:33:35.190 --> 02:33:45.240
Jerry Corley: That we all have funny stories in our lives that could, that we forget about until we really sit down and go through it and isolate them. Kaz, you have your hand up.

986
02:33:45.240 --> 02:33:48.209
Kaz Okamoto: Yeah, but also, I find…

987
02:33:48.330 --> 02:33:55.330
Kaz Okamoto: People love gossip because their lives are so fucking boring. They don't take a chance at anything, they don't…

988
02:33:55.330 --> 02:34:19.259
Kaz Okamoto: You know, they live vicariously through other people's adventures, so they want to hear. They don't, you know… like, I am always amazed when someone in my union local dies. What'd they die of? Oh, okay. So that's not, like, the first thing I think of when someone passes away. I think, like, oh, how sad for their family. You know, what'd they die of? How come you don't know what they died of? Because I don't ask that question.

989
02:34:19.520 --> 02:34:23.630
Kaz Okamoto: Right. They gotta know, they gotta know. What difference does it make?

990
02:34:24.140 --> 02:34:47.049
Jerry Corley: Yeah, yeah. Well, one of the reasons, like, you guys, especially if we know that person, what they die of, because you made some suppositions in the time you knew that person, like, like, like, oh shit, that guy's gotta lose some weight, you know? And it's like, or, you know, so we're like, we made… was I right? You know, that kind of thing, too. That could happen as well.

991
02:34:47.420 --> 02:35:01.100
Jerry Corley: Yeah, so that's funny. And now you're getting into the nitty-gritty of that story. That's a great premise now to talk about. Somebody talks about, you know, somebody dies in your, like, in your work group, and it's like, you're like, well, you know, the first thing people ask is what they die of.

992
02:35:01.100 --> 02:35:12.960
Jerry Corley: You know, now you have a different take, a different character, like we just did that exercise. Your character's like, I don't care what they died of, I'm feeling bad for their family. But the, you know, this other person's like, what'd they die of? I gotta know.

993
02:35:12.960 --> 02:35:25.389
Jerry Corley: You know? And it's like, because they want to, you know, why do they want to know that? Now, you could walk through that as a possibility, because I think everybody recognizes it, and that's where the laughter comes from, from those recognizable moments.

994
02:35:25.390 --> 02:35:35.459
Jerry Corley: Like, you know, just doing the voice of the 5-year-old, right? Telling a story. Everybody's laughing at just that moment. Let's continue with this little video, it's about 2 minutes more.

995
02:35:36.020 --> 02:35:48.470
Audio shared by Jerry Corley: I've spread so many fucking rumors. My favorite part about rumors, nobody verifies shit. Somebody says something once, and you're like, cool, I'll roll with that forever, thanks, man, like…

996
02:35:49.110 --> 02:35:57.069
Audio shared by Jerry Corley: They're like, "Are you gonna fact check that?" And you're like, "Wow, you said it out loud. I don't have to check anything out." It's now a fact, so whatever.

997
02:35:57.710 --> 02:36:16.880
Audio shared by Jerry Corley: It's really, it's a seed, right? It's a seed, you ever be a part of one that just grows? I remember years ago, I'm watching a movie with my dad, in the middle of the movie, the actor Tommy Lee Jones appears on screen. Great actor, Oscar winner, unprompted, my dad turns to me and he goes, did you know he was gay?

998
02:36:16.880 --> 02:36:18.530
Audio shared by Jerry Corley: And I was like, No.

999
02:36:22.460 --> 02:36:31.549
Audio shared by Jerry Corley: Now, it doesn't matter, and I don't care, but I decided I would tell everyone I ever met for the rest of my life.

1000
02:36:31.650 --> 02:36:42.400
Audio shared by Jerry Corley: that Tommy Lee Jones is gay. I told a lot of people. Like, from The Fugitive through No Country for Old Men, I told everybody.

1001
02:36:44.070 --> 02:36:55.010
Audio shared by Jerry Corley: Until one day I told somebody and he goes, "No, he isn't." And I was like, "Yeah, he is." And he goes, "How do you know that?" And I said, "My dad told me."

1002
02:36:56.930 --> 02:36:59.770
Audio shared by Jerry Corley: And he goes, "What, did your dad fuck him or something?"

1003
02:37:00.670 --> 02:37:02.420
Audio shared by Jerry Corley: And I was like, I don't think so.

1004
02:37:03.200 --> 02:37:12.549
Audio shared by Jerry Corley: And he goes, "I've known him 40 years. I know his wife and kids. I knew him when he was single. He is not gay." And I go, "What is happening right now?"

1005
02:37:13.820 --> 02:37:18.829
Audio shared by Jerry Corley: And I called my dad immediately, and I was like, Dad!

1006
02:37:19.930 --> 02:37:29.049
Audio shared by Jerry Corley: I just got confirmation that Tommy Lee Jones isn't gay. And my dad goes, oh, I thought he was.

1007
02:37:30.780 --> 02:37:34.290
Audio shared by Jerry Corley: Is that the end of your investigation? Are you fucking serious?

1008
02:37:34.680 --> 02:37:37.790
Audio shared by Jerry Corley: Why did you tell me that? I don't know.

1009
02:37:38.410 --> 02:37:41.650
Audio shared by Jerry Corley: I said, "Did somebody tell you?" He goes, "I can't remember."

1010
02:37:42.570 --> 02:37:52.990
Audio shared by Jerry Corley: I said, have you been telling everybody for 15 years that Tommy Lee Jones is gay? And he goes, yep. And I go, don't you think we should stop? And he goes, now we should.

1011
02:37:54.390 --> 02:38:16.649
Jerry Corley: All right, so that is a funny story. It's something we can recognize. I mean, wow, how many people have done that? And, in fact, the reason why I think his dad thought Tommy Lee Jones was gay, he was in a movie called True Confessions. Now, True Confessions, he played a, an ex-con.

1012
02:38:16.710 --> 02:38:26.109
Jerry Corley: And as the ex-con, he walked, you know, as an actor, he walked with short steps, because in prison, he was often an ankle…

1013
02:38:26.110 --> 02:38:43.570
Jerry Corley: Shane's, right? So, and also, his butt hurt, right? And while he was then making love with his girlfriend, or his wife, or whatever, after he hadn't seen her for 8 years, or whatever it is, he kept, you know, as they're making love, he keeps calling her buddy.

1014
02:38:45.290 --> 02:38:52.870
Jerry Corley: Oh yeah, buddy, that's… oh yeah, that… oh yeah, you feel so good, right? And it's like, and so, that was a gritty part of…

1015
02:38:53.130 --> 02:39:09.230
Jerry Corley: that movie, but it really kind of, like, he probably went, Tommy Lee Jones is gay, right? So, that could, like, maybe plant that seed, and where'd that seed come from that makes somebody make that decision to go ahead and say that? So, I think that's a fun…

1016
02:39:09.380 --> 02:39:10.320
Jerry Corley: Take…

1017
02:39:10.410 --> 02:39:22.010
Jerry Corley: if we've heard that kind of gossip before, I mean, I've heard it from a million different people that so-and-so is gay, or so-and-so is, you know, whatever, and it's like, they don't really have confirmation.

1018
02:39:22.010 --> 02:39:37.430
Jerry Corley: But they just have a feeling, right? And so, then they say it, and you go, oh, I heard it, so maybe it's gotta be true. And we get a piece of gossip, we're like, yeah, it's great if it's true, because that's gossip, and everybody loves to hear gossip. And this is all happening at a subconscious level. We don't…

1019
02:39:37.430 --> 02:39:44.009
Jerry Corley: You know, we're not going out to hurt anybody, but we're just like, oh man, I heard that piece of fact. Maybe I have a piece of information that somebody doesn't.

1020
02:39:44.220 --> 02:39:49.689
Jerry Corley: You know, and every time we have a piece of information that somebody doesn't, we want to share it with our friends so that they think we're smart.

1021
02:39:49.890 --> 02:39:52.729
Jerry Corley: Right? So, it's so true! Go ahead, Kaz!

1022
02:39:52.730 --> 02:39:57.339
Kaz Okamoto: Well, that's because he's such a great actor. You know, I,

1023
02:39:58.430 --> 02:40:02.260
Kaz Okamoto: I worked with Louise Fletcher on Star Trek.

1024
02:40:02.360 --> 02:40:19.919
Kaz Okamoto: And she told me after she won the Academy Award by playing Nurse Ratchet in One Flew Over the Cuckoo's Nest, she couldn't get a fucking job to save her life. Same with Jessica Walker. They thought they were those women were those… that was their character, because their acting was so good.

1025
02:40:20.040 --> 02:40:35.420
Kaz Okamoto: You know, and so it took them out of the market. I think it's bizarre because people believe it. They I mean, look, it they believe everything on social media, they believe everything on news channels, they believe every film they see, and you know, hey, it's all not real.

1026
02:40:35.420 --> 02:40:47.219
Kaz Okamoto: So, you know, I don't understand. Is it just people are ignorant, or do they want to live vicariously through others to, you know, because their life is so dull, or… I don't… I just don't get it.

1027
02:40:47.220 --> 02:40:55.459
Jerry Corley: See, that's you now doing a Tom Segura bit right now. It's like you're taking your time saying, why do we do it? And the whole thing, the audience is involved, involved.

1028
02:40:55.460 --> 02:41:14.150
Jerry Corley: in pontificating with you, right? So it's like, that kind of moment is like, they're not bored. They're hearing the story, they're going, oh yeah, I never thought about it that way, that's so true. And now you show an example, and then that example is where the punch comes from, right? So that the laugh comes from, you take them through that example, but it's philosophically.

1029
02:41:14.150 --> 02:41:16.310
Jerry Corley: You've escalated the bit

1030
02:41:16.470 --> 02:41:34.759
Jerry Corley: into a higher degree of comedy. It's no longer just a joke, it's now an entire philosophical concept that humans go through, and human nature, and it's, so we want to believe, and it's… if you come across on something on social media that fits your belief system or narrative.

1031
02:41:34.760 --> 02:41:39.379
Jerry Corley: Like, and you're like, Oh, this happened. Oh, yeah, yeah, fuck yeah. It's got to be true. And you.

1032
02:41:39.380 --> 02:41:40.070
Kaz Okamoto: Terrifying.

1033
02:41:40.260 --> 02:41:44.860
Jerry Corley: Attach yourself to it, and not take a moment to go fact-check that shit.

1034
02:41:45.270 --> 02:41:53.000
Jerry Corley: You know? And it's like, you know, because I remember one time I did that, I go, see, look, this is like… and then my brother-in-law was like, oh, this was…

1035
02:41:53.160 --> 02:41:57.380
Jerry Corley: This has proven false a long time ago, Jerry, and I felt like such a fool!

1036
02:41:58.030 --> 02:42:03.250
Jerry Corley: That I try, you know, now every time something shows up and I want to believe it, I go, I'm gonna go look this up.

1037
02:42:03.980 --> 02:42:14.269
Kaz Okamoto: Well, it's just like everyone thinks I'm a lesbian because I'm loud, I have short hair, I dress like a boy, and I've only had traditional male jobs, right?

1038
02:42:14.590 --> 02:42:32.119
Kaz Okamoto: And I don't, so… when people ask me, I go, no, I like to suck dick, honestly, I really do. Well, that means you're a guy, because that's what guys do. But it's just such a bizarre thing, you know? Like, I don't even want to buy a Subaru, because it would just enhance the…

1039
02:42:32.120 --> 02:42:32.830
Jerry Corley: I.

1040
02:42:32.830 --> 02:42:40.039
Kaz Okamoto: You know, that whole thing. But I drive a Tacoma truck that also puts me in that lesbian category. I just like kind of butcher.

1041
02:42:40.040 --> 02:42:41.190
Pappy: Great bit.

1042
02:42:41.190 --> 02:42:44.780
Jerry Corley: That's, you're doing a bit right now, Kaz. Yeah, exactly. Thanks.

1043
02:42:44.780 --> 02:42:45.160
Kaz Okamoto: the.

1044
02:42:45.160 --> 02:42:45.730
Jerry Corley: that out, Pat.

1045
02:42:45.730 --> 02:42:46.700
Kaz Okamoto: Happy.

1046
02:42:46.700 --> 02:42:53.629
Jerry Corley: Like you've been doing, you took, you've done that three times so far, just talking about a thing and it's like, oh, that's a bit, that's a bit, that's a bit, yeah.

1047
02:42:53.630 --> 02:43:12.739
Kaz Okamoto: But it's true, it's just our perception. You know, we profile people the moment we meet them. That first impression thing is really an astonishing thing. You know, the first time you meet someone, the first time they see you, or whatever. I find that's pretty interesting.

1048
02:43:13.200 --> 02:43:14.329
Kaz Okamoto: You know?

1049
02:43:14.330 --> 02:43:23.950
Jerry Corley: Yes, without a doubt, without a doubt, and I think that's, this… let's go into this last exercise I want to do.

1050
02:43:24.030 --> 02:43:32.409
Jerry Corley: Because we, you know, this PDF is loaded with, like, you know, different steps he uses to get to different points, so…

1051
02:43:32.410 --> 02:43:48.080
Jerry Corley: And in this particular exercise, I've got a couple of them. I'm gonna go from, let's see, tiny award, enormous risk. Let's go to this exercise, too, solution is worse than the problem. Because this is a con… this is irony right there, the solution is worse than the problem. It's like, we have.

1052
02:43:48.170 --> 02:43:57.109
Jerry Corley: We've… I think we've all encountered something like this. And it's like, so when you find it in your own life, there's, like, a definitely recognizable moment.

1053
02:43:57.480 --> 02:44:00.880
Jerry Corley: And, this is a fun piece to write from.

1054
02:44:01.160 --> 02:44:18.940
Jerry Corley: And, let's see. So, the solution is worse than a problem. Build an escalating sequence from human logic. Like, when he did the bird thing, the bird keeps damaging the house, and it's like, and so the solution his dad gave him was go kill the bird.

1055
02:44:18.950 --> 02:44:34.759
Jerry Corley: Right? So, and then it turns out the bird is an endangered species. You see how now the solution was worse than the original problem? Right? He just killed something and could be charged with a felony. So it's like, or I need to buy something before the store closes.

1056
02:44:34.760 --> 02:44:41.270
Jerry Corley: And it's like, you get to the store, and the, you know, there's some police activity.

1057
02:44:41.270 --> 02:45:04.039
Jerry Corley: So, you actually cross a police line to go into the store so you can buy the thing that you told your wife you would buy. In the meantime, you know, a bullet flies by your head, and you're almost, you know, kills somebody, or whatever it is, and now I'm a witness, and they keep me there for 4 hours, and I wind up getting home at midnight, and my wife doesn't believe the story. Like, that kind of thing could happen, too.

1058
02:45:04.470 --> 02:45:23.669
Jerry Corley: I remember one time, I decided to stay late in, at the studio, and I was working at the studio, my comedy studio back in the day, and, there was, so I walk out, it's like 2 o'clock in the morning, and I walk out, it's just me, I walk out there and

1059
02:45:23.670 --> 02:45:26.490
Jerry Corley: Boom! I'm fucking tackled by a cop!

1060
02:45:27.160 --> 02:45:37.580
Jerry Corley: Right into that little patch of grass that's right there, and I go down, and I don't know who this is. So I whip around and get this fucker in a headlock, and I start wailing on his head.

1061
02:45:38.150 --> 02:45:54.529
Jerry Corley: And then, then I realize it's a fucking cop. I go, shit, you're a cop! What the fuck? Right? And then, now, the next thing you know, it's like, I fit a description of somebody who basically was accused of sexually assaulting somebody right in the next street.

1062
02:45:54.530 --> 02:46:07.220
Jerry Corley: And it's like, I'm this, like… and so, we thought it was you, and it's like, I've been here since my, you know, since, like, you know, 6 o'clock today, you know? It's like, and they finally just, like, let me go, but I was scraped up.

1063
02:46:07.450 --> 02:46:13.890
Jerry Corley: I go, oh, this is gonna… this is gonna go… I'm talking to my lawyer, you fuckers. You didn't even verify, you just tackle me?

1064
02:46:14.040 --> 02:46:27.140
Jerry Corley: Yeah, so it was a crazy situation, you know? So, that's… that's like… so it's like, that's quite a story. So in that… in that situation, it's like, what… what… how could I rewrite that story

1065
02:46:27.260 --> 02:46:37.969
Jerry Corley: where it was like, I promised I was gonna be home, I was like, oh, I promised I'd go get the store, maybe you're buying somebody a gift, I promised I was gonna get a gift, see you, go to the store, all of a sudden, shit.

1066
02:46:37.970 --> 02:46:50.480
Jerry Corley: there's some police activity, I gotta find a way to get in that store, man. You've been getting in the store, and then all of a sudden, a moment happens, now you're a witness, now they're being interviewed by the cops, right? So now you're like… so it starts out.

1067
02:46:50.480 --> 02:47:04.120
Jerry Corley: Write 5 beats and basically start out the story. So when we listened, you notice how we stopped and we went through kind of the steps that Segura took with his storytelling. So I wrote down what wrote down what those steps are. The reasonable goal, I want to go do this.

1068
02:47:04.220 --> 02:47:18.909
Jerry Corley: Very simple, going to the store, right? The first questionable solution, right? And then a complication caused by that solution. A new demand placed on the main character, right? So it's like, the first questionable solution, oh my god, there's.

1069
02:47:18.920 --> 02:47:43.900
Jerry Corley: There's some police, the police, there's a it's a police presence, something's going on, some police activity. So you decided to just kind of go around it and go in the door into the store. So I didn't know that they had to, you know, it was a crime scene, or it's like there's a criminal activity happening right now, or an active shooter, and it's like you know, you they didn't see you walk in. That could happen. You go inside, next thing you know, all of a sudden there's a shot fired, and somebody goes down right next to you.

1070
02:47:43.900 --> 02:47:57.549
Jerry Corley: You're like, oh, shit, right? Now they… now you're a witness, and they want to interview you, so that solution is complicated. And it's like the new demand placed on the main character, and the moment… and it's like, now the original goal no longer seems worth it.

1071
02:47:57.970 --> 02:48:08.530
Jerry Corley: Because the wife doesn't believe that you were gone for 3 hours because you were… there was police activity at the target, right? So there could be something there. And then you read the beats aloud and see how that story maps out.

1072
02:48:08.740 --> 02:48:23.969
Jerry Corley: So it's like, next time you forget a, you know, next time you forget to get your wife a gift, you forget to get your wife a gift, just, just tell her, right? So, you know, so… so, example, in this case, I have.

1073
02:48:24.280 --> 02:48:47.470
Jerry Corley: So, a solution is worse than a problem. My phone battery is at 2%, and I need to show the parking attendant my digital ticket. Reasonable goal? Find an outlet, charge my phone for 2 minutes. Questionable solution? Ask the restaurant if I can plug it in behind their counter. Complication? They agree, but now they're slammed, and my phone is somewhere beside the register.

1074
02:48:47.470 --> 02:48:52.080
Jerry Corley: Right? New demand. The manager asked me to stay and identify which phone is mine.

1075
02:48:52.080 --> 02:48:57.099
Jerry Corley: Three employees have the same model, and one of them says, wait, that's my lock screen.

1076
02:48:57.100 --> 02:49:08.459
Jerry Corley: Number 5, no longer worth it. I'm arguing over custody of a phone with a stranger while my parking fee increases by the minute, and the ticket I needed to show was for $2 off.

1077
02:49:08.830 --> 02:49:12.240
Jerry Corley: So, now you're paying an extra 20 bucks.

1078
02:49:12.680 --> 02:49:23.570
Jerry Corley: So the $2, like, basically stepping over dollars to get to nickels, in a way. So it's a character's choice remains understandable, but he just needed enough battery.

1079
02:49:23.640 --> 02:49:42.960
Jerry Corley: to get to the… get the discount, but each step makes the tiny reward less worth pursuing. So, in this case, the pro… and so we have the one about the going to get the present, or going to get the gift at Target, and this police presence, and how do you build that… escalate that moment? Is everybody confident with that?

1080
02:49:44.480 --> 02:50:03.129
Jerry Corley: Let's take, take a few minutes to think of a story, and it could be something as simple as going to get milk, could be something as simple as going to get a bite to eat in a casino, and there's all this activity in the casino, easy to get stuck, maybe you get sidetracked, you play… you play, you go to play a machine.

1081
02:50:03.130 --> 02:50:11.860
Jerry Corley: And then you win the jackpot, now they gotta count the jackpot to you, and you gotta go fill out a tax form, because it's over $10,000, and by, you know, and all you did was…

1082
02:50:11.860 --> 02:50:16.819
Jerry Corley: You're trying to go get a bite to eat, and you're late for the lunch meeting.

1083
02:50:16.830 --> 02:50:21.900
Jerry Corley: You know what I'm saying? So, something like that could happen. So, let the mind get creative.

1084
02:50:22.440 --> 02:50:27.969
Jerry Corley: And then, I'll give you about… give it 5 minutes to come up with a solution. 5 minutes.

1085
02:50:27.970 --> 02:50:30.280
Kaz Okamoto: Jared, I gotta take off, so…

1086
02:50:30.280 --> 02:50:32.060
Jerry Corley: Yeah, yeah, yeah, whatever, Kaz.

1087
02:50:32.060 --> 02:50:32.540
Kaz Okamoto: age!

1088
02:50:32.540 --> 02:50:33.700
Jerry Corley: Yeah, yeah, yeah.

1089
02:50:33.700 --> 02:50:38.050
Kaz Okamoto: Okay, alright, I'll talk to you, I'll set up my appointment.

1090
02:50:38.350 --> 02:50:39.480
Jerry Corley: Okay, alright.

1091
02:50:39.480 --> 02:50:40.700
Kaz Okamoto: Thank you, everybody.

1092
02:50:40.700 --> 02:50:41.709
Jerry Corley: We'll see you later.

1093
02:50:42.890 --> 02:50:46.170
Jerry Corley: Alright, so take 5 and see if you can come up with something.

1094
02:57:56.080 --> 02:57:59.899
Audio shared by Jerry Corley: They'll look at it later sort of thing but, we're gonna talk about.

1095
02:58:55.500 --> 02:58:56.370
Jerry Corley: All right.

1096
02:58:59.380 --> 02:59:07.200
Jerry Corley: Okay, who has a story that, escalates and it's no longer worth it? It reminds me of the story where the guy went to.

1097
02:59:07.310 --> 02:59:13.120
Jerry Corley: His wife, after breakfast, after he had oatmeal, his wife gave him

1098
02:59:13.710 --> 02:59:16.549
Jerry Corley: A big bowl full of watermelon cut up.

1099
02:59:17.220 --> 02:59:20.260
Jerry Corley: And he loves watermelon, so he ate the watermelon.

1100
02:59:21.100 --> 02:59:27.850
Jerry Corley: The problem is, when you eat melon, they always say, melon alone, or no melon.

1101
02:59:27.940 --> 02:59:45.029
Jerry Corley: Because melon, watermelon especially, is one of the fastest digested foods known, right? So, and it's got a lot of sugar in it. So, if it is blocked and goes into slow digestion, can ferment.

1102
02:59:45.250 --> 02:59:46.830
Jerry Corley: And become alcohol.

1103
02:59:47.620 --> 02:59:54.980
Jerry Corley: So, and then you could actually be… be, your blood alcohol concentration can go up.

1104
02:59:54.980 --> 03:00:08.279
Jerry Corley: So what happened, this guy was like, he's having breakfast and he's planned the plan of the day is I'm going to have some breakfast. I'm going to go to Home Depot and get these things so we can do this home project we planned on doing for the last three months.

1105
03:00:08.770 --> 03:00:13.869
Jerry Corley: And so, his wife makes him, after he eats the oatmeal, gives him this bowl of

1106
03:00:13.870 --> 03:00:31.370
Jerry Corley: like, cut up a watermelon, he eats the watermelon, heads to Home Depot. An hour later, he's not home. Two hours later, he's not home. Three hours later, he's not home. And she's like, where's my husband? You know, she's calling the Home Depot. Nope, he can't find him there. And she finally calls the police.

1107
03:00:31.620 --> 03:00:46.950
Jerry Corley: And the police go, is his, is he, is, you know, is he, 5 foot, 9 and, 68 years old? Yes. Blue eyes, yes.

1108
03:00:47.270 --> 03:00:48.830
Jerry Corley: He's in custody.

1109
03:00:49.070 --> 03:00:51.229
Jerry Corley: For what? DUI.

1110
03:00:52.520 --> 03:01:11.850
Jerry Corley: How did that happen? Was he… was he drinking… well, his blood alcohol concentration was over the legal limit, ma'am. I'm not, I can't give you all the information. And so, but, he's gonna be, you know, if you come down, we'll let… we're gonna let him out on his own recognizance, and then, he needs to appear before a judge.

1111
03:01:11.850 --> 03:01:14.680
Jerry Corley: And it's like, all of that to do a little project.

1112
03:01:15.740 --> 03:01:26.600
Jerry Corley: And he ate the watermelon, and actually his blood alcohol concentration went up. So it's like, so that's one of those escalating problems, too, that could come in. You just go in and look for, you know.

1113
03:01:26.640 --> 03:01:36.750
Jerry Corley: something to make a birdhouse, and you wind up in jail, so… So I think that's kind of a fun thing to happen, comedically. Pappy, what do you got?

1114
03:01:37.100 --> 03:01:46.080
Pappy: Just one question. That idea taking that tiny thing and escalating it sounds kind of Larry David.

1115
03:01:46.380 --> 03:01:48.140
Jerry Corley: Yeah, totally, Larry David, yes.

1116
03:01:48.220 --> 03:01:48.730
Pappy: Yeah.

1117
03:01:48.770 --> 03:01:54.419
Jerry Corley: Yeah, and Jerry Seinfeld does that, too. You can see the similarities between the two when you study them, you know?

1118
03:01:55.130 --> 03:01:57.180
Pappy: Anyway, alright, so,

1119
03:01:57.580 --> 03:02:02.850
Pappy: I saw this homeless guy and I needed some cash and there was an ATM right there, so,

1120
03:02:02.970 --> 03:02:10.199
Pappy: I went to the ATM, stuck my card in the damn machine, ate my ATM card, so I'm banging on the machine.

1121
03:02:10.580 --> 03:02:17.759
Pappy: And a cop comes over, and he wants to arrest me because I can't show him I have an ATM card.

1122
03:02:17.760 --> 03:02:18.370
Jerry Corley: Ha-ha-ha.

1123
03:02:19.680 --> 03:02:29.939
Pappy: Oh, the homeless guy who I told him I was going to give him some money. He feels sorry for him, so he runs up and he hits the cop and then starts running. So the cop starts chasing him.

1124
03:02:30.400 --> 03:02:32.409
Pappy: About the time they take off.

1125
03:02:32.580 --> 03:02:36.080
Pappy: I see my card pop out along with 20 bucks.

1126
03:02:36.640 --> 03:02:42.540
Pappy: And so I took the 20 bucks. It's too bad. The homeless guy is gone.

1127
03:02:43.860 --> 03:02:46.499
Jerry Corley: So I took the 20 bucks and went and bought a six pack of beer.

1128
03:02:46.500 --> 03:02:46.950
Pappy: Right.

1129
03:02:46.950 --> 03:03:11.289
Jerry Corley: So that could be the that could be the fun little resolution. But I like that story build up. That's a great one. That's a good one. I was like very and it's something relatable. We can all recognize that happening. We've all done that with an ATM. Sometimes the card's been has eaten the ATM card, and it's like then the homeless. I was thinking like my brain was already jumping to, you went to go get the ATM machine to get 20 bucks to give it to the homeless guy.

1130
03:03:11.290 --> 03:03:23.770
Jerry Corley: And then the homeless guy sees you put it in the card in the machine, and he holds you up, and, you know, so basically, the guy got $500, because that's my limit, and then, and I've never seen that guy again.

1131
03:03:24.510 --> 03:03:34.189
Jerry Corley: And now I'm, you know, so it's like, so when people ask me if I want to donate to the homeless, I'm like, yeah, I think I already did for the rest… enough for the rest of my life, you know?

1132
03:03:34.470 --> 03:03:50.499
Jerry Corley: Yeah, I gave $500 the other day, you know? So it's like, that's funny. That's a fun idea. You could see, as the story progresses, it can go any direction you want to take it, but I like the fact that he got mad and hit the cop, the cop chases after him.

1133
03:03:50.790 --> 03:04:00.430
Jerry Corley: And it's like, you know, you… and then I see the card pops out of the machine, I get my 20 bucks, and it's like, and you're like, but the homeless guy isn't anywhere near, so I went and bought a…

1134
03:04:01.060 --> 03:04:04.469
Jerry Corley: I went and bought a, a 6-pack of beer, right?

1135
03:04:04.650 --> 03:04:06.800
Jerry Corley: Good. Nice job. Jack Day, what do you got?

1136
03:04:10.210 --> 03:04:10.800
Jack Day: Mom.

1137
03:04:11.350 --> 03:04:29.990
Jack Day: I wanted to play pickleball, but I didn't have anybody to play with, and so I went to the courts hoping I would find somebody to play with, and I ran into three college students who were waiting for a fourth to come, and they said I could play until their college friend came. But they were so athletic that I…

1138
03:04:29.990 --> 03:04:38.460
Jack Day: Chasing a ball tripped and hit my head on a post that separated two, you know, fences from pickleball courts.

1139
03:04:39.090 --> 03:04:41.910
Jack Day: When I was coming to.

1140
03:04:41.910 --> 03:04:42.630
Jerry Corley: I.

1141
03:04:42.630 --> 03:04:45.920
Jack Day: I thought I was hearing the voice of angels.

1142
03:04:46.140 --> 03:04:50.039
Jack Day: But when I opened my eyes I just saw it was pickleball playing women.

1143
03:04:50.550 --> 03:04:52.290
Jerry Corley: Nice. Yes.

1144
03:04:52.340 --> 03:05:10.949
Jerry Corley: There you go. And you could tell they were pickleball-playing women, because they were wearing orthopedic shoes. It was like, it's like, that could be fun too, but it's like, I like that. That's a great story, because it, you just went to play some pickleball, and, wound up with, like, stitches, or something like that. That's funny, man.

1145
03:05:10.950 --> 03:05:18.479
Jerry Corley: I know that's… something like that has happened to me before. It's like, you're just wanting to play, and next thing you know, one stumble.

1146
03:05:18.480 --> 03:05:23.420
Jerry Corley: Boom, you hit your head, right? Reminds me of my uncle when he got a motorcycle.

1147
03:05:23.430 --> 03:05:34.430
Jerry Corley: And he's always wanted a motorcycle, so he got a motorcycle, and he was very excited, and my dad was like, don't ride that thing, George, without a helmet. And he was like, oh, I'm just gonna test it out in the driveway.

1148
03:05:34.800 --> 03:05:46.310
Jerry Corley: And we got this little, like, 3-foot, like, retainer wall, so you have the different levels of sometimes the yard. The yard is up a little higher than the driveway, so that retainer wall right there

1149
03:05:46.640 --> 03:05:54.349
Jerry Corley: And he's just going down the driveway. If anybody's ever ridden a bike or motorcycle before, you know, it's harder to control when you go slow.

1150
03:05:54.560 --> 03:06:11.720
Jerry Corley: Right? And it's like, and he goes slow, and he loses his balance, falls, and hits his head on the retainer wall, you know? And it's like, and, you know, really had a, you know, had a big old welt on his head. They say, say, you gotta wear a helmet. Well, I was only taking a… don't… you gotta wear a helmet, right?

1151
03:06:11.720 --> 03:06:15.980
Jerry Corley: And so that's really funny, and it ruined his ruined his week, right?

1152
03:06:16.630 --> 03:06:19.200
Jerry Corley: So he had to wait to ride that motorcycle.

1153
03:06:19.760 --> 03:06:25.160
Jerry Corley: And then he, oh, and then he didn't, maybe we could escalate it from there. Then he returned the motorcycle.

1154
03:06:25.260 --> 03:06:42.759
Jerry Corley: And he couldn't get his… he couldn't get the same amount of money back, because the motorcycle had a little damage to the gas tank, right? Because it banged against the wall. So that could be funny, too, right? So it's like, you know, he's like, I'm not gonna… if I'm gonna crash going 4 miles an hour, then, you know, I'd hate to see what happened if I was doing 45.

1155
03:06:43.420 --> 03:06:46.589
Jerry Corley: So, yeah, that's funny. The good. Cliff, what do you got?

1156
03:06:47.090 --> 03:06:53.510
Cliff Spenger: This is sort of an ongoing thing. So I I got you know how hard it is to get doctor's appointments.

1157
03:06:54.160 --> 03:06:56.460
Cliff Spenger: It is hard, in case you didn't know.

1158
03:06:56.460 --> 03:06:58.210
Jerry Corley: So, yeah, I sure know.

1159
03:06:58.210 --> 03:07:05.769
Cliff Spenger: I'm waiting for dentures like six months and I got an appointment two days before Thanksgiving.

1160
03:07:05.890 --> 03:07:11.820
Cliff Spenger: And I also got what I also have macular degeneration, so I get a shot in my eye every 6 weeks.

1161
03:07:12.090 --> 03:07:16.090
Cliff Spenger: So I had one of those appointments too. So both of them are kind of important.

1162
03:07:16.250 --> 03:07:23.339
Cliff Spenger: But I tell my girlfriend, oh, it's Tuesday after we're done working in North Carolina on Sunday, so she's like.

1163
03:07:23.360 --> 03:07:37.560
Cliff Spenger: How's that going to work? You're not going to help me tear down and pack up everything, blah, blah, blah. So I go, all right, I'll just wait a week to get my teeth, you know. She says, no, hold on, don't just make a quick decision, right?

1164
03:07:37.590 --> 03:07:43.020
Cliff Spenger: So… so I don't make a decision. And now I realize I have 2 appointments that week, so it's like…

1165
03:07:43.320 --> 03:07:46.949
Cliff Spenger: Oh, so then, what am I gonna do? I'll hire a guy.

1166
03:07:47.180 --> 03:07:57.390
Cliff Spenger: to to do to help tear down and all this stuff and I'll tear take off and 2 AM in the morning I'm driving thinking how did I get myself into this?

1167
03:07:57.390 --> 03:07:58.470
Jerry Corley: But I could just.

1168
03:07:58.470 --> 03:08:00.739
Cliff Spenger: Wait a week for these stupid appointments.

1169
03:08:01.100 --> 03:08:10.230
Jerry Corley: Yes, yes, I know that, that's… and then what… now we could say what happened as a result, what's the coincidence, the utter coincidence of the irony?

1170
03:08:10.230 --> 03:08:15.669
Cliff Spenger: Everything that happens… everything that happens bad from that point on is all because of that decision.

1171
03:08:15.940 --> 03:08:34.209
Jerry Corley: Right, right, and that one decision. It's almost like that, what, that one movie, Final Destiny, right? And it's like, they've got… it's a series of movies now, right? So, Final Destiny, they always show this little thing set off this whole chain of events, then that, you know, winds up killing somebody or whatever.

1172
03:08:34.210 --> 03:08:35.750
Cliff Spenger: Went up dead, yeah. Yeah.

1173
03:08:35.750 --> 03:08:43.890
Jerry Corley: So it's like, and instead of, like, going that far with it, you go, like, you end up in a difficult situation, or, you know, something that escalates.

1174
03:08:44.380 --> 03:08:45.819
Jerry Corley: Just because you wanted to run.

1175
03:08:45.820 --> 03:08:46.180
Cliff Spenger: Or.

1176
03:08:46.180 --> 03:08:46.580
Jerry Corley: door.

1177
03:08:46.580 --> 03:08:51.330
Cliff Spenger: with somebody, you sleep with somebody, and then you have to recount all this. This is why that happened.

1178
03:08:51.650 --> 03:08:53.000
Jerry Corley: Yeah, yeah, exactly.

1179
03:08:53.000 --> 03:08:56.330
Cliff Spenger: All this, see, I'm in Julia, I'm in this, I'm in that, that.

1180
03:08:56.330 --> 03:08:57.800
Jerry Corley: Right, exactly, exactly.

1181
03:08:57.800 --> 03:08:58.780
Cliff Spenger: That's why.

1182
03:08:58.780 --> 03:09:05.089
Jerry Corley: That's right. Now I know. Wait, thanks Cliff. Now I know what led to my divorce.

1183
03:09:05.090 --> 03:09:06.490
Cliff Spenger: A good storyline.

1184
03:09:06.490 --> 03:09:08.749
Jerry Corley: Yeah, exactly. Nice. Good job.

1185
03:09:08.750 --> 03:09:09.090
Cliff Spenger: one.

1186
03:09:09.090 --> 03:09:18.829
Jerry Corley: What's really interesting, what's great to see, guys like Pappy and Jack and Cliff as well, when we used to do these exercises.

1187
03:09:19.420 --> 03:09:22.509
Jerry Corley: You… everybody used to kind of freeze, I got nothing.

1188
03:09:22.720 --> 03:09:39.520
Jerry Corley: Now, I'm seeing you create these stories, right? And so, from… so your creativity, because you've been working the muscle, maybe, has gotten better for you to come up with something in 3 minutes, in 5 minutes. And so, because you're getting used to working that

1189
03:09:39.520 --> 03:09:56.780
Jerry Corley: that bit. So I… that's why I love to watch the students, so as they get better and better and better at this, then you could learn to take a story on the fly while you're on stage, and somebody says something that triggers something, you can go off on this little quick bit and find the irony in there on your way before you even finish to the end.

1190
03:09:56.880 --> 03:10:00.810
Jerry Corley: So that's gonna be… that's the fun part. Justin, you got your hand up.

1191
03:10:06.140 --> 03:10:10.379
Justin Iphone (2): Alright. So I decided to take my girlfriend out on a date.

1192
03:10:10.510 --> 03:10:12.189
Justin Iphone (2): I asked her where she wants to go.

1193
03:10:12.540 --> 03:10:17.080
Justin Iphone (2): She's like, I don't know, where you want to go? I'm like, Chili's? She's like,

1194
03:10:17.390 --> 03:10:18.430
Justin Iphone (2): Outback?

1195
03:10:18.530 --> 03:10:19.540
Justin Iphone (2): -

1196
03:10:19.790 --> 03:10:22.390
Justin Iphone (2): Cheese steak factory? That's fine.

1197
03:10:22.990 --> 03:10:27.990
Justin Iphone (2): Well, by the time we got there, she's like, I'm kind of feeling the blooming onions.

1198
03:10:32.180 --> 03:10:33.930
Justin Iphone (2): So I just took her straight home.

1199
03:10:34.490 --> 03:10:37.270
Justin Iphone (2): And enjoyed a nice dinner at Chili's with my wife.

1200
03:10:37.700 --> 03:10:55.589
Jerry Corley: That's good. Nice reverse. Yes, nice job. Nice, Justin. Good work. You know, your instinct to create those reverses is very sharp. It was like, you had us all the way down there, and so I decided to take her home and go enjoy a nice blooming onions with my wife.

1201
03:10:55.590 --> 03:11:11.959
Jerry Corley: That's funny. That's really funny. That's good. I like that. You know, and it's like you tapped into something that happens, I think, all the time in relationships. And it's like, you're like, so do you want to go out to dinner? Yeah. Like, where do you want to eat? Oh, anywhere you want to eat.

1202
03:11:13.710 --> 03:11:15.430
Jerry Corley: That is never true.

1203
03:11:15.910 --> 03:11:38.809
Jerry Corley: That is never true, and then you're like, how about here? No, I'm really not feeling Chinese today, it's too much sodium. Like, okay, how about, you know, that Italian place is always good. No, I don't want to go to the town, it's too filling. It's like, well, how about, how about some, sushi, you know? No, I'm not really… I had sushi once already this week, and I don't want the… I don't want the.

1204
03:11:38.930 --> 03:11:49.869
Jerry Corley: I don't want the mercury in my system. And it's like, okay, well, what about, why don't you come up with something? No, go ahead, you know, whatever you want.

1205
03:11:50.890 --> 03:12:03.389
Jerry Corley: we already established it's not whatever I want. And next thing you know, it escalates to, you know, you're always doing this! Why is it… and next thing you know, it's a big escalated fight for no reason at all, just because you couldn't decide on where you wanted to eat.

1206
03:12:03.430 --> 03:12:21.160
Jerry Corley: So, guys, always let your ladies decide, you know, it's like, look, I'm working all day, you come up with a solution. I don't even want to think about it. You know, I can make… how many guys… this is a guy thing, I think. I wish there were more women in the group here right now to get their feelings, too. How many guys feel like.

1207
03:12:21.930 --> 03:12:23.110
Jerry Corley: When…

1208
03:12:23.540 --> 03:12:30.000
Jerry Corley: Your wife makes a decision, or your girlfriend makes a decision of where they want to eat, you can bend.

1209
03:12:30.990 --> 03:12:37.540
Jerry Corley: you can find something that you could like, yeah, I'll be… I can eat something, I'll make it work, right? Whereas…

1210
03:12:37.740 --> 03:12:43.460
Jerry Corley: You know, if you decide, they're like, right, there's no adjustment. Do you feel that way sometimes?

1211
03:12:43.680 --> 03:12:48.610
Jerry Corley: Or is it just me? Yeah, yeah. So I think people would recognize that in the audience.

1212
03:12:49.270 --> 03:13:03.330
Jerry Corley: I always worry when I do those things that, you know, somebody's gonna, oh, that's sexist. And I go, is it? Or is it real? Yeah, it's kind of sexist, but life can be sexist, right? So, it's like, what I was telling Kaz

1213
03:13:03.550 --> 03:13:06.139
Jerry Corley: Stop worrying about what you think they might think.

1214
03:13:06.590 --> 03:13:08.079
Jerry Corley: Tell the story.

1215
03:13:08.080 --> 03:13:31.110
Jerry Corley: And then figure out how to navigate around whatever, if they… if you wind up with objection, you know, from the audience, and to say, does it… I'm the only one this happens to? You know? And then… and then people go, because Bill Burr does that, he says it, he knows he's gonna get some… probably somebody out there going, boo, or whatever, and he goes, I'm the only one who's going through this? Somebody explain this to me. Why does this happen this way?

1216
03:13:31.110 --> 03:13:35.809
Jerry Corley: Like, I'm the only one, right? Like, you know, this is like, you know, this is seven…

1217
03:13:35.810 --> 03:13:59.819
Jerry Corley: billion people on the planet, I'm the only one going through this, right? And then they start to laugh, because then they feel superior that you're going through the dilemma. So it's like, you can navigate around a story and find a way to maybe get the audience to collaborate with you in this dilemma that they first thought was sexist or, you know, discriminatory, or whatever the deal seems to be, but we all wind up in dilemmas all the time.

1218
03:13:59.840 --> 03:14:19.750
Jerry Corley: That's why they're called dilemmas. Anyway, did you guys get some value from this course? You feel good about it? It's an interesting storytelling thing. There's more Segura to look at. You'll get the PDFs, too. You look at those exercises, apply yourself through those, and it'll enhance that storytelling capability. And we will see you guys in the next class.

1219
03:14:19.800 --> 03:14:22.919
Jerry Corley: All right. Great work, everybody. Really great work writing.

1220
03:14:23.720 --> 03:14:24.470
Jerry Corley: See you later.

1221
03:14:24.470 --> 03:14:25.830
Cliff Spenger: Great, a lot of fun.