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Jerry Corley: Yeah, great. How you feeling, Jack?

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Jerry Corley: Make sure you get your camera just right.

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Jerry Corley: Make sure you have that,

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Jerry Corley: The thing following you around the room?

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Jerry Corley: Alright, Cliff is here, good to see you, Cliff. Looks like you're in a museum.

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Jerry Corley: Sort of. You're… Muted, I can't hear you. There's Kaz, I owe you a phone.

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Kaz Okamoto: Hiya!

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Kaz Okamoto: Yep.

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Cliff Spenger: I mean, sorry.

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Jerry Corley: I was gonna call you yesterday, but then I got sidetracked.

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Kaz Okamoto: That's okay.

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Jerry Corley: My son called, he's coming into town, so…

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Kaz Okamoto: Oh, good.

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Jerry Corley: Janet's doing some surgery right now, so, when she's… as soon as she gets the heart implanted, she'll be able to answer questions.

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Jerry Corley: And she's got a very, an industrial 3M mask, so she must be working on an Ebola patient.

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Jerry Corley: Alright, so we've got a few people joining. This is not a very popular class.

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Jerry Corley: the ghostwriting class. I was surprised. When I… I remember when I was gonna… when it was suggested, I was like, I don't think this is gonna get…

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Jerry Corley: a lot of, looks. But, we're here, and that's what's important. And, we could talk about it. You could always learn something from looking at a different angle,

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Jerry Corley: you know, different, different perspectives. Like, one of the things we'll talk about… oh, oh, add chemo! Okay. Got it. Great. Well…

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Jerry Corley: Do… stay… stay, suited up there, we don't want you to…

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Jerry Corley: have any problems. So she's at chemo, so right now, so she's at chemo, getting work done on herself, I think.

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Jerry Corley: Good luck with that, Janet. Yes, fingers crossed for sending good thoughts, clean health, clean bill of health.

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Jerry Corley: Golden light.

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Jerry Corley: of health, right, upon all. Alright, I think there's a couple more people that are coming on for this call today.

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Jerry Corley: But, let's get to it. Let's get the program going on. Does anybody have any questions dealing with

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Jerry Corley: Dealing with this.

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Jerry Corley: Hang on a sec.

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Kaz Okamoto: Dealing with ghostwriting?

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Kaz Okamoto: Margarita Barber.

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Kaz Okamoto: Hey, Cliff, nice haircut!

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Cliff Spenger: There's music here, so I'm gonna stay muted, mostly.

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Cliff Spenger: But thank you. Thank you.

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Kaz Okamoto: You're welcome. You're breaking up, by the way.

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Kaz Okamoto: You know, where are you that you break up so much?

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Cliff Spenger: Now I'm in West Virginia.

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Kaz Okamoto: That explains it.

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Cliff Spenger: at a Starbucks with, music in the background, so…

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Kaz Okamoto: Oh…

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Cliff Spenger: Probably a problem.

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Kaz Okamoto: I don't hear that part, but you do break up when you speak.

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Cliff Spenger: Yeah.

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Cliff Spenger: I break myself up when I speak, too.

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Kaz Okamoto: Yeah, well, that would… that happens sometimes.

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Cliff Spenger: Did we lose.

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Kaz Okamoto: Wait, he's back, he's back, he's back.

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Cliff Spenger: Holy shit back, bro.

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Kaz Okamoto: You're on mute.

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Kaz Okamoto: Jerry, you're on mute.

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Cliff Spenger: Tell him again, he's still on mute.

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Jerry Corley: There we go. I had to… sorry about that, I had to, lena was having trouble getting in, she didn't have the passcode. So… but did anybody else have trouble with that? No, I don't think so, right? Everybody got in, right?

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Kaz Okamoto: Yeah.

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Jerry Corley: Alright, well, we're all here.

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Jerry Corley: Alright, so let's get to this. Let's talk about ghostwriting. Who suggested this? Do you know who suggested it?

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Jerry Corley: It's weird that somebody suggested, and they're not here.

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Jerry Corley: Huh?

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Kaz Okamoto: Casper!

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Jerry Corley: Casper, yeah, Casper, the friendly ghost, suggested it. The friendly ghostwriter, suggested it.

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Jerry Corley: But, you know, if somebody wants it, they'll be able to, be able to, you know, watch the stream, later if they didn't get into it for this one. There might be a couple of people that are in New York or, overseas, that have done this. Jack, you have your hand up?

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Jack Rain: Check the chat for my questions.

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Jerry Corley: Yep, will do, because you've got that…

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Jerry Corley: Viral sore throat. Sorry to hear that, man.

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Jerry Corley: Where do you find people to, ghostwrite for, and how do we offer it? Yes, good question. We'll be getting to those answers, but I might as well answer those now, because it's… that's basically the key of the course. It's like, how do we do it? Well, first of all, Jack, you gotta be good.

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Jerry Corley: You gotta be a good joke writer. You're getting better, you're getting really good, and it doesn't matter. Maybe, you never know, there might be somebody like Joan Rivers, when she started, she wasn't the best. She talks about, if you watch her documentary, she goes, when she started writing for people, she wasn't the best joke writer, she was getting better each time she was doing it.

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Jerry Corley: But, you know, if people think you're funny, and you are writing good stuff.

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Jerry Corley: I think odds are you'll be funnier than, if they're really struggling to get started, and you, you know, you offer your assistance, then I think that could… you could lend some, good, funny stuff. You know a three-way build-up, you know compare and contrast, you know an analogy, you know how that works, so you're already miles ahead of…

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Jerry Corley: most people, even some comics out there who are writing, and it's just a matter of, you know, you're getting that Robin Williams form going, being able to see the associated ideas in a subject matter that comes up, and you're riffing on that, and that's just off the top of your head, so imagine if you got to sit down and have some time to do it on page.

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Jerry Corley: Right? So, or walk around your living room and record yourself riffing on it.

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Jerry Corley: To stay out of the writing part of your brain and into the more spontaneous part of your brain. So that's a… that's… that's okay.

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Jerry Corley: And why not put yourself out there, right? Because there's a million, million people to write for if those, you know, people are looking for it. I wrote for a lot of people, not just in the comedy world. I wrote corporate speeches, humor for corporate speeches, early on.

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Jerry Corley: for, people that worked for Harman Cardin, those people who prepared all the sound systems for the Porsche, also defense, contractor, people that I, I had met, you know, met their vice presidents or their presidents, and they were looking for.

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Jerry Corley: They were looking for writers, you know, hey, do you write speeches? Do you help write speeches? I'd be like, sure, tell me what your… just send me a draft of your speech, and I'll humorize it. That's the key. And as soon as I said to them.

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Jerry Corley: Remember, when you're giving, you're giving a speech. You're a leader, you're a corporate leader. Your job is… main point is information first.

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Jerry Corley: humor as part of the information to help them retain the information. You know, occasionally you might want to open with a joke, but overall, you want to, you know, you want to make sure you're providing the information, and that you're not a jokester, you're, you know, vice president of a major corporation. So,

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Jerry Corley: that's what would sell them, and they said, well, show me what you got. And I give them the first sample, kind of was free, and then, I would basically charge them $500 a page.

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Jerry Corley: So, and then it got to the point where if, somebody wanted, like, 5 minutes…

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Jerry Corley: They wanted a 5-minute act.

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Jerry Corley: Can you write my 5-minute act?

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Jerry Corley: I was like, that's $1,000.

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Jerry Corley: But that's after I was working… that's after I worked with Leno.

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Jerry Corley: Right, so it was like that kind of thing. If you've got somebody who's got money.

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Jerry Corley: and they want 5 minutes, this is what it's gonna cost, bro. You know, you wanna… you wanna get somebody who's not good, you can probably find somebody who'll do it for, you know, 25 bucks a joke, or 50 bucks a joke, but if you want a 5-minute routine that flows, beginning, middle, and end, that's in your voice.

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Jerry Corley: That's a lot of moving pieces, right? So it's like, what… and if you write well, and they get laughs, why, you know… or you could write the first 5 minutes and go, test it.

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Jerry Corley: And you gotta keep an eye on them, because, you know, they'll… now, next thing you know, a lot of people just will walk away with it, because they think, hey, I'm getting laughs. They're now into the dopamine hit, they forget about you.

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Jerry Corley: they're getting the dopamine hit from the reaction from the crowd. So the idea is,

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Jerry Corley: You know, you have to… and that's… it's a problem when you have to start to enforce it. And that's not as fun.

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Jerry Corley: Right, so it's like, in that case, when you're dealing with comics who have reputations, like a Chris Rock or somebody like that, they get it, they know, they have no problem paying for a joke. Same thing with Bill Hicks back in the day. These are guys that I wrote for, and I didn't go up there and say, I wrote that joke! You know, once they bought it, they have it. It's theirs.

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Jerry Corley: So, the ways to get those gigs…

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Jerry Corley: in our… and we'll talk about that in a second, is to, you know, you can hang out at the comedy places, Mike's, Comedy Store.

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Jerry Corley: Improv, Laugh Factory, or wherever the comedians are hanging out, and, you know, you can see who's… if somebody… if you… what I would do is this. This is the way I would approach it. I would just go around saying who…

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Jerry Corley: Does anybody want me to write jokes for them?

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Jerry Corley: what I would do is listen to somebody's act.

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Jerry Corley: And then, when and during my writing session, if I wrote some jokes that would fit their voice.

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Jerry Corley: That's when I would go to find them.

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Jerry Corley: the next day, find where they're performing, show up, and ask them, you know, tell them I wrote a couple of jokes for them based on a topic they were working on.

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Jerry Corley: And I would present, you know, just lay the jokes on it, like, you know, when Chris Rock said, lay it on me, and I laid on that N-word joke that I could never use, right? Wasn't my voice, but it was definitely fit with him and what he was doing at the time. He loved the joke. He said, I can use that. I said, you could use it, you could use it.

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Jerry Corley: Tonight.

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Jerry Corley: test it, basically. I just said, yeah, you could use it. He tested it that night, got a huge laugh and an applause, because it was an escalation, right? The escalation of this act, and it capped the bit, and, you know, wrapped the bit up, and he got a nice applause from that. He was like, hey, man, you write me more like that, I'll pay you for them.

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Jerry Corley: I said, you're gonna pay for that one. I saw the response it got, and he just gave me 50 bucks. So it was like, that's a cool start. And so I would write more jokes for him and show up.

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Jerry Corley: And he goes, man, you can write, right? So…

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Jerry Corley: That… but the thing is, when you're ghostwriting for somebody, they don't want everybody to know.

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Jerry Corley: Necessarily. So, because the day… time and day has changed, right? Back in the day, I would say back in the 70s, early 80s, there were a lot of comedians everybody knew had riders, right? Like, Rodney was always accepting jokes, from people. Joan Rivers was always accepting jokes from other people.

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Jerry Corley: She wrote for other people, which people go, that's weird, why would she write for other people and not write for herself? She totally wrote for herself. But if somebody had a joke.

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Jerry Corley: That she thought was really great, and it fit with her act, she would ask to buy the joke.

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Jerry Corley: And so, to put it… man, this fits perfectly. I didn't see that one. We don't… we can't see everything, right? We're… we're individuals, we have our limited space based on our own experiences.

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Jerry Corley: Other people might have a different experience, and they see something that we could never see, because we're limited by our own experiences, right? So, if somebody has something magical, oh, shit, a point of view we didn't think about. You know, I used to call it, I learned this from Gene Parrott, the first brain, second brain.

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Jerry Corley: Right? Sometimes there's somebody might have a second brain that they offer us. In music, they call it the third eye, right? Which is weird, because you're listening, but they'd still get that producer in there who could hear something that the band isn't hearing, and offer a suggestion, more cowbell!

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Jerry Corley: Right? That kind of thing. Cliff, you have your hand up?

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Jerry Corley: You're muted.

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Cliff Spenger: A lot of comedians only use 3 or 4 techniques.

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Cliff Spenger: And we know, like, 8 or 9 more. Would you offer them ones that are a different structure than they're currently using, but in their voice, or would you offer, more of the same? That's the question.

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Jerry Corley: Oh, that's a great, that's a great question, because, yeah, I think I would, you know, you have these 7 different ways to write a joke, right?

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Jerry Corley: The, the doc I gave, do you have that one?

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Jerry Corley: You're muted again, but you're also breaking up like crazy, so it's really hard to hear you. So leave your video off and talk.

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Cliff Spenger: Okay, I'll leave it.

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Jerry Corley: But I was gonna say, do you have that 7 different ways to write a joke?

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Jerry Corley: You're muted again.

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Cliff Spenger: I have everything that I'm aware of, but there are a lot of types of shows that people…

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Jerry Corley: So, I mean,

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Jerry Corley: what I would do is, like, I would offer them, like, you… in that… in that sheet, I show you, like, 7 different ways to write a joke. Some are a little similar, but they're slightly different, right? So the mirrored phrase, the compare and contrast, the leading comparison, the leading comparison with the mirrored phrase. So they're similar, but they're a little different, and so they give a little more tension. And then you could write one that might be an analogy.

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Jerry Corley: one's a… one's a three-way build-up, one's a straight reverse, and it's like, you gave them… if you showed them their same joke in seven different ways, that's gonna be super impressive. They're gonna… because they don't know, wow, holy shit, how'd you figure that out? Right? And that's a… that would be a great calling card for you, too, and because you give them a different way to look at it, and if they're…

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Jerry Corley: If they're open, right, to saying, oh yeah, that's not…

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Jerry Corley: my voice, or they confuse voice with structure, you know, that's why I would present it to them in a few different ways, right? And show that joke.

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Jerry Corley: And so, yeah, I would present them with that…

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Jerry Corley: those jokes. There's a… there's a couple of things, if we have time, we'll go over. In fact, talking about the Kevin Hart roast, there was some, you know, there was a lot of ghostwriting involved there. Kevin Hart, as he… as we… was revealed at the roast, had one of his writers.

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Jerry Corley: Who basically writes a lot of his jokes there on the panel. And

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Jerry Corley: And so he, I don't… did he do a spot? Does anybody remember? I don't remember if he did a spot.

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Kaz Okamoto: Yes.

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Jerry Corley: He did his spot? Yeah. Okay.

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Jerry Corley: So, yeah, that's right, he did. It was very short, though, right?

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Kaz Okamoto: Yeah, and you… I mean, if he didn't… if he didn't introduce him as the Ghost Rider for him, I had no idea who that guy was. Yeah. So, the Ghost Rider is not getting the credit, unless you give him the credit, but then…

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Kaz Okamoto: That person, for whatever reason, you know, why aren't they up on stage?

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Kaz Okamoto: You know?

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Jack Rain: What's the ethnicity of the guy?

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Jack Rain: What's that?

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Jerry Corley: He's… he's… he looked a little mixed.

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Jack Rain: Was he…

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Kaz Okamoto: He was nicely dressed, he's kind of small, he wasn't a big person.

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Jack Rain: Asian, Latino…

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Kaz Okamoto: black.

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Jack Rain: Okay, now go.

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Jerry Corley: Yeah, he looked mixed. He would look like he's, you know, mixed to a… mixed black and maybe Asian, somewhere in there like that, I don't know.

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Jerry Corley: But he, he, He… so it's like, a lot of comics don't want to introduce the…

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Jerry Corley: ghostwriter, because it, you know, it takes away from them, you know? Nikki Glazer admitted in a couple of podcasts that she has teams of writers for some of her award shows and things like that. That's fine. We get that. We know award shows has a writing staff. I think that's, it's also required by the union.

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Jerry Corley: So if they're a, union signatory show, they're gonna have… they get that writing staff involved there, and they write for the host, and other segments, and for the presenters. So…

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Jerry Corley: But in that, you know, she also has some writers who write for her.

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Jerry Corley: Generally. So, I'd like to see that recent special. I heard from somebody, they didn't think it was that great, her most recent special, I think it was on Hulu or something like that. But, I don't know, I haven't seen it. I can't make that assessment. I like Nikki, I think she's funny. But, if, you know, she had… this particular special didn't go well, then, yeah, I don't know who wrote… who wrote for it.

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Jerry Corley: Or where it came from, or whether she's deciding to kind of change a little bit, or make an adjustment in her style, or her theme, or her voice, you know?

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Kaz Okamoto: Did you like the Kevin Hart roast?

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Jerry Corley: I thought, I had… there were some pluses and minuses in there.

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Jerry Corley: For the roast. I think a lot of people overreacted to the roast. I think we got a lot of people that don't understand what a roast is. But I… my… I also have some other arguments in texture, because we're supposed to roast the people we love. There was too much animosity there.

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Jerry Corley: I think. There were a couple of people that really didn't like each other, and that's not the purpose of a roast. The purpose of a roast is to roast the people you love, and that's the incongruity, is you're saying the most brutal shit

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Jerry Corley: about the people you love, right? And so that's where the laughter comes in, because you're laughing at the fact that we shouldn't say that sort of stuff, but it's funny because we're saying it about people we love. And what… our best friends are the ones who roast us the worst in real life.

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Jerry Corley: So, when they're roasting us, it makes it funny, because

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Jerry Corley: But, these, these, I think these Netflix roasts

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Jerry Corley: what they're doing is they're looking for, ways to, get eyeballs. So they're, you know, trying to get, you know, celebrities on the… sit there on the dais and things like that, that have nothing to do

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Jerry Corley: with the roast, and it's like, and just to get people there, names there, and also favors are done to get somebody some, you know, to promote somebody, to give them the camera time, the face time there, so a lot of it, I think, is…

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Jerry Corley: it can get garbled up, and we lose the theme of what's going on, but the idea is we're supposed to… the roasts are supposed to be brutal, they're supposed to be shit we wouldn't say in public. And so a lot of people are like, oh, they shouldn't have said that. Of course they shouldn't have said it, it's a fucking roast!

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Jerry Corley: So, but if it's said and it's mean-spirited.

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Jerry Corley: That's when I think we gotta re-examine whether or not that joke should have been said. Like, Tony Hinchcliffe is a racist.

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Jerry Corley: Right? And so when he says something about race, people are automatically gonna jump. But the joke he did about Kevin Hart…

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Jerry Corley: When he said, it doesn't matter, you know, how much money you have, because Kevin Hart, oh, started a fight on an airplane, which just goes to show, it doesn't matter how much money you have, in the end, you're still a ninja.

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Jerry Corley: And he goes, it's a fighting joke.

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Jerry Corley: And I thought that was a funny joke, for a roast.

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Jerry Corley: a lot of people thought it was out of, you know, oh, that was wrong, that was racist. Some of the people I… some people I heard who were black said, no, it wasn't racist. It was a funny… it was a joke. And then other… there are a couple of other people that got mad. One person, I heard somebody talking about the roast of… what was it,

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Jerry Corley: A couple, you know, a couple of, you know, that got a lot of discussion going, which is really kind of what the goal is. So if the discussion's out there, more people talking about it, that means more people are gonna watch it.

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Jerry Corley: Alright, after they came on, there was people talking about it, a lot of stuff all over the internet, and a lot… you notice almost every one of the… a lot of the roast performers, many, many of the roast performers, were out there doing podcasts the very next day.

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Jerry Corley: two or three podcasts the very next day, because they… that promotes the… the spins, right? It promotes the viewership on there. So, I thought, it was too long.

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Jerry Corley: I thought there were people on that dais that didn't belong there. I thought.

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Kaz Okamoto: Jack, you're making me nauseous, I'm so sorry. If you could stop moving your camera, that'd be fantastic.

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Jerry Corley: Yeah, Jack.

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Kaz Okamoto: Sorry!

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LINA: that.

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Jerry Corley: I second that, Jack.

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Jerry Corley: Fuckin' still, bro. Get your ADD, take a pill.

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Kaz Okamoto: So, but you know what, Jerry?

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Jack Rain: Vince, all eyes are on me, thanks to Kaz. I have to…

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Kaz Okamoto: No, sorry…

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Jack Rain: joke.

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Kaz Okamoto: People before you have.

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Jack Rain: There was this thing about Kevin Hart that he… that he fought in the plane. I thought of a better joke than the ninja parts, like, even though Kevin Hart started a fight on a plane, no matter how much of a celebrity, we all still know he pays for spirit.

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Jerry Corley: There you go. Yeah, that's good. That's a good way of saying that, yeah. But I think what Hingeclips was looking for was the danger.

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Jerry Corley: And the friction coming from the N-word, right? So I think that's… that was his goal, and Hinchcliffe, that's what he leans into, is the dangerous, and the…

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Jerry Corley: And the friction, the tension, alright, this is inappropriate, so I'm gonna say it. So I think that's kind of what… that's kind of his brand. Kaz.

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Kaz Okamoto: My question is different. I need to say something about the roast, because I grew up with the Dean Martin roast, and, you know, those guys that were big actors and celebrities back then, and most of them were comedians that came on the roast. They weren't, like.

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Kaz Okamoto: you know, we're a few politicians. But I've never seen something like the Kevin Hart Roast, where it's in a humongous venue.

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Kaz Okamoto: which I always think the roast is a more intimate thing, you know?

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Jerry Corley: Agreed. Agreed.

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Kaz Okamoto: We're playing to, like, thousands of people.

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Kaz Okamoto: And so, Netflix is just becoming, you know, this, money monger. Well, it always has been, but that's a different story. But, I thought you missed that intimacy, and for it to be 3 hours, and I'm sorry, Shane Gillis, I know a lot of people like him, he expli- you know, like, he didn't get the laugh he expected, so instead of going with that, he… he went back and said.

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Kaz Okamoto: You know, like, and he explained his joke.

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Kaz Okamoto: You know, and that… I don't know, it just annoyed the hell out of me.

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Jerry Corley: That happens all the time, though. I mean, there are a lot of people that will explain the joke after it doesn't work as the saver for the joke.

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Kaz Okamoto: Yeah, but it doesn't… look, it doesn't matter if he explained it or not, it wasn't funny. I mean, because otherwise, I think people would actually laugh, you know? And there's enough people in that audience… sorry, Cliff… there's enough people in the audience that out of all those thousands of people, if it was funny, you would hear people laughing.

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Kaz Okamoto: You know? And then, wasn't that Matt Rice thing? He was doing crowd work to a giant venue, and it was all blue comedy, like, hardcore blue comedy, and…

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Kaz Okamoto: unless I'm mistaken and I'm having a senior moment, but,

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Kaz Okamoto: Right? Didn't he do that on that roast? To Kevin Hart?

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Kaz Okamoto: was… am I mistaken? Because I thought he was on…

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LINA: Matt Wright wasn't on it.

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Kaz Okamoto: You know what it was? Maybe it was the Kennedy Awards thing that he did. Anyway, I can't remember. Okay, sorry. I take it back. But,

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Kaz Okamoto: You know, and it was just… Parts were funny, but the majority of it, to me, was not funny. It was a long 3 hours of my evening taken up, you know?

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Jerry Corley: Yeah, yeah, it was like, but what did you learn from it?

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Kaz Okamoto: Well, I learned a lot about editing down, because, you know, I'm long-winded, so…

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Kaz Okamoto: I think that makes a huge difference,

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Kaz Okamoto: You know, I don't… I think that you would have to do what other comedians have done before they go in front of a huge audience. Like, Nikki Glazier went up at the Hollywood Improv, and she even came to the Comedy Chateau, and…

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Kaz Okamoto: you know, did her, thing before she went to the Emmys, or to the Golden Globes, or whatever, those two things, venues, to try out the jokes to see, you know, what's gonna give her,

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Kaz Okamoto: you know, laughs and not laughs, or what she needed to punch up, or not punch up, or get rid of, or whatever. And I think, I find it interesting that,

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Kaz Okamoto: Like, Kevin Hart, he says he doesn't write jokes, he doesn't memorize anything, he just does, like, improv. But then, you know, here's his ghostwriter.

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Kaz Okamoto: on the show, which I thought was funny, you know? And, but,

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Kaz Okamoto: Yeah, I don't know. I don't know if things were mean-spirited.

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Kaz Okamoto: You know, because I've seen lots of older roasts where people were brutal, you know, but it was funny. I mean, but I'm from the Don Rickles School of Comedy, and those guys, where racist comedy was funny.

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Kaz Okamoto: bashing on people was funny. There was no such thing as woke, and there's no such thing as politically correct, and I grew up with that, not thinking that it was bad, but it was pretty hilarious, just like making…

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Kaz Okamoto: Asian jokes, my mother thought it was funny, and she was Asian, but she said, well, that's a good joke, you know, so that kind of thing, because…

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Jerry Corley: Now it's gotten, you know, now it's got… I think part of it, too, was, like, when Tony Hinchcliffe, you know, was talking about the, that one comedian that was open for him, and, you know, he was talking about that comedian was Asian, talking… I think it was Chinese-American, was talking about white people, and first of all.

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Jerry Corley: That's perfectly acceptable, because that's punching up, and I don't think Hinchcliffe gets that, and doesn't like it, right? So, when this agent comedian is getting away with punching up, and he gets away and actually calls him a chink.

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Jerry Corley: Right? And it's like, whoa, that came out of nowhere, right? And it was angry, it's mean-spirited, and it wasn't… that's not a joke anymore, you're punching down. You don't understand the difference. Like, he, being, an Asian, I don't want to say minority, because there's 1.4 billion Chinese people.

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Jerry Corley: Right? But, still, in the United States, Chinese people were exploited and taken advantage of, and minorities in this country, so when you…

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Jerry Corley: Punch down,

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Jerry Corley: you know, if white people talk about somebody of color, they're punching down. If the Chinese person talks about a white person, they're punching up. So…

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Jerry Corley: In that case, Hinchcliffe doesn't get it, right? In my view. And it's like, it's not dangerous, a lot of times it's mean-spirited, and if it's mean-spirited, it's breaking the rule of comedy. You're not supposed to intentionally hurt somebody. You're supposed to brutally make fun of them.

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Jerry Corley: And that's, I think, the difference. Make fun of them brutally, right? That's the balance, right? And it's like, if we could say… and we say this about our best friends, but, you know, Pete,

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Jerry Corley: Pete Davidson does not like Tony Hinchcliffe, and it came across clearly in that… in his… when he was roasting, and I think, I think… I don't think Hinchcliffe did a horrible job, personally. He's got good jokes, but, just his persona now, because we know kind of where his heart is.

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Jerry Corley: And when I came, when I was inducted into Friars Club in Beverly Hills, they were like, you know, one of the best pieces of advice I got with, you know, the N-word and using that word, if you can use that word, was it's not the word, it's the heart behind it. And now, I see a lot of, like.

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Jerry Corley: You know, people who have a negative,

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Jerry Corley: viewpoint of minorities using that word, it doesn't fit, you know? Same thing with anything related to people who are Hispanic, or, you know, Chinese, or Japanese, or German, or anything like that, or Jewish,

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Jerry Corley: there's certain words when you, there's certain ways you could phrase it and still get the joke across. Like, you do the joke, you know, my, my neighbor heard me having sex, and he saw me in the hallway, he goes, dude, I'm excited that you…

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Jerry Corley: you're getting laid and having a good time with this gal, but, you know, I've got kids.

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Jerry Corley: We can hear you right through that wall, bro. And it's like, could you ask her to be a little less anti-Semitic?

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Jerry Corley: Now, of course, there's no reason for her to do that during sex, right? So it's like…

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Jerry Corley: In that respect, but it's funny, because it's a spin, and not saying Jew or anything like that, and so when you use that word, people can see that as a pejorative. But there's a way to be dangerous without being mean-spirited, I think.

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Jerry Corley: And I think sometimes they blur the line. They're just trying to be mean-spirited, and they don't understand friction and danger as…

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Jerry Corley: not… Racist.

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Jerry Corley: Right?

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Kaz Okamoto: Right, but the, like, chink and, you know, gook, and even if you call someone a JAP or a NIP, which is short for Japanese or Nippanese, it was all considered derogatory.

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Kaz Okamoto: You know, and you know, when you… my mother was so funny. You know, when they used to call her names, but it wasn't a Japanese derogatory name, she was pissed off. I am not fucking Chinese. I am not Korean.

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Jerry Corley: That's fun, that could be a good joke in there, you know? She was like, that's funny, but if she… if somebody called her Chink, she'd get really offended.

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Jerry Corley: I am not Chinese. That's funny. Alright, let's move along. Alina, you have a question, you have your hand up?

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Kaz Okamoto: You're muted!

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LINA: Thanks, Karis.

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Kaz Okamoto: Yep.

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LINA: So, I just feel like that roast…

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LINA: Well, you know how I feel about Jeff Ross, Jerry, but I feel like he was completely…

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LINA: disrespectful, even though…

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LINA: Kevin Hart is not my favorite, obviously. I just feel like he, you know, when he had to go to the bathroom, they could have edited that out, you know? Do you remember that part?

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Jerry Corley: Yeah, yeah, yeah, when Jeff Ross got up and he just walks away, and he's like, he's like, I had to go use the bathroom. And it's like, you know, wow, they could have edited, edited away from that, they could have cut away from that, but it's live.

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LINA: Why… why is it… yeah, well, yeah, he's… he's so disrespectful and terrible. And second of all, what is up with us short people having meltdowns and yelling at people on planes and airports?

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LINA: You know, like…

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Jerry Corley: The Napoleon Complex, psychologists would call it.

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LINA: I wonder if it was Bob Hope. Yeah, and that's… and it's Napoleon Complex, and I was… I had to Google how, tall Tony Hinchcliffe was. There's mixed reports, but, you know.

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LINA: He… he reminds me of, like, the typical short.

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LINA: angry white man that's jealous of everybody else, and has a Napoleon complex. Have you ever met those kind of dudes? I feel like they all, like, look the same, act the same, they have the same teeth, they have the same attitude, and they all look like their own cocaine.

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Jerry Corley: Yeah, Andrew Schultz has that kind of vibe, too, sometimes, I can see. Like, he's, like, trying to prove something, and it's like, rather than, you know, approaching things through joy and… I don't know, he's changed a little bit, but, you know, he's always trying to…

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Jerry Corley: I think he's still trying to find a groove where he actually looks like a man, you know, growing the mustache, it looks out of place, that kind of thing,

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Jerry Corley: you know.

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LINA: Couple dip. Like, the spray tan in the bed 7 times a week looks brutal on him.

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Jerry Corley: Yes, I agree. I agree. Good point. Yeah, that's funny. And it's like, you're trying to prove something, and it's clearly, you know, just be you, man. I don't know. I see a lot of that in this, in those… in that Kevin Hart rose. But let's talk about some… let's talk about… focus on the ghostwriting aspect of it.

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Jerry Corley: Cliff.

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Cliff Spenger: Yeah, I'm just gonna say that, I think the… everyone is going negative because the algorithm is skewed to the negative, and so, like, everyone is going for numbers, that's… that's unfortunately their crutch is going negative.

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Cliff Spenger: That's my point.

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Jerry Corley: Oh, that's a really good point. Yes, absolutely. I didn't even think about that concept, in this conversation, but, you're right. One of the reasons they're doing that, because Netflix is an online,

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Jerry Corley: Is an online, you know,

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Jerry Corley: model. It's an online platform. So, what they're doing is,

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Jerry Corley: is they're trying to make sure that it gets the… gets the feed, right? So, and if it grabs the feed, it's gonna get the feed with negativity. So, I… that's a really good point, alright? And so they're gonna do some negative… negativity to get that… get that viral traction.

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Jerry Corley: And look, everybody was talking about it, right? Like I said, everybody was on their podcast the next day, everybody's, like, talking about defending. There were some people that were like, you know, Cheryl Underwood, talking about her husband killing himself.

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Jerry Corley: And, that was still kind of fresh. I think it happened maybe 6 months ago, but, they made jokes about that, and she was on the podcast saying, she said, no, that's… this is a roast, man, that was funny. Like, it was edgy, but it's funny. Like, people need to stop worrying so much about the other people there. It's like, you know, I'm laughing at the joke, relax!

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Jerry Corley: You know, if I got sad about it, then they probably wouldn't have done it.

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Jerry Corley: Right? And, sometimes back in the old Comedy Central Roast days, there would be,

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Jerry Corley: like Nikki Glazer said, she talked to… she, you know, she'd be like, well, I talked to everybody about it.

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Jerry Corley: You know, and I, you know, I got his permission to do it. Now, that's when you're talking about celebrities, too. Hey, I'm gonna be doing this joke, are you cool with it? They did cut a lot of jokes.

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Jerry Corley: From that, from that, from that roast. I would say there was probably about 80 jokes cut from the roast, that weren't done, that they decided to opt out of. And, so Shane Gillis himself would, in real time, say, okay, next joke, no wait, I'm gonna do that joke. And that was just funny in itself, just saying, oh, I'm gonna do it, I know it's risky, I'm gonna do it anyway.

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Jerry Corley: And he does the jokes. So anyway, back to sort of, like, we'll keep asking, we'll keep talking about questions regarding that, because it is a good conversation, and it does help us to get some clarity in what we, you know, what we, how we feel about

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Jerry Corley: That sort of thing, because if you find yourself writing in those situations, you're gonna wanna…

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Jerry Corley: you know, you want to kind of know what the rules are, what the going trend is. So, we'll get to where do we find people to ghostwrite, and how do we offer it, that's a question. Kaz said, instead of Napoleon Complex, she called it the Little Dick Syndrome.

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Jerry Corley: Yes, definitely, without a doubt. Guys that, like, drive, I would say guys that drive big old trucks.

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Jerry Corley: lifted trucks and things like that, or, you know, always have to be in a souped-up or, you know, a customized sports car, or something like that. They show the size of their dick with their… how much… how many accessories, how custom… how much customization they get on their vehicles. A lot of times I see that, you know, so it's like,

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Jerry Corley: Definitely, always looking for a fight somewhere. And, and, and, you know.

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Jerry Corley: That's just the… that's just the way some of these people are. So, I just laugh at them, because those are people that are worth making fun of. So…

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Jerry Corley: But a lot of people using Ghostwriter, so how can you collaborate and, without losing your voice or imposing? So this is gonna basically address two sides of the story. One, where you're writing for somebody and balloons, writing for somebody and, where you're having somebody write for you.

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Jerry Corley: I think a lot of times, there's a lot of collaboration going on in this business that we don't even notice. Like, you know, it's like, these podcast bros.

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Jerry Corley: We talk… I'll mention that later. Podcast bros, they're on these podcasts with other comics, and they're talking about current events, they're talking about situations, and one person will say something, bring up an angle of something, and another comic will comment on it. That might wind up in somebody's act later. So, that's a collaboration. You wouldn't call that person a ghostwriter, you'd just call it a conversation.

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Jerry Corley: And then you have to sort of make a decision on whose joke it is, right? And this is the general rule I go with, with the joke. If somebody brings up

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Jerry Corley: a topic.

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Jerry Corley: And then another comedian.

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Jerry Corley: You know, tags it, or tops it, and comes up with another angle, then the joke belongs to the person who had the seed of the idea.

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Jerry Corley: So, if, you know, basically, where's the origin of the joke? That joke would never have lived if that comedian or that person didn't bring up

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Jerry Corley: the topic, or didn't bring up the angle of that joke. So I think that that's where a lot of people get confused as to where the joke should come from. Now, I think everybody

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Jerry Corley: who's doing their own podcast or doing their own thing can make their own rules without a doubt. There's no set rules. There's no law that says that you can't do it. There is plagiarism, right? You're not supposed to plagiarize, but is it plagiarism? If you bring up a topic and you're in a podcast, and then…

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Jerry Corley: That… that idea became a full-fledged bit or joke, and then one of the comedians goes and does it.

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Jerry Corley: That needs to be… that needs to be talked about. Somebody needs to say, hey, I'm gonna go do that. Often, you'll see comedians sitting around together talking, you'll hear… constantly hear, yeah, I'm gonna use that, or can I use that? So…

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Jerry Corley: that, I think, is… is, you know, that's the conversation that needs to happen. So…

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Jerry Corley: But there's, like, there's… I think there's more writers than people thought that are collaborating with ghostwriters these days. I see it all the time. I think Christina Mariana, if you've seen her, she definitely uses some ghostwriters. Rita Rudner, she and her husband write together, and they write jokes, but he's not really a ghostwriter, he's her… he's part of a writing team, it's him and her.

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Jerry Corley: So,

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Jerry Corley: some people that did the roast that night had somebody write the entire roast bit, because they're not comfortable roasting. So somebody else wrote the roast jokes, and they got up there and delivered those jokes. Now, when you're, writing something, you know, we're gonna learn different approaches, right? So it's like,

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Jerry Corley: the goal when you're a comedy… right, when you're a comedian, is not to really depend only on writers, sometimes. I don't know what comics have.

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Jerry Corley: Bob Hope.

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Jerry Corley: he'd sometime write his own jokes, but he had a staff of 12 writers that constantly wrote material for him. And so, anytime he did television, he burned… that material was burned, and he never did a joke again… he never did a joke twice on TV. Once he did it on TV, that joke was done.

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Jerry Corley: Right? So, that's why you had somebody… he had a staff of 12 writers. So…

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Jerry Corley: you know, and we didn't… most people didn't know this. Most people thought that was all Bob's material. So…

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Jerry Corley: So, but then, as a writer, as a comedian, you want to become good at recognizing different approaches to joke writing. So, if you have somebody writing for you and introduces a new angle, just the way Cliff introduced the angle of it being,

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Jerry Corley: The angle of the roast using negativity to get the…

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Jerry Corley: tease into the algorithm to get more views, that's an angle I didn't think about. So, that's a third eye or a second brain opinion, right? That gives… that's valid and can definitely fit in, and also give more… a different approach to the jokes.

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Jerry Corley: So the object… so the object number one… the objective number one for this particular course is, like, understanding the different types of comedy-related relationships, and when each, or if each is appropriate. I don't see… there's very few I've found to be inappropriate. Objective number two, learn how to communicate your… with your voice. So if you're

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Jerry Corley: Writing for somebody else, learning how to communicate your voice, perspective, and stage persona to a writer.

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Jerry Corley: So that you can show their voice, but it'll have, you know, have you a little bit of your flair.

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Jerry Corley: Like, people can notice when, oh, so-and-so's been reading your book.

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Jerry Corley: Because they do tags and toppers and things like that, you know, that are related by, you know, the listing technique sort of thing. Objective number 3, discover where comedians find ghostwriters, and where comedians, where writers find comedians who can write, who you can write for, or somebody to write for you.

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Jerry Corley: I think mostly, it's like, most people in here are looking for what, if… I know Jack was talking about writing for somebody else.

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Jerry Corley: You know, it's like, but some people do want… look for people to write for them, and that's fine, too. Objective four, create a repeatable system for collaborating, testing, revising, and owning the material. That's one thing we should, definitely make sure we cover, is owning the material.

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Jerry Corley: So that there's no question where that material belongs.

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Jerry Corley: So, many comedians believe that a joke must originate entirely from their own brain. In fact, when I first started watching late-night TV, I used to think that the hosts wrote all their own jokes. And then when I watched Craig Ferguson, it was proven

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Jerry Corley: He had a staff of 12, and he basically riffed on, you know, would do the first joke, and the whole thing, rest of the 12 minutes of him doing the monologue was him riffing on different things.

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Jerry Corley: But it was that first joke that got him out of the chute. So it's like, when I first watched Late Night, I used to think that all those guys wrote their jokes. I never even thought they wrote their jokes at first. I thought they, every night, they got up in front of the camera and riffed.

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Jerry Corley: You know? So, and then I found out that they have a team of writers, right? So, comedy's always been collaborative, though. We mentioned that, right? We have staffs, roasts have staff, award shows have staffs, headliners have trusted joke contributors. I know one guy, he is a,

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Jerry Corley: I can't even say it, because he's not allowed… I… he's, you know…

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Jerry Corley: I've written… I wrote for him, and I, you know, he still uses some of the jokes I wrote for him, and he's always looking for new jokes, even though he's been at it for a long time.

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Jerry Corley: Right? So, comics who write 90% of the material often bring other minds to punch-up wording tags, suggest reverses, and identify blind spots. Like, you'll see that a lot in the podcast bros. Right? So, audiences don't care who suggested a punchline, they just, they care whether it's funny. So don't even worry about it. Like, if you're collaborating in your joke writing, guys get together all the time to do punch-up sessions.

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Jerry Corley: And it's like, on Zoom or on the phone. I remember driving to… every Monday, we had a thing at the Friars Club.

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Jerry Corley: It would start… we'd get there about 5PM,

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Jerry Corley: and we would write material, and open the doors at 9pm.

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Jerry Corley: and do our Fresh Five. Every… every Monday we do a Fresh Five at 9, and so, we'd get up there on stage, and every… that was the… that was the theme. We're doing a fresh, brand new 5 minutes that we wrote that day at 5pm. And on the way there, since I was…

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Jerry Corley: Sort of facilitating the group and coming up with a lot of the angles and the punches and the joke structure.

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Jerry Corley: in our group, on my way there, I would have my ideas, and I'd be on the phone with my friend Rob, who was my writing partner at the time.

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Jerry Corley: For scripts, and I'd be running jokes by him, and he'd be adding tags and toppers on the fly. So…

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Jerry Corley: that was really great, and then I would get to… and I would, there was a… I had this thing that I had that I bought at Radio Shack that I can plug into the earpiece of my phone, and, so it could hear my voice and the other person who's talking's voice at the same time. Then I got a Palm Trejo that had one button, and I could press that, and it would record the conversation, and then, we would have this conversation, and I would have all

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Jerry Corley: the tags and topper roof we came up with on my drive to Beverly Hills to the Friars Club. And so I'd have a fresh new 5 ready to go, because I was helping everybody else with theirs. So I was collaborating as well in just a conversation. I started with the ideas, I'd get some… he'd bounce off the ideas with some tags and toppers and act-outs, and those ideas then I would take up on stage.

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Jerry Corley: Nobody cared, nobody knew, doesn't matter, right? So that's a form of ghostwriting.

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Jerry Corley: So… so when does collaboration become ghostwriting? Kaz, you have your hand up?

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Kaz Okamoto: Yeah, so, I've written a bunch of stuff, and I thought it was, you know, like, my own idea, and then I hear other, when I… I go to a lot of comedy clubs every week and listen to comedians, or listen on the radio to comedy stations, and then I hear someone

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Kaz Okamoto: kind of doing my joke. It's not the same, of course, but it's the same idea, right? So, if they're more popular, which they are, and they say the joke first, if I come up with my joke that I did, wrote it my way.

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Kaz Okamoto: It makes me look that I stole their joke, right?

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Kaz Okamoto: So…

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Jerry Corley: Well, it depends on how close the joke is. Is it a premise? Is it, you know, what is the joke?

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Kaz Okamoto: Well, okay, so I wrote a joke about how to pick a ripe watermelon, and mine centers about being at Costco, and that a lady had asked me, which is a true story, you know, how can you tell if it's ripe? And I said, well, some people say.

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Kaz Okamoto: you know, you thump it, some people say you look at if it has stripes, and how dark are the stripes, how close are they together, the size of the patch where the watermelon sat on the ground. You know, I go through the… but the best way is to cut into the watermelon and take a piece out, and I take out my, you know, knife, my little, you know.

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Kaz Okamoto: penknife, and I cut a little thing, and take a piece out, and, you know, taste it and said, oh, this one's really good, you know.

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Jerry Corley: And you hand it to him.

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Kaz Okamoto: She said… and then she goes… and then I pick another watermelon. She goes, aren't you gonna… why aren't you gonna take the one that you took a, you know, chunk of? Oh, no, that's you, so I wouldn't take that.

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Jerry Corley: You know.

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Kaz Okamoto: So that was my joke, and then I heard, someone do a joke about how to pick a ripe watermelon.

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Kaz Okamoto: So, and it was Arnie, Orney Adams?

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Jerry Corley: Right? Right.

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Kaz Okamoto: He does his stuff because he's from the Midwest or something, and then talks about… but he does it on his, like.

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Kaz Okamoto: podcast, or a live thing, where he actually picks watermelons during the summer, and then cuts them open and sees if it was a good one or not a good one.

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Kaz Okamoto: Similar, but different, right?

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Jerry Corley: Yeah, it's different, right? It's like, you know, the way I… if Orni got up before me and did that joke, I'd go up, you know, Orni talks about, you know, growing water… or, you know, working… picking watermelons and seeing if they're tasting, if they're sweet. What I like to do.

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Jerry Corley: And this is true, this lady asked me at Costco one time if, how do you tell if a watermelon is ripe? And I said, what I, you know, a lot of people say, you knock on it.

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Jerry Corley: Elliot, you check… you check for some pitting, that means that the sugar is actually, you could see it in the rind. Yeah. Other people say, and so what I do, is I… and I have the switchblade, and I just cut out a segment, and I taste it. Oh, this one's a good one!

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Jerry Corley: And then I grab another watermelon and put it in my cart, and then the lady goes, how come you're not taking the one you took a piece out of? Oh, it's used.

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Jerry Corley: It's like… it's like, that's a… that's a different joke.

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Jerry Corley: Like, his is about growing, and yours is about, you know…

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Kaz Okamoto: It should…

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Jerry Corley: Tasting and basically having the simplest truth version of checking whether something's sweet or not.

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Kaz Okamoto: But just like when you go… if you're gonna… let's say you're gonna buy t-shirts in a package, you know, like V-neck t-shirts, and you go and you open the package, and rip open the plastic, and you feel it, and then say, okay, you want to buy it. You don't buy that one, you put that back, and then you buy a brand new package that has no…

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Kaz Okamoto: in it, you know, and that I know for a fact.

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Jerry Corley: That's… that's why I've… that's why that happens.

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Kaz Okamoto: Yeah.

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Jerry Corley: It's like, or, you know, a lot of them, you see the t-shirt missing, because they want to try it on.

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Jerry Corley: And then they go get a fresh package.

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Jerry Corley: You know? Yeah, that's interesting. But that's a… that's a fun way to do that. Like, what else? What would be the worst thing? Underwear.

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Kaz Okamoto: Yeah.

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Jerry Corley: Right? Somebody trying on a pair of underwear and then going, yeah, I would put this back in the package. I would show that as a scene in a movie or something like that. That's kind of funny. You know? It's like.

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Kaz Okamoto: The idiosyncrasies of shopping habits.

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Jerry Corley: Yeah, yeah, yeah. Cliff!

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Jerry Corley: You're still muted, Cliff, there you go. No, you're like, okay.

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Cliff Spenger: I might have had something and forgot it by now, so…

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Jerry Corley: Okay, alright, maybe it'll come to you in a little bit. So, yeah, so in the end, Kaz, it's basically that the idea is, if the joke is inherently yours, keep it.

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Jerry Corley: Just because it's the same premise or a similar premise does not mean it's not yours. There's, like, parallel thought all the time. Those are two different angles of looking at that joke. You're the one that's, like, basically taking a piece out of the watermelon and yet getting another one because it's used, and that person's is, like, you know, how to tell if something is a good watermelon based on the fact that he picks watermelons.

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Jerry Corley: So, I think that's a… it's kind of a different… totally different concept. So…

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Jerry Corley: Let's move, let's move, so when, when does ghostwriting become ghostwriting? I think ghostwriting becomes ghostwriting when you are,

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Jerry Corley: actually getting paid to write for somebody, right? And so, and…

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Jerry Corley: A lot of times when you're dealing with somebody who is a pro, there's a contract involved, and sometimes the contract has a non-disclosure. They don't want you to let people know that you're writing.

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Jerry Corley: Now, I had a non-disclosure, with Chris Rock, but that nondisclosure was not in perpetuity, so that expired, right? So, it was like,

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Jerry Corley: it's, like, was 10… I think it was 10 years, or something like that. So that's… that's done. I don't have to worry about saying that anymore. But I don't say it a lot, just because…

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Jerry Corley: You know, most people want to keep it, keep it confident. I say it in classes to let people know what's available to them.

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Jerry Corley: And then they can take some of their jokes that might not be their voice, and see if they can sell it to somebody else. But that was a situation where I had been at the Comedy Store, and I saw what Chris Rock was doing, and I liked his bit, and then when I was writing material off, I had a whole set of material based on that case that was running in the news, and I wrote a joke on it that's not my voice.

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Jerry Corley: And then I got up, and that was definitely fit for Chris Rock, and that's where I sold that one. When does co-writing become writing… writing staff? If you're talking about Carlos Mencia, never. He just openly stole jokes. But I think, a writing staff who's got a… is a more formal situation, like Bob Hope had a writing staff. Most of them wrote on their own.

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Jerry Corley: And then, independently of Bob Hope, occasionally Bob would have them in for meetings, at his house. So, I mean, that was just… those guys were all on staff, and they got paid for every joke they wrote. And some of them, I think he had on salary.

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Jerry Corley: Cause he would call them all hours of the night.

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Jerry Corley: So…

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Jerry Corley: Robin Williams used to get accused of stealing jokes, and… but in Robin's process, he would often hear jokes, and… from other comedians performing at the Comedy Store in a conversation or whatever. Then when he was on stage, and he was so in the moment, or coked out, either one, that he didn't even realize he used another comic's jokes, and he used to walk away… in an interview, he said he walked around with $100 in his pocket.

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Jerry Corley: It's just so, like, if anybody said that he stole a joke from them, he would just give him 100 bucks. Now, when he gives them… if he pays for the joke, whose joke is it?

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Kaz Okamoto: Robins.

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Jerry Corley: Robins, that's right. So if you're a writer, and you're writing, you're, like, writing for somebody, and somebody pays you for a joke, that joke is theirs. You can't do that joke anymore.

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Jerry Corley: Joke is no longer yours. So, a lot of people misunderstand that. They think they can still get up on stage and do the joke.

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Jerry Corley: But they can't. That's, like, now somebody else's joke. You sold it, you sold the rights to it, and that's the way that works. It's just like selling the rights to, you know.

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Jerry Corley: you know, stretch, or whatever. They made the movie, they… when they… they were able to make some changes based on they bought the rights to the… to the material. So it's like, so, most comics don't… they don't understand that when they first start writing for somebody. So it's like, that's a formal approach. Cliff.

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Cliff Spenger: Yeah, the time to decide if you want to keep your toe is before that. You want to… that's your big decision, whether you want to keep it or sell it.

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Jerry Corley: So, the question is…

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Jerry Corley: Or is that basically just a comment on that?

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Cliff Spenger: Yeah, no, that's a comment. I mean, they need to… you need to decide before you're gonna sell it, if you're gonna keep it or not.

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Jerry Corley: Yeah, I think the thing is, you guys are getting… you guys are developing some good skill sets, right? And comedy writing is a skill. You can learn it, you can get really good at it. Practicing writing every day, you can write jokes all the time. I love to write stories, and take those stories and punch them up. That's one of my favorite things to do now, is to take the story, write the story, because there's a point I want to make, and then I go line by line, and I try to punch up each line.

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Jerry Corley: So, in…

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Jerry Corley: when I'm doing that sort of thing, you know, you make that decision, I'm gonna keep this material, this is for me, but if there's somebody else and they hire me to write for them, I'll, you know, when I write a joke for them, that joke is done, right? And…

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Jerry Corley: The point is, is when you write all the time, you know you could write more. So, the reason you're hired is that person isn't as prolific in their joke writing. The person I love to just always reference when it comes to this is Joan Rivers. Joan Rivers…

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Jerry Corley: used to write… was one of the most prolific joke writers of all time, and she would write jokes for herself, but she would never turn down a gig to write for somebody else. And it was like, even when, you know, a comedian would say to her, hey, so-and-so asked me to write for them, but they're only offering X amount of dollars, and Joan would be like, I'll do it.

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Jerry Corley: And she said it was less about the money and more about the writing, because if I could write

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Jerry Corley: you know, what's maybe out of my comfort zone for somebody else, that means it helps me to be able to write for anybody, anytime, on anything. So, it just made her… she just made me a better writer. And so, if that opportunity came along.

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Jerry Corley: I would just do the gig, because it just, like, it gives you a chance to write jokes. I love writing jokes, and I love being put outside my comfort zone to write jokes and try to write something for…

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Jerry Corley: either myself or somebody else, or on a new topic, just because it's like, you're getting your practice in. Just like playing music, you get a thrill from it.

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Jerry Corley: So I think that's one of the things to… to understand, too. Selling a joke, jokes are a dime a dozen.

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Jerry Corley: you can write all day. You know, I think, when my… and your reputation starts to precede you, so when Jack was asking, how do you get those gigs, a lot of times when you start writing for other people, and be so… when they… people see you on stage with new jokes, especially current events jokes.

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Jerry Corley: Constantly, they'll be like, that guy's a good writer. You get… that reputation spreads really fast, and people start asking you to write for them.

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Jerry Corley: So I think when that happens, that's, you know, you're actually starting to develop a reputation and, you know, you're selling services now. So, what I would do is I would definitely come up with a contract.

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Jerry Corley: To… when I… if somebody asked me to write for them, I would come up with a contract, a very typical, a very typical contract about trading services. It's a services agreement.

404
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Jerry Corley: And, basically, let them know, specifically, the joke is there, they own the joke, and this is how much it is per joke. Like, and now you have to define joke.

405
01:01:00.480 --> 01:01:02.670
Jerry Corley: And or Laugh Point.

406
01:01:03.170 --> 01:01:22.750
Jerry Corley: So, if you're writing… if somebody has a story, and you're punching up their story, every lap point you can put in there, I would say, like, a single stand-alone joke is about, back… back then, was about $50. Today, it depends, it'll go from $50 to $100, right? So…

407
01:01:23.440 --> 01:01:31.100
Jerry Corley: But if you're taking somebody's story and punching it up, and you're adding laugh points within that story that are basically

408
01:01:31.420 --> 01:01:37.719
Jerry Corley: of jokes within the story. I would say you would start charging per laugh point or per page.

409
01:01:38.080 --> 01:01:47.890
Jerry Corley: So, in essence, if I write, per lap point, it was like $20 per lap point, or $25 per laugh point, meaning there's a laugh within that story.

410
01:01:48.520 --> 01:01:55.550
Jerry Corley: And then it was, like, for the, for the page, if it was, like, basically each page, what about a… you could fit…

411
01:01:55.730 --> 01:02:00.959
Jerry Corley: what is it, 150 words on a page, or something like that, per page? It's about,

412
01:02:01.350 --> 01:02:07.220
Jerry Corley: No, there's more than that. There's about 300 words per page. So, in a page.

413
01:02:07.400 --> 01:02:16.030
Jerry Corley: you would basically, you know, you're saying it's for about 3 minutes of material, it's about $500. So,

414
01:02:16.070 --> 01:02:21.830
Jerry Corley: And that's a corporate rate, right? So, with a comedian who's broke.

415
01:02:21.830 --> 01:02:43.639
Jerry Corley: Maybe your fee changes. With a comedian who's successful, definitely the fee's gonna go up a little bit, like Robin was paying $100 per joke that he stole. He had a lot of money, and so he, you know, he didn't mind. If somebody said, hey, you stole my joke, he'd just give him 100 bucks. So it just got rid of any of the pain, right? So…

416
01:02:43.660 --> 01:02:45.630
Jerry Corley: You don't have to worry about that anymore.

417
01:02:46.310 --> 01:02:51.070
Jerry Corley: So, Ghostwriter can do a lot of different things, can take existing material within

418
01:02:51.280 --> 01:03:08.630
Jerry Corley: somebody's act, and help them generate new premises, add punchlines, write tags, create callbacks, all of these things are potential lap points. Punch up some of the wording, rewrite the setups, improve transitions. I've done that for people. Hey, I just need some transitions.

419
01:03:08.850 --> 01:03:20.450
Jerry Corley: You know, and it'd be like, that's gonna be a different fee, right? So it's like, overall, I'd look at how much that contributed to the piece they already had, and I'd given them a price on that. So…

420
01:03:20.830 --> 01:03:24.329
Jerry Corley: I remember, somebody asked me who was…

421
01:03:24.750 --> 01:03:32.800
Jerry Corley: He's a… he basically was a movie review guy on CBS News for years in LA.

422
01:03:33.010 --> 01:03:43.230
Jerry Corley: And he asked, basically, he was… he took… he sat… he was doing my comedy class, and he had to… he was doing it because he had to do a tribute

423
01:03:43.890 --> 01:03:50.339
Jerry Corley: to, I think it was Rick Dees, and then he just asked, hey, can you write…

424
01:03:50.660 --> 01:03:54.729
Jerry Corley: Could you write me a, you know, a segment?

425
01:03:54.840 --> 01:04:01.370
Jerry Corley: for Rick Dees, for his 40th anniversary in show business. And I did, in broadcasting.

426
01:04:01.370 --> 01:04:26.129
Jerry Corley: And I wrote him that segment, and he got great accolades from that. In fact, he called me that night. He was so excited, because you get that dopamine hit from all those laughs. He called me up, and he said, Jerry, wow, thank you so much, I really appreciate it. Joe Dungan had also written a couple of jokes for him as well, and got paid. So, he was like, I really appreciate it. Harvey Weinstein came up to me afterwards and said.

427
01:04:26.130 --> 01:04:31.440
Jerry Corley: I didn't know, what was in the David Sheehan, that was his name. David Sheehan was funny.

428
01:04:32.100 --> 01:04:33.580
Jerry Corley: And,

429
01:04:33.660 --> 01:04:39.190
Jerry Corley: So, he said, I really appreciate it. And I was like, you know Harvey Weinstein? He's like, I've been…

430
01:04:39.220 --> 01:04:54.639
Jerry Corley: He said, you don't, like, review his films all these years and not know him, right? So, and then he said, I said, great, could you get him a script? And that's how I got my script to Harvey Weinstein, was through that collaboration with David Sheehan. So, Kaz, you have your hand up.

431
01:04:54.640 --> 01:04:58.360
Kaz Okamoto: Yeah, so when you do transitional stuff,

432
01:05:00.230 --> 01:05:12.799
Kaz Okamoto: You would… would you charge more money for that? Because I would think it would be harder to do than if you're just writing jokes, and then, you know, like you said, you're writing jokes in the voice or the thoughts of that comedian.

433
01:05:12.800 --> 01:05:20.799
Kaz Okamoto: because you're doing that not necessarily to sell it to that comedian, but you're practicing. Like, I listened to…

434
01:05:20.800 --> 01:05:27.619
Kaz Okamoto: You know, the stuff that you do on these a la carte classes, and then look at different,

435
01:05:27.910 --> 01:05:45.719
Kaz Okamoto: clips of their work, and then you often talk about, you know, get the transcript, and then see if you can punch it up, add toppers, you know, you know, that kind of stuff, and… or listen to comedians on stage and think, that wasn't funny. If they had done this, it would have been funnier.

436
01:05:45.960 --> 01:05:47.420
Jerry Corley: No. Yeah, yeah.

437
01:05:47.880 --> 01:05:49.089
Kaz Okamoto: You know, so…

438
01:05:49.090 --> 01:05:49.979
Jerry Corley: I mean, that is, like…

439
01:05:49.980 --> 01:05:51.600
Kaz Okamoto: and I would think it'd be…

440
01:05:51.780 --> 01:06:03.100
Jerry Corley: It's a joke rewrite, right? And it's adding, or transition meaning, basically you're writing the segment in between two bits, right? The segue, or the, the…

441
01:06:03.100 --> 01:06:04.739
Kaz Okamoto: connection between those two.

442
01:06:04.740 --> 01:06:27.889
Jerry Corley: And sometimes you make the transition, and it really adds to the piece, becomes a running gag. Like, when Steven Pate, was, doing his material, and it was basically, he kind of had a monotone delivery, and it was about being a mundane person, mediocre, that was it, a mediocre person, talking about he never reached the level of… any level of…

443
01:06:27.890 --> 01:06:34.119
Jerry Corley: Like, he never was first place or a champion, he was always just mediocre. And that was kind of the theme.

444
01:06:34.120 --> 01:06:38.730
Jerry Corley: And so, we added, he would, like.

445
01:06:39.030 --> 01:06:55.850
Jerry Corley: out of nowhere, he'd… like, he'd do a piece… he'd do a joke, and then sing a segment, a piece of a song that was, you know, the popular part of the song, and then people would start to sing along. The moment people started to sing along for a few notes, he'd just stop abruptly.

446
01:06:56.040 --> 01:07:02.509
Jerry Corley: And go back into talking into the next segment of his joke, and the audience would… because that's now a pattern disruption.

447
01:07:02.510 --> 01:07:16.180
Jerry Corley: Right? So, you have to start the song, after a joke, and then it would… then he'd, like, stop that song and go right now, right back into the bit, right back into talking, that…

448
01:07:16.180 --> 01:07:20.650
Jerry Corley: That switch created a fun-running gag, made the piece…

449
01:07:20.650 --> 01:07:37.059
Jerry Corley: his whole performance now be so much more entertaining, and the audience was looking forward to what song he would bring up next, so it became a nice, fond piece. If I was getting paid for that, because it had a big impact on the overall performance, on the overall set.

450
01:07:37.060 --> 01:07:43.820
Jerry Corley: that would be a different fee, right? I'd be like, you know, that's gonna cost, like, that's $1,000 or whatever.

451
01:07:43.830 --> 01:07:50.399
Jerry Corley: and negotiate with that person as to what that… what value that brought to the set. So…

452
01:07:50.460 --> 01:08:10.100
Jerry Corley: transitions for each transition, probably about 25 bucks, not really a big deal, depending if you're doing individual, or if you're writing, you know, if you're union, and you're writing on staff somewhere, that's a whole different thing. Every time you write something that is considered, you know, you get something greenlit, that's different. I mean, each…

453
01:08:10.430 --> 01:08:24.359
Jerry Corley: you know, the Writers Guild, has a basic agreement that says what your minimums are for writing on… if you're on a show, but you'd have to officially be on the show. When I was writing,

454
01:08:25.100 --> 01:08:34.790
Jerry Corley: when I was contributing, I was contributing one time for a sitcom, right? I was punching up and consulting on a sitcom, so I was un… un… I was not…

455
01:08:35.470 --> 01:08:36.540
Jerry Corley: credited.

456
01:08:36.760 --> 01:08:54.029
Jerry Corley: So… but I got paid pretty well for that contribution. They told me at the beginning, we don't have… it's not in the budget for us to hire another writer, but we can pay you as a contributor, right? And so, they told me what that was, gave me a contract on the side, it was a,

457
01:08:54.160 --> 01:09:09.910
Jerry Corley: It was, you know, a confidential agreement, and they paid me for that. That… I didn't mind, you know? I was getting paid for… as an extra gig. It was multiple… you're creating multiple revenue streams. As a writer, you can do that, you know? So it's like…

458
01:09:09.910 --> 01:09:11.029
Kaz Okamoto: Union show?

459
01:09:11.279 --> 01:09:13.379
Jerry Corley: It was a union show.

460
01:09:13.590 --> 01:09:17.049
Kaz Okamoto: So that means you got no benefits, or no pension, or anything, right?

461
01:09:17.050 --> 01:09:17.960
Jerry Corley: Right, yeah.

462
01:09:17.960 --> 01:09:19.470
Kaz Okamoto: Independent contractor.

463
01:09:19.470 --> 01:09:21.039
Jerry Corley: Yeah, it was on the WB.

464
01:09:21.040 --> 01:09:22.390
Kaz Okamoto: Yeah, sneaky.

465
01:09:22.399 --> 01:09:27.819
Jerry Corley: Yeah, it was sneaky. And I should have, like, said, hey, you get… it was Ed Weinberger, right?

466
01:09:28.319 --> 01:09:48.089
Jerry Corley: the producer, he knows better, but he's also… he's used to playing the… playing the edges, right? So, and I was like, I was… I was… I contributed a… I was a funny guy, and I had a lot of great jokes for that show. So, it was like, I should have charged more, and they, you know, I was waiting for them to offer me, a staff position.

467
01:09:48.089 --> 01:09:54.069
Jerry Corley: That never came to fruition. I was moving… I moved on to another project, you know, halfway through that, so…

468
01:09:54.069 --> 01:09:54.679
Kaz Okamoto: Hmm.

469
01:09:54.680 --> 01:10:12.780
Jerry Corley: But it was still, I think, 4 shows, 5 shows I contributed on, a lot of jokes, and that's how I… I just basically was having lunch with my friend Ron, who was on staff there, and, the guy, he was like, I need 10 jokes about, balding.

470
01:10:12.780 --> 01:10:14.720
Jerry Corley: And so everybody looked at me.

471
01:10:15.440 --> 01:10:25.990
Jerry Corley: And I wrote 10 jokes on balding, just using the exercise, top 10 reasons you know you're balding, and I came up with, like, a bunch of punchlines, and he, loved the jokes.

472
01:10:26.200 --> 01:10:31.370
Jerry Corley: And so, that's… and he said, you know, can you be here tomorrow?

473
01:10:32.330 --> 01:10:36.340
Jerry Corley: And he gave me $500, and, out of his wallet.

474
01:10:36.420 --> 01:10:55.120
Jerry Corley: And then, so I showed up the next day, I contributed more, and then they started to… then he, you know, they came up with a little contract on the side, confidential agreement contract, but you're right, it was still subverting the union, and I should have gotten paid the benefits and everything that comes along with that. So, in that respect.

475
01:10:55.350 --> 01:11:09.720
Jerry Corley: I got another job that was union. So, I didn't, you know, one thing led to another, and your reputation, you know, starts to spread. Probably, you know, didn't want to get in trouble either with the union. So…

476
01:11:09.720 --> 01:11:34.570
Jerry Corley: But that's a good point. So expand, so even if you expand somebody's stories, you build their act-outs, you create, you organize, sometimes, like, and then you start getting in the bigger area where you're organizing specials, like, what is the format of that special? What jokes is Nikki Glazer gonna do at the opening? What jokes is she gonna do when she transitions to, the, the, the first award segment?

477
01:11:34.570 --> 01:11:38.489
Jerry Corley: Are you gonna be writing some of the segment

478
01:11:38.520 --> 01:12:01.819
Jerry Corley: like, presentations, all that stuff. Roast material is a whole different thing, right? There's a lot of, like, contributing writers for roast, and then topical material, like when you're writing for late-night TV. And when you do that, they do have contributing writers. They did with Leno, right? Leno allowed contributing writers. Then the union got upset about it, and they stopped allowing outside contributing writers to just contribute to the show.

479
01:12:01.820 --> 01:12:17.430
Jerry Corley: So that was a change that happened along… over the years, too, because the union got involved and said, nope, no more of this. You guys are basically paying them under the table, and they're being cheated out of their benefits and pension and all that stuff.

480
01:12:17.430 --> 01:12:23.049
Jerry Corley: So… and they're right. You know, writers bring you value, and they should get paid.

481
01:12:23.220 --> 01:12:35.299
Jerry Corley: And that's a lot of things you'll find in this business. Like, a lot of people in this business, producers, etc, don't give value, enough value to the seed of the idea.

482
01:12:35.540 --> 01:12:46.310
Jerry Corley: they think, oh, yeah, well, I wrote the script, but you didn't have the idea. The idea, what, you just came with, the idea just came to you? No, it didn't. You got it from somebody else. So…

483
01:12:46.310 --> 01:13:06.099
Jerry Corley: They wouldn't give… they don't like to give credit there. They think that, since they wrote the script, they deserve all the credit, but they don't give credit to the person who had the original idea, which is where the value is. That thing wouldn't have existed without that person who had the… that created the idea. So, they don't value that as much in the… in terms of the credit and the pay at the end.

484
01:13:06.240 --> 01:13:09.490
Jerry Corley: Right? So, so…

485
01:13:09.720 --> 01:13:22.040
Jerry Corley: And I think that's… as a writer, you have to decide where you're gonna draw the line and set your line of integrity. Like, what am I gonna… what demand am I gonna make? So,

486
01:13:22.710 --> 01:13:29.420
Jerry Corley: when… What's his name,

487
01:13:30.930 --> 01:13:35.080
Jerry Corley: Rocky. Sylvester Stallone. He wrote Rocky.

488
01:13:35.580 --> 01:13:44.570
Jerry Corley: And Universal wanted to do Rocky, but they wanted to put, Ryan, O'Neill as the lead.

489
01:13:44.810 --> 01:13:47.429
Jerry Corley: And he said, no, I want to do it.

490
01:13:47.710 --> 01:13:50.890
Jerry Corley: And they were like, well, we'll pay you a million dollars.

491
01:13:51.030 --> 01:13:55.559
Jerry Corley: And he was driving a car in Philadelphia at the time that had no reverse.

492
01:13:57.880 --> 01:14:15.519
Jerry Corley: And he passed on that million dollars. He said, no, I want to do it. And then some… and then he got the offer from somebody else, right, afterwards, to do the film where he started it. So, because he set his boundaries, that's what he was able to generate from that. And of course.

493
01:14:15.520 --> 01:14:20.210
Jerry Corley: It became a legendary, you know, French franchise. So…

494
01:14:20.750 --> 01:14:28.569
Jerry Corley: Learning to stand your ground and stand up for what you want out of that particular project is very important, too.

495
01:14:28.570 --> 01:14:49.729
Jerry Corley: to know. So… so they… many comedians don't hire writers just because they can't write, they're just looking for the second perspective. They're looking for the second brain, first brain, second brain, or the third eye, to see what the… see what somebody else can bring. just like that example when Cliff brought that thing about, looking for the algorithm. I didn't think about that angle.

496
01:14:49.730 --> 01:14:58.629
Jerry Corley: But it was… and it's spot on, it's a great angle. So, Lesson 3, when you're writing for somebody else, you have to remember MAP, Material Audience Performer.

497
01:14:58.720 --> 01:15:09.630
Jerry Corley: You have to… the material has to be suitable for the audience that you're writing for, and the performer. So, a lot of times, people would send me jokes and go, hey, would this be good for…

498
01:15:09.760 --> 01:15:28.670
Jerry Corley: The Tonight Show, would this be good for Kimmel? And it's, like, one joke, and it's not even his voice, and it's like, I remember one guy submitting jokes and talking about how, you know, fat he was, and it's like, but he was submitting, trying to submit these jokes for Jimmy Fallon. I go, dude, that's not even his voice, they're… they're fat jokes.

499
01:15:28.950 --> 01:15:39.140
Jerry Corley: Right? It's like, he doesn't… he doesn't do jokes like that. He doesn't… he's not looking for jokes. He's got plenty of jokes. It's jokes on a certain topic. So it's like,

500
01:15:39.140 --> 01:15:56.080
Jerry Corley: So, material audience performer, very important thing to remember as a writer. Protecting your voice. This is where most collaborations fail, I think. Writer starts writing jokes that they would tell, right? Not jokes for the show or for the host, for the person. So instead of jokes, you would tell, ask.

501
01:15:56.080 --> 01:16:08.219
Jerry Corley: would I actually say this, or would they actually say this? Would I use these words, or would they use these words? Would I have this opinion, or would they have this opinion? So, if somebody's writing for you.

502
01:16:08.310 --> 01:16:10.140
Jerry Corley: And you like the joke.

503
01:16:10.920 --> 01:16:30.710
Jerry Corley: But the joke doesn't match your persona, or the image you put in front of that audience. Keep in mind that that audience could become… it might be a funny joke, but the audience could become disappointed, because it's not what they expect from the brand that you've established. Does that make sense? And you want to make sure that you, that your material reflects you, right? So that's, I think, where people mess up.

504
01:16:30.710 --> 01:16:35.289
Jerry Corley: So it's like, would my audience believe this came from me?

505
01:16:36.020 --> 01:16:42.159
Jerry Corley: And that's the thing that I think, you know, I see stuff all the time, and I'll go, that's ChatGPT.

506
01:16:43.480 --> 01:17:03.470
Jerry Corley: And I hear it constantly. Now, anytime I hear somebody use the term hostage situation, I'm like, that was ChatGPT. That doesn't even make sense in that sentence you created, that that would now be deemed a hostage situation in any respect. And they go, this is obviously somebody writing for ChatGPT, or writing using ChatGPT.

507
01:17:03.480 --> 01:17:12.520
Jerry Corley: Right? And I saw this recently on a blog, a video blog, or a video that was basically talking about

508
01:17:12.580 --> 01:17:19.049
Jerry Corley: How YouTube is now at least 20% AI slop.

509
01:17:19.360 --> 01:17:29.410
Jerry Corley: Meaning, videos created by AI, generated by AI, and YouTube is letting it go because it's…

510
01:17:29.450 --> 01:17:43.029
Jerry Corley: it's, you know, eating up a lot of time. There's a whole… there's channels that are dedicated to using AI-generated scripts and voices and videos. And they're making a lot of money, $20,000 a month for AI.

511
01:17:43.030 --> 01:17:46.470
Jack Rain: Being demonetized, that's a huge thing going on right now.

512
01:17:50.370 --> 01:17:50.910
Jerry Corley: Are they?

513
01:17:51.200 --> 01:17:52.030
Jack Rain: Yeah?

514
01:17:52.330 --> 01:17:53.889
Jerry Corley: Would you raise your hand and wait?

515
01:17:54.570 --> 01:17:55.520
Jack Rain: No.

516
01:17:55.520 --> 01:17:58.600
Jerry Corley: Don't you just jump in and talk over me?

517
01:17:58.860 --> 01:18:06.020
Jerry Corley: No, I think, well… That's the complaint, is… not really.

518
01:18:06.560 --> 01:18:11.469
Jerry Corley: Because the CEO of YouTube is letting them… because they're making money.

519
01:18:11.510 --> 01:18:35.370
Jerry Corley: Right? And so they're, like, slowly doing it. Look at Meta. Meta's been called out lots of times for having AI slop all over their channels, and it's like, but if they are being demonetized, I haven't seen it. The big, influencers wouldn't be complaining about it if they were being demonetized at a rate they should be demonetized on. I mean, there are entire channels.

520
01:18:35.370 --> 01:18:59.540
Jerry Corley: that have just a massive amount of content, and it's all AI-generated crap, and they think it's just okay just to put that AI there. But the point is, is this one video was complaining about 20% of the content on YouTube being AI, and I was listening to the… listening to it, and all of a sudden, it goes, like a hostage situation. I go, this motherfucker is using AI to write this script!

521
01:18:59.540 --> 01:19:00.340
Jerry Corley: script.

522
01:19:00.370 --> 01:19:10.210
Jerry Corley: Right? So it's like… it's like, it's all annoying, but he's monetized, and he's making money from that. There's just so much content out there.

523
01:19:10.380 --> 01:19:17.509
Jerry Corley: that, you know, YouTube can't keep up with it, and people are making money from it, from AI-generated stuff.

524
01:19:17.510 --> 01:19:32.550
Jerry Corley: So, if you use AI, and you're out there work trying to get jobs writing for another comedian, you better be careful, your reputation can get ruined. Cliff, I'm gonna get… you have your hand up, before you forget.

525
01:19:35.230 --> 01:19:40.919
Cliff Spenger: Yeah, I had a couple of things. Yeah. Normally, something you talked about earlier about

526
01:19:41.110 --> 01:19:50.410
Cliff Spenger: writing for speeches, and it seems like that would be the lowest bar for this ghostwriting thing. Speeches for politicians.

527
01:19:50.600 --> 01:19:56.959
Cliff Spenger: And, so, to practice that, you'd probably recommend getting some speeches in.

528
01:19:57.090 --> 01:20:00.570
Cliff Spenger: And do the work, punch them up to add some humor in there.

529
01:20:00.570 --> 01:20:02.120
Jerry Corley: Without a doubt, yeah, I…

530
01:20:02.120 --> 01:20:03.499
Cliff Spenger: That seems like the easiest…

531
01:20:04.430 --> 01:20:05.230
Jerry Corley: pay well.

532
01:20:05.230 --> 01:20:07.060
Cliff Spenger: Up-and-coming politician who wants…

533
01:20:07.490 --> 01:20:15.999
Cliff Spenger: And then… and then, take one of their speeches and punch it up, and then you just send it right in and say, well, you could have been a little funnier, and they might… they might bite at that.

534
01:20:16.000 --> 01:20:20.420
Jerry Corley: Yeah, and then they, and then… Without a doubt, it would…

535
01:20:20.550 --> 01:20:22.759
Jerry Corley: Take one of their speeches and punch it up.

536
01:20:25.350 --> 01:20:26.590
Jerry Corley: And the other one was what?

537
01:20:26.590 --> 01:20:28.820
Cliff Spenger: I forgot the other point.

538
01:20:28.820 --> 01:20:33.799
Jerry Corley: I already forgot that. Could be the age, could be the weed.

539
01:20:33.800 --> 01:20:36.570
Cliff Spenger: That one was something we could do.

540
01:20:37.060 --> 01:20:41.489
Cliff Spenger: Well, yes, it could be either one, but I'm gonna be 75 in one month, so…

541
01:20:41.490 --> 01:20:42.340
Jerry Corley: Wow, man.

542
01:20:42.340 --> 01:20:44.260
Cliff Spenger: I guess it's two wipes. I'm already…

543
01:20:44.260 --> 01:20:44.970
Jerry Corley: Amazing.

544
01:20:46.100 --> 01:20:47.490
Jerry Corley: Congratulations.

545
01:20:47.490 --> 01:20:48.559
Cliff Spenger: coach this weekend.

546
01:20:49.160 --> 01:20:57.159
Jerry Corley: Yes! Wade, way to go, look at that. But I think that's a great idea. I, I did some, for people…

547
01:20:57.460 --> 01:21:15.710
Jerry Corley: there was a comedian friend of mine that I met at the Friars Club, and he was running for office in Kentucky, where he's originally from, and, so, I wrote his, I wrote a couple of speeches for him, and, they were great, they got great response, he paid pretty well for them.

548
01:21:15.710 --> 01:21:29.729
Jerry Corley: So, that was exciting to open up that territory. You know, Ronald Reagan had a full staff, a comedian as a staff writer, with… on his staff, because he always wanted some humor in his, stuff.

549
01:21:29.730 --> 01:21:43.269
Jerry Corley: So, I think, more and more, there should be some… some of these guys need some humor to connect. Obama had some people do some jokes for him, and he did… he's great at delivering them.

550
01:21:43.400 --> 01:21:58.739
Jerry Corley: So, that… that humanized him, too. Trump needs somebody like that, but Trump thinks… Trump thinks he's the best. He's got the best words, he doesn't need anybody. I don't even need a speech, I can riff on this.

551
01:21:58.810 --> 01:22:04.520
Jerry Corley: That sort of thing, so it's like, you're gonna, you're gonna encounter those people, too.

552
01:22:04.650 --> 01:22:17.600
Jerry Corley: But remember, when you're writing for somebody, if they catch you using AI, or they even assume, you're using AI, it's gonna really hurt your reputation, so just be careful out there.

553
01:22:17.600 --> 01:22:18.190
Cliff Spenger: Thank you.

554
01:22:18.750 --> 01:22:19.530
Cliff Spenger: Yep.

555
01:22:20.030 --> 01:22:27.640
Cliff Spenger: You reminded me of the other thing. So, I think we should, start putting up AI videos

556
01:22:27.770 --> 01:22:38.689
Cliff Spenger: made by AI to complain about the AI's use on the internet. So the AI is basically, that we're producing, is videos complaining about the AI.

557
01:22:38.920 --> 01:22:41.250
Cliff Spenger: But we'll use AI to do that.

558
01:22:41.860 --> 01:22:43.889
Jerry Corley: Well, that's exactly what this…

559
01:22:43.890 --> 01:22:44.260
Cliff Spenger: silly.

560
01:22:44.260 --> 01:22:49.840
Jerry Corley: That's exactly what the video I was telling you did. It's like I was listening to it, and I could hear the…

561
01:22:49.840 --> 01:22:50.230
Cliff Spenger: I tripped.

562
01:22:50.230 --> 01:22:50.630
Jerry Corley: I hurt.

563
01:22:50.630 --> 01:22:51.709
Cliff Spenger: Kind of, weirdly.

564
01:22:53.720 --> 01:22:59.779
Jerry Corley: Yeah, I heard the AI signatures in there, and I was like, dude's using AI to write this piece.

565
01:23:00.410 --> 01:23:01.860
Jerry Corley: You know? Well, I think it's…

566
01:23:01.860 --> 01:23:05.749
Cliff Spenger: That's funny. I think that's funny, to complain about AI. It's hilarious.

567
01:23:05.750 --> 01:23:09.210
Jerry Corley: Yeah, yeah, complaining about AI with an AI-written video.

568
01:23:09.790 --> 01:23:10.480
Cliff Spenger: Yeah.

569
01:23:10.480 --> 01:23:15.910
Jerry Corley: That's funny. Yeah. So, so, and you'll see a lot of people

570
01:23:16.430 --> 01:23:20.759
Jerry Corley: that put these, AI… they'll take a face of a doctor.

571
01:23:20.760 --> 01:23:43.169
Jerry Corley: or something, or somebody that looks like they're a doctor, and it's, like, purely… it's an AI face, it's an AI-driven video, and the guy's not even talking. But you can tell after a few moments, based on the patterns, sometimes their inflections, how they end a sentence, and sometimes the pronunciation of words, that it's not, that it's not a human, it's AI.

572
01:23:43.170 --> 01:23:49.130
Jerry Corley: So it's like, then you just click off of that shit, because it's like, why do you want to listen to that? And…

573
01:23:49.190 --> 01:24:05.300
Jerry Corley: The biggest complaint I've been hearing lately is a lot of them putting out medical advice, or physical fitness advice, or something like that, and it's wrong, because it's basically AI hallucinating on how to, you know, solve a particular problem. Kaz.

574
01:24:05.970 --> 01:24:15.100
Kaz Okamoto: So, when you're talking about AI, the first AI-generated film was introduced and accepted into the Tribeca film.

575
01:24:15.580 --> 01:24:16.820
Kaz Okamoto: Festival.

576
01:24:16.980 --> 01:24:30.969
Kaz Okamoto: these two brothers, Iranian brothers that are supposedly in exile, made an AI, 75-minute AI documentary on what's going on in Iran using film clips

577
01:24:30.970 --> 01:24:45.650
Kaz Okamoto: and then all AI-generated dialogue, and people, and all this stuff, and they did it for $2,000, and Tribeca let them into the film festival. So, okay, that's really great, but for me.

578
01:24:45.740 --> 01:25:02.040
Kaz Okamoto: documentaries, you're there, like, filming live, you know? You're not filming, you know, taking clips, even though they could be true. So, if they want to do it, they should do an AI film festival, because you can compete

579
01:25:02.230 --> 01:25:09.110
Kaz Okamoto: AI… you know, those people out there that are really, really sophisticated in using AI,

580
01:25:09.310 --> 01:25:22.290
Kaz Okamoto: very time… a lot of times, it's hard to tell that it's AI. Not from the dialogue part, but if they're really good at the imagery part, right? So, I think they should do a separate film festival than

581
01:25:22.290 --> 01:25:31.819
Kaz Okamoto: put it into the Tribeca Film Festival, because now you're opening that door where, wow, any schmo for $2,000 can do a film.

582
01:25:31.900 --> 01:25:43.929
Kaz Okamoto: and go get into a film festival, because this is, what, cutting edge? I mean, I know it's the same, like, for cable and, you know, for streaming and all that stuff, anything that was new.

583
01:25:43.960 --> 01:26:00.569
Kaz Okamoto: And, you know, I can't stop the progression, but I just think it's pretty fucked up for those… for documentary filmmakers who have spent their whole lives going to locations and filming things that they think are important, you know? It's really weird.

584
01:26:01.220 --> 01:26:25.999
Jerry Corley: I agree, 100%. I think that, if they're gonna show that it's AI, it shouldn't get into the standard, unless Tribeca now has a category, for AI-generated content, and that would be annoying, because, in a documentary, it should be, I think, you're out there interviewing people. That's kind of the thing, the research, the journalism, the investigation that was done.

585
01:26:26.000 --> 01:26:29.620
Jerry Corley: all adds into that documentary. Original…

586
01:26:29.670 --> 01:26:40.619
Jerry Corley: points of view, or angles, or information we hadn't heard before. But a lot of times, it… look at the progression. When they went from animated explainers.

587
01:26:40.860 --> 01:26:59.070
Jerry Corley: to… and then you had Adobe and a lot of legit outfits, collecting, video clips, stock footage, stock images, and having… there are just tons of places where you can get these.

588
01:26:59.180 --> 01:27:16.349
Jerry Corley: items, and people building commercials, lots of commercials out there right now that are using stock footage, to, you know, basically tell their story and sell their product, and then do the product shot. But,

589
01:27:16.350 --> 01:27:28.189
Jerry Corley: That's a… that's called… basically, those are called animated explainers, but then they're used stock footage to save money on the entire, commercial shoot. See a lot of that on the internet.

590
01:27:28.190 --> 01:27:40.409
Jerry Corley: building commercials using those… that stock footage. But I think, when you're actually then using an AI generation to generate the script, the whole thing, and then fake actors…

591
01:27:41.580 --> 01:27:47.720
Jerry Corley: Oh, so what's that? There's that fake actor, that, AI actor, what's her name, Tilly something or other?

592
01:27:49.000 --> 01:27:53.800
Jerry Corley: Anybody familiar with it, Cliff? You have your hand up? Is that… you know Tilly?

593
01:27:58.280 --> 01:28:02.709
Cliff Spenger: I was gonna say something about AI, but also it's, 2.30, but.

594
01:28:02.710 --> 01:28:05.850
Jerry Corley: Oh, great. Yeah, thanks. I was just looking at that, thanks.

595
01:28:05.850 --> 01:28:08.309
Cliff Spenger: ignore what is what Jonathan just posted.

596
01:28:08.310 --> 01:28:12.719
Jerry Corley: Yeah, Tilly Norwood, yes, Tilly Norwood, and a,

597
01:28:12.720 --> 01:28:32.000
Jerry Corley: So this Tilly Norwood's a fake actress, right? She's an AI-generated actress, and she's become, famous. But I think it was one of the newspapers, I think a New York Times or somebody paid, a journalist to go out to the UK to interview Tilly Norwood.

598
01:28:32.000 --> 01:28:33.250
Jerry Corley: She's not real.

599
01:28:35.870 --> 01:28:43.849
Jerry Corley: So, they're gonna go out there to look at a video screen or something like that? I don't get it. It doesn't make any sense, right? So, anyway, there's, like.

600
01:28:43.850 --> 01:28:45.549
Kaz Okamoto: Free trip! It's a free trip!

601
01:28:45.990 --> 01:28:51.969
Jerry Corley: Yeah, free trip, right, exactly, but I mean, it's like, this, this changes…

602
01:28:52.010 --> 01:29:14.639
Jerry Corley: This changes the availability of what's out there, right? So if you have an AI-generated actor or actress, and that person becomes famous, or that entity becomes famous, is there now an opportunity to write real material for that person, or are they just going to use the AI-generated actress, AI-generated content?

603
01:29:14.640 --> 01:29:18.629
Jerry Corley: to do that with. And so, here's the deal.

604
01:29:18.720 --> 01:29:35.600
Jerry Corley: I firmly believe, and this is what I've heard from one of the original creators of AI, is that it's AI… LLMs become limited, because they can't really emulate what's happening in somebody's heart or their soul.

605
01:29:36.030 --> 01:29:43.050
Jerry Corley: So it's gonna be a li- there's gonna be a limitation on what it can do. Eventually, people are… all people are gonna be able to detect

606
01:29:43.180 --> 01:30:05.780
Jerry Corley: the AI is separated from real people, and then it's gonna, you know, you're seeing it already, and so there's still room for you to write and have original content. But it is 11.30 on this end, 2.30 if you're on the East Coast, so let's take a quick screen break. When we come back, I want you to… this is the exercise I'm gonna be throwing at you.

607
01:30:06.640 --> 01:30:14.229
Jerry Corley: So, if you wanted somebody to write for you, this is what I would say you should do for the ghostwriter. 10 opinions you strongly believe.

608
01:30:14.230 --> 01:30:29.710
Jerry Corley: 10 phrases you often use. For the sake of this exercise, I want you to keep it to 3. Three opinions you strongly believe, 3 phrases you often use, you can go 4 or 5 in there if you want, 10 subjects you frequently discuss.

609
01:30:29.840 --> 01:30:48.909
Jerry Corley: And 10 things, like, for me, it's a lot of politics, socio-political stuff, about, oppressive government on, on, you know, imposing on people, corporate profits over people, that sort of thing is my, one of my big things. 10 things, and 10 things only you could say. So…

610
01:30:48.910 --> 01:30:51.020
Jerry Corley: Really, in particular.

611
01:30:51.080 --> 01:31:08.720
Jerry Corley: maybe 4… 3 or 4 things only you could say, because that would be something you would have to think about for the sake of this class. But later on, this is really something to build from. It not only will help you to… if you wanted somebody to write for you, but as I was coming up with this, I said, wait a second.

612
01:31:08.920 --> 01:31:23.709
Jerry Corley: Creating a profile voice, this is a great way to find, sort of tap into your own persona, too. And I never considered it until I was writing this particular course. I was like, well, wait a second, how would I make sure that somebody understood how to write for me?

613
01:31:23.840 --> 01:31:39.609
Jerry Corley: If I was gonna do that, and then so this idea came to me, and I go, well, yeah, okay, this would be great, and this would be great if you were trying to identify your own persona. So it's a great little, exercise either way. So this is what I want you to come back with. We'll have 10 minutes.

614
01:31:39.610 --> 01:31:44.029
Kaz Okamoto: Can you put that up? Because I saw that you wrote that on your sheets, right?

615
01:31:44.030 --> 01:31:48.200
Jerry Corley: Oh, shoot, I stopped sharing for some reason. Yeah. I did. Yeah. Yeah, I'll put that up.

616
01:31:48.200 --> 01:31:49.220
Kaz Okamoto: Oh, that'd be great.

617
01:31:53.680 --> 01:31:55.169
Jerry Corley: Make sure it's right here.

618
01:31:56.480 --> 01:31:58.159
Jerry Corley: And I'll highlight it for you.

619
01:32:01.150 --> 01:32:03.700
Kaz Okamoto: So, but right now, we only need to do 3?

620
01:32:03.980 --> 01:32:10.590
Jerry Corley: Yeah, I would limit it to 3, so you have… we only have 10 minutes to do it, so… and we'll go over it together.

621
01:32:10.890 --> 01:32:12.519
Kaz Okamoto: Okay, thank you!

622
01:32:12.520 --> 01:32:13.959
Jerry Corley: You're welcome, CN10.

623
01:43:59.310 --> 01:44:01.470
Jack Rain: Lif, I love… I love your shirt.

624
01:46:23.090 --> 01:46:25.590
Jerry Corley: And we're back. Jack Raine, you have your hand up.

625
01:46:26.520 --> 01:46:27.980
Jack Rain: I wrote it in the chat.

626
01:46:28.160 --> 01:46:29.049
Jerry Corley: Oh, okay.

627
01:46:29.820 --> 01:46:34.930
Jerry Corley: Let's see… weird, because my chat… oh, there! I clicked the chat, now it has something coming up, okay.

628
01:46:35.670 --> 01:46:38.439
Jerry Corley: Tilly Norwood, yes, that's right.

629
01:46:38.700 --> 01:46:55.599
Jerry Corley: So, so funny, like, Jack, you're like, yeah, YouTube is actually demonetizing and terminating licenses at channels that are under inauthentic current content policy. The platform is, not banning all AI tools outright. Instead, it's cracking down on

630
01:46:55.600 --> 01:47:06.890
Jerry Corley: mass-produced, low-effort, repetitive content that lacks a unique human touch or creative editing. This source is from an AI.

631
01:47:10.830 --> 01:47:16.120
Jack Rain: Jerry, it pains me to tell you this, figuratively and literally.

632
01:47:16.480 --> 01:47:21.289
Jack Rain: That was just a nutshell, that little screenshot. There's a link that has…

633
01:47:21.290 --> 01:47:22.940
Jerry Corley: I know, I know, I'm just making, making it.

634
01:47:22.940 --> 01:47:24.890
Jack Rain: Son of a bitch!

635
01:47:24.890 --> 01:47:30.229
Jerry Corley: that's coming from a Medium post that was generated by AI.

636
01:47:30.240 --> 01:47:46.390
Jerry Corley: It's like… so, it's like, so, yeah, so, yeah, channels get flagged, we'll see what that… if that happens, but I know a lot of the, influencers I follow, including Charlie, PenguinZ0, and,

637
01:47:46.510 --> 01:48:00.410
Jerry Corley: others, their biggest complaint, the guy who does, Slop Live, and some other people that are active on YouTube are the big complainers. And it's very interesting how,

638
01:48:00.750 --> 01:48:03.270
Jerry Corley: But YouTube was promoting this shit.

639
01:48:03.710 --> 01:48:26.309
Jerry Corley: the CEO guy was, promoting it, promoting using AI. All these channels came out and started using AI, but he's getting a lot of backlash from people saying it's just slop, and now he's demonetizing them and cutting back after he promoted the hell out of it, because he thought that it would generate more income for YouTube.

640
01:48:26.310 --> 01:48:31.459
Jerry Corley: Again, When you're purely looking at profit, and you're not looking at quality.

641
01:48:31.650 --> 01:48:34.679
Jerry Corley: It's gonna bite you in the ass every single time.

642
01:48:34.700 --> 01:48:53.049
Jerry Corley: Right? It's like, if you look at product, you look at quality, it's gonna be different. If you're out there creating AI jokes, guess what? You're not looking for quality. You're looking for speed and content without worrying about the quality of it. There's some of these comedians out there now.

643
01:48:53.050 --> 01:49:01.470
Jerry Corley: that I have a sneaking suspicion are using AI to generate their content. And, I think I mentioned

644
01:49:01.470 --> 01:49:14.709
Jerry Corley: there was a couple of little signs in the material coming from Nate Bargazi that he… because he's putting out so much content. I was like, okay, is he getting some help writing this material?

645
01:49:16.230 --> 01:49:32.450
Jerry Corley: And so, it's like, if you listen to… when you're listening to his act, I'm listening to some of the connections, I'm like, there might be something here, but that might be me over-analyzing, so I don't want to put that out there, because I like Nate, and I think he comes up with good stuff. I think they're overproducing him now, and overexposing him.

646
01:49:32.450 --> 01:49:34.560
Kaz Okamoto: Did you seek the show, game show?

647
01:49:34.770 --> 01:49:37.170
Jerry Corley: No, I will not watch a game show.

648
01:49:37.170 --> 01:49:38.370
Kaz Okamoto: Really bad.

649
01:49:38.370 --> 01:49:43.249
Jerry Corley: I will not watch a game show with Nate Bargazi. That is the wrong vehicle for him.

650
01:49:43.250 --> 01:49:45.140
Kaz Okamoto: You get suicide, how bad it is.

651
01:49:45.140 --> 01:49:47.289
Jerry Corley: Wow, that's bad.

652
01:49:47.980 --> 01:49:50.250
Jerry Corley: And if you do, I'll sue for you.

653
01:49:50.250 --> 01:49:50.590
Kaz Okamoto: Yeah.

654
01:49:50.590 --> 01:49:57.559
Jerry Corley: And I'll tell them, my friend Kaz committed suicide, because that would be funny. It was torture.

655
01:49:57.560 --> 01:49:58.130
Kaz Okamoto: risk.

656
01:49:58.360 --> 01:50:14.490
Jerry Corley: But yeah, so Tilly Norwood, yeah, that's another thing, that's another issue. We're going through a phase here of some real weird shit, and it's like, I think the humans are… you see a lot of human backlash, but didn't this happen in Terminator? Are we gonna get to that point?

657
01:50:14.490 --> 01:50:19.420
Jerry Corley: So movies that are mistaken for… okay, so Jack Rain has,

658
01:50:19.420 --> 01:50:34.899
Jerry Corley: Is that… now, this is like, this is… so if I go through the list of questions that we have on the… on the sheet, 10 opinions you strongly believe, definitely the AI thing we just talked about, right? That would be a thing that would pinion I strongly believe in.

659
01:50:34.900 --> 01:50:46.519
Jerry Corley: Movies that are mistaken for original, in IIE Sinners is basically from the same exoskeleton of From Dusk Till Dawn, but a musical.

660
01:50:46.620 --> 01:50:49.140
Jerry Corley: Okay.

661
01:50:49.420 --> 01:50:59.389
Jerry Corley: So that's, that's… so these are, these are opinions you strongly believe, right? So it's like, I, you know, but look at, Avatar.

662
01:51:01.020 --> 01:51:03.290
Jerry Corley: Avatars Dances with wolves.

663
01:51:04.540 --> 01:51:07.149
Jerry Corley: Right? So it's like, that sort of thing. It's like…

664
01:51:07.150 --> 01:51:07.710
Jack Rain: honest.

665
01:51:07.710 --> 01:51:08.240
Jerry Corley: Sweet.

666
01:51:08.740 --> 01:51:09.620
Jerry Corley: Yeah.

667
01:51:10.070 --> 01:51:27.599
Jerry Corley: So, using celebs as marketing, as a marketing crutch for a crappy story-written, story-written movie, Happy Gilmore, yeah, okay. Yeah, I, you know, I think it's like, when you just plug in a celeb for a poorly written movie, it's bad.

668
01:51:27.600 --> 01:51:44.279
Jerry Corley: It's like, what happened to really somebody wanting to sweat over their product, their content, their script, their story? Yeah. And then plug in the actors to it, rather than relying on actors to market your…

669
01:51:44.560 --> 01:51:45.850
Jerry Corley: You know, crap.

670
01:51:45.850 --> 01:51:49.949
Jack Rain: Yeah, for example, like, what happened to good old-fashioned storytelling?

671
01:51:50.350 --> 01:51:54.110
Jack Rain: like, you know, a famous story writer like Michael Bay.

672
01:51:57.910 --> 01:51:58.550
Jerry Corley: honey.

673
01:51:58.980 --> 01:52:07.460
Jerry Corley: You had to get that out there, even stranger voice to get the joke out there, Jack. That's how committed you are, right? It's like, you should be committed.

674
01:52:07.660 --> 01:52:26.719
Jerry Corley: So it's like, comic book, movie book, lore, i.e. Spider-Man characters from Tom Holland movie aren't accurate. Mary Jane is not an introvert. She's in fact an extrovert, and they use other superhero team-ups, because the story is not good enough on its own.

675
01:52:26.720 --> 01:52:30.750
Jerry Corley: Oh, I agree, yeah, those opinions. Those are good opinions.

676
01:52:31.080 --> 01:52:35.309
Jerry Corley: About that, and it's like, and it does reflect you.

677
01:52:35.620 --> 01:52:42.869
Jerry Corley: Individually, it does have a big impact on your… because if, like, the moment I disagree with an opinion, or I have a

678
01:52:42.970 --> 01:52:47.909
Jerry Corley: a version of a disagreement, maybe? That's when I know it's your opinion.

679
01:52:47.990 --> 01:53:03.080
Jerry Corley: Right? Because it's like, it's specific to you, and that's not… it shouldn't be everybody's opinion, right? It should be a specific opinion to you, so that's good, you're doing… that's good. Do some more of those and really investigate it, because it's starting to underline who you are, where you're coming from.

680
01:53:03.240 --> 01:53:08.059
Jerry Corley: authenticity towards the originality of the content. Cliff?

681
01:53:12.010 --> 01:53:12.650
Cliff Spenger: Yeah.

682
01:53:18.000 --> 01:53:29.360
Cliff Spenger: my subjects, but also, have you seen these commencement speeches, where the speaker… this is, lately, the graduation speeches, where the speaker starts touting AI,

683
01:53:29.440 --> 01:53:39.750
Cliff Spenger: And then the entire, body of the student audience, they go, boom! So, I think this is real indicative of how the youth feel about it.

684
01:53:39.860 --> 01:53:53.550
Cliff Spenger: and also their jobs. He's pouting for them what AI's gonna do, and they're… they see that what they've been trained for, AI's gonna take their job, so… and that's just something I just wanted to bring up.

685
01:53:53.550 --> 01:53:54.859
Jerry Corley: One, yeah, definitely, yeah.

686
01:53:56.230 --> 01:53:59.140
Cliff Spenger: It just, it just, there's a lot of backlash.

687
01:53:59.140 --> 01:54:05.130
Jerry Corley: Yeah, I've seen a couple of those speeches. Yeah, it's like, that's really funny to watch them get booed relentlessly.

688
01:54:05.840 --> 01:54:19.969
Cliff Spenger: Yeah, as far as what I believe in, pretty much equity, diversity, and inclusion are my three things, and they're all under attack right now, and our weakest people are getting the shit

689
01:54:20.970 --> 01:54:26.559
Cliff Spenger: For it, you know, because whoever's vulnerable, that's when the bully's gonna pick on it. Right now, it's trans people.

690
01:54:26.910 --> 01:54:30.450
Cliff Spenger: And anybody of color, anybody of any kind of race.

691
01:54:30.700 --> 01:54:35.489
Cliff Spenger: So, it's a big deal right now, but those are my three things. DEI…

692
01:54:35.490 --> 01:54:37.159
Jerry Corley: Yeah, yeah, that's good.

693
01:54:37.160 --> 01:54:39.009
Cliff Spenger: They're taken out, yeah.

694
01:54:39.170 --> 01:54:42.219
Jerry Corley: I like that DEI kind of nutshells it, too.

695
01:54:42.220 --> 01:54:55.610
Cliff Spenger: It sums it up. I grew up in San Francisco in the 60s, Bay Area, and it was an extremely hip place to be, and, you know, we thought the world was gonna change, and it's going the opposite right now with the…

696
01:54:55.740 --> 01:54:58.649
Cliff Spenger: taken out the DEI from the government.

697
01:54:58.650 --> 01:55:00.530
Jerry Corley: Well, it was all because of you.

698
01:55:00.530 --> 01:55:24.439
Jerry Corley: You realize, right? You start, like, it was because of you, and me, and all the people that think that it should be, a free society, and people need to express themselves from their personal expression, and, culture diversity is amazing, because without it, you just have… it's just… it's just, you know, vanilla. And it's like, so…

699
01:55:25.820 --> 01:55:41.299
Jerry Corley: And, you know, and think about how bland our, you know, food would be if it wasn't for the diversity and culture, and how bland, our ideas would be. I mean, algebra was invented in Iran.

700
01:55:41.300 --> 01:55:59.670
Jerry Corley: Right? Or at least the region of Iran before it was named Iran. That's where algebra came from. And it's like, a lot of things came from that region, and you have somebody as arrogant and as narrow-minded and as pathetically uneducated as the leader of the free world.

701
01:55:59.730 --> 01:56:13.640
Jerry Corley: And you can't even call it that anymore, because he doesn't want it to be a free world, as saying we're gonna wipe out an entire civilization. That's insanity, and it's like, that's gotta drive people like you, who came before me.

702
01:56:13.960 --> 01:56:33.310
Jerry Corley: in free love, and expansion, and personal growth, and personal independence, and DEI, which drives folks crazy, right? And people don't see the danger it imposes on a free society, certainly, and on the rest of the world.

703
01:56:33.310 --> 01:56:39.970
Jerry Corley: Right? So, we see it happening before our very eyes, but that's what happens when the desperate people

704
01:56:40.720 --> 01:56:53.340
Jerry Corley: feel they're drowning. You know, when Obama was elected president, I said, be ready for the backlash that's gonna follow for the next 10 to 20 years for these fucking crazy-ass people who are so fearful

705
01:56:53.630 --> 01:56:56.780
Jerry Corley: But it's like a drowning man will do some crazy shit.

706
01:56:56.900 --> 01:57:08.989
Jerry Corley: And, we're gonna see some stu- we're gonna see these people come out of the woodwork. And people, like, looked at me like it was insane, right? And it was like, how could you say that? That's racist. What do you mean? It's racist? It's not racist, I love…

707
01:57:09.120 --> 01:57:17.980
Jerry Corley: The fact that we had a black president, right? I wish there was a female president, too, because we've been letting the men run it, and it fucks shit up.

708
01:57:18.020 --> 01:57:36.739
Jerry Corley: Right? So, in this case, I'm all about that, but people saw that criticism that I was blaming Obama for it as a joke, right? But having that scared a lot of these crazy people, and they came out of the woodwork, and now you have this momentum of,

709
01:57:37.120 --> 01:57:40.629
Jerry Corley: You know, let's call it, what it is.

710
01:57:41.910 --> 01:57:44.470
Cliff Spenger: racism, misogynism. Yeah.

711
01:57:44.470 --> 01:57:51.010
Jerry Corley: Yeah. So, and we see it, and, like, I think artists, for the most part, are more…

712
01:57:52.150 --> 01:57:54.600
Jerry Corley: Support, because, you know, comedy is about…

713
01:57:54.660 --> 01:58:14.150
Jerry Corley: mirroring the underdog. Storytelling is about mirroring the underdog, but we see… we're seeing a lot more voices in the comedy realm that are coming out that are punching down, and that are, you know, negative. Like, there's a floating pile of trash in the… in the ocean. It's called Puerto Rico.

714
01:58:14.450 --> 01:58:25.620
Jerry Corley: You know? And, that kind of thing coming out from certain people. And I think that's… I think it's a shame. But, we'll have the pendulum, we'll have to swing.

715
01:58:26.090 --> 01:58:40.399
Jerry Corley: All right, so Jack Green, you still have your hand up? Did you want to lower that? That's good. That kind of nutshells you, pretty simply, you're the DEI, these are the opinions you share, this kind of, like, reflects you. So if somebody was writing…

716
01:58:40.750 --> 01:58:49.429
Jerry Corley: a piece of content. We know by listening to you that you're also, you've overcome.

717
01:58:49.430 --> 01:58:49.780
Cliff Spenger: Yeah.

718
01:58:49.780 --> 01:58:59.880
Jerry Corley: your technophobia, but you still are… experience a little technophobe stuff that goes on. You're still like, oh, technology, ugh, so frustrated with it.

719
01:58:59.980 --> 01:59:19.440
Jerry Corley: So, based on your history, we also know your artist, that whole thing about a high-wire act, a stilt walker, all that stuff, it speaks to who you are, expressive, and, you're Santa Claus. So, all of that stuff can…

720
01:59:19.440 --> 01:59:26.269
Jerry Corley: adds into your perspective, so I think that's, that's important. But we could also look at a guy like you and assume

721
01:59:26.300 --> 01:59:29.090
Jerry Corley: Maybe, if you were wearing flannel.

722
01:59:29.620 --> 01:59:34.509
Jerry Corley: Oh, wait a second, maybe. I'm gonna write some racist jokes, I think this'll suit him.

723
01:59:34.690 --> 01:59:40.109
Jerry Corley: Because it looks like he's… he's like one of us. He's one of the Hatfields, or the McCoys, you know?

724
01:59:40.110 --> 01:59:51.219
Cliff Spenger: I'm about… I'm about to have, 8 teeth taken out next month, leaving me with 2. So, if I took my dentures out, I would look just like those guys.

725
01:59:51.220 --> 01:59:52.229
Jerry Corley: Yeah, that's crazy!

726
01:59:52.230 --> 01:59:54.859
Cliff Spenger: Especially next month. Yeah. Yeah.

727
01:59:54.860 --> 02:00:02.180
Jerry Corley: Wild. Alright, so, who else, has their, has their persona? Yeah, you got your hand up, Kaz?

728
02:00:02.650 --> 02:00:07.439
Kaz Okamoto: Are we just giving the… the three opinions, or everything?

729
02:00:07.710 --> 02:00:09.660
Jerry Corley: Give… give me everything. Give me what you… give me what.

730
02:00:09.660 --> 02:00:14.239
Kaz Okamoto: Oh, crappin' O. Okay. This was not easy, I had to think.

731
02:00:14.950 --> 02:00:15.620
Jerry Corley: Hmm.

732
02:00:15.620 --> 02:00:20.709
Kaz Okamoto: opinions. You don't have to be highly educated to be smart.

733
02:00:23.160 --> 02:00:25.049
Jerry Corley: Very true. Very true.

734
02:00:25.230 --> 02:00:28.859
Kaz Okamoto: Most people are rude until they prove otherwise.

735
02:00:29.120 --> 02:00:30.460
Jerry Corley: Oh, nice, yeah.

736
02:00:30.710 --> 02:00:32.170
Jerry Corley: What? Really?

737
02:00:32.390 --> 02:00:35.460
Kaz Okamoto: Yeah, I think so. Oh,

738
02:00:35.940 --> 02:00:42.300
Kaz Okamoto: Where I live. Americans think they are entitled, especially when they go to other countries.

739
02:00:42.730 --> 02:00:45.250
Jerry Corley: Yeah, yeah, very true, I agree.

740
02:00:45.520 --> 02:00:48.230
Kaz Okamoto: Most new comedians are not funny.

741
02:00:49.430 --> 02:00:52.069
Kaz Okamoto: Even if they think so. Sorry.

742
02:00:53.060 --> 02:00:56.149
Jerry Corley: You don't have to apologize for that. That's a good… that's a good opinion.

743
02:00:56.150 --> 02:01:01.209
Kaz Okamoto: Okay, 3 phrases I use. If it doesn't gel, it is an aspic.

744
02:01:05.770 --> 02:01:06.799
Jerry Corley: What does that mean?

745
02:01:06.800 --> 02:01:10.589
Kaz Okamoto: Okay, it's a line from Psycho, Alfred Hitchcock Psycho.

746
02:01:11.880 --> 02:01:21.239
Kaz Okamoto: When Martin Balsam's, interviewing Tony Perkins, he says, if it doesn't gel, it isn't aspen. And this ain't gelling.

747
02:01:21.970 --> 02:01:23.819
Kaz Okamoto: It's a line that I use with…

748
02:01:24.290 --> 02:01:25.590
Jerry Corley: Okay, yeah, I see that.

749
02:01:25.590 --> 02:01:28.799
Kaz Okamoto: It was a food, reference, so…

750
02:01:28.800 --> 02:01:31.199
Jerry Corley: Okay, I didn't know what ASPIC was.

751
02:01:31.200 --> 02:01:37.599
Kaz Okamoto: Yeah, it's like if you make… let's say you make, furgo or something like that, it's the gelatin…

752
02:01:37.600 --> 02:01:38.180
Jerry Corley: Atlantis.

753
02:01:38.180 --> 02:01:38.939
Kaz Okamoto: on the…

754
02:01:40.170 --> 02:01:57.339
Jerry Corley: Yeah, okay, so aspic is like when you make a… you take a base, a soup base, and you refrigerate it, it gels, and you can take that little gel cube and drop it into, a broth that you're making.

755
02:01:57.860 --> 02:02:02.040
Kaz Okamoto: Yeah, it's like if you get a Costco roasted chicken, you know?

756
02:02:02.150 --> 02:02:02.730
Jerry Corley: Yeah, yeah.

757
02:02:02.730 --> 02:02:07.110
Kaz Okamoto: and you put it in the fridge, there'll be gelatin there. It's the flavor of the chicken.

758
02:02:07.370 --> 02:02:09.079
Kaz Okamoto: Without the fat.

759
02:02:09.460 --> 02:02:12.840
Jerry Corley: If it doesn't gel, It isn't aspic.

760
02:02:13.000 --> 02:02:16.319
Jerry Corley: And this ain't shellin'. I like it, that's a good line.

761
02:02:17.160 --> 02:02:18.070
Kaz Okamoto: I love that line.

762
02:02:18.070 --> 02:02:19.680
Jerry Corley: It's an educating line, too.

763
02:02:21.670 --> 02:02:22.590
Jerry Corley: You see.

764
02:02:22.590 --> 02:02:38.959
Kaz Okamoto: The other thing I say is, of course I have a pen. I went to college. Sorry. People ask all the time, do you have a pen? I said, of course I do, I went to college, and you're taught always to carry a writing utensil. I don't know, that's just one thing, because I'm weird that way.

765
02:02:38.960 --> 02:02:44.599
Jerry Corley: Okay, that's good. Well, these days, with people writing in their phones, it's changed the technology.

766
02:02:44.840 --> 02:02:49.659
Kaz Okamoto: Yeah, and I'm old, and I… I'm not all thumbs, I'm,

767
02:02:49.940 --> 02:02:57.359
Kaz Okamoto: a pointer finger texture. So, the other thing is, if you spot it, you got it. I've told you that one before.

768
02:02:57.360 --> 02:02:59.069
Jerry Corley: Yes, I like that one, that's a good one.

769
02:02:59.070 --> 02:03:04.319
Kaz Okamoto: Meaning, if I see something I don't like in somebody, it's usually because I have that flaw in myself.

770
02:03:05.180 --> 02:03:06.610
Kaz Okamoto: 3…

771
02:03:06.610 --> 02:03:14.089
Jerry Corley: That's a good one to present on stage, because it's a lesson people can learn, right? People can take that as a takeaway, right?

772
02:03:14.090 --> 02:03:29.089
Jerry Corley: So it's like, think about it. Anytime you offer a takeaway, it… and if we can find a way to add some humor in it, it enhances the value, makes people want it more, makes them super curious about it, because I didn't know that. Now you've changed their life in a way.

773
02:03:29.520 --> 02:03:32.069
Kaz Okamoto: Mike, I drink the poison, but hope you die.

774
02:03:34.760 --> 02:03:38.549
Jerry Corley: So, yeah, I drink the poison, but I hope you die.

775
02:03:39.270 --> 02:03:48.319
Kaz Okamoto: Yeah, so it basically talks about, I want you to suffer, but you don't suffer, I'm the one who's suffering. So that's where that expression comes from.

776
02:03:49.790 --> 02:03:57.109
Kaz Okamoto: Three subjects discussed often. The president is destroying our country. Sorry.

777
02:03:57.360 --> 02:04:00.599
Kaz Okamoto: I'm becoming my mother, only a worse version.

778
02:04:01.590 --> 02:04:03.969
Kaz Okamoto: It gets discussed a lot among…

779
02:04:03.970 --> 02:04:04.790
Jerry Corley: That's good.

780
02:04:04.790 --> 02:04:07.639
Kaz Okamoto: My daughter and my friends, who are all my age.

781
02:04:08.420 --> 02:04:13.700
Kaz Okamoto: LA is not ready for the… 2028 Olympics. That's another.

782
02:04:13.700 --> 02:04:14.100
Jerry Corley: Yeah, no.

783
02:04:14.100 --> 02:04:14.580
Kaz Okamoto: Talk a lot.

784
02:04:14.580 --> 02:04:15.940
Jerry Corley: It's not, it is not.

785
02:04:15.940 --> 02:04:23.310
Kaz Okamoto: Yeah, Karen Bass has fucked us. That's a little added thing. Three things I can only say…

786
02:04:24.050 --> 02:04:27.190
Jerry Corley: Who do you think is gonna do better, .

787
02:04:27.530 --> 02:04:30.240
Kaz Okamoto: AI. AI.

788
02:04:31.570 --> 02:04:35.010
Kaz Okamoto: No, well, she's a racist, you know that, right?

789
02:04:35.160 --> 02:04:43.840
Kaz Okamoto: she… she's only truly Black Agenda, because I had a meeting with her, and she asked me why,

790
02:04:44.030 --> 02:04:50.989
Kaz Okamoto: there aren't more black people in my union when I was business rep, and I said, well, the reason is.

791
02:04:51.330 --> 02:05:07.249
Kaz Okamoto: in order to get in, you have to follow these guidelines, and if you don't meet the guidelines, you don't get in. Doesn't matter what race or sex or age or, you know, if you have a disability or anything, it's all the same across the board. So we're all the same.

792
02:05:07.250 --> 02:05:11.430
Kaz Okamoto: Well, I talked to a lot of Black, you know, constituents, and they said.

793
02:05:11.430 --> 02:05:20.000
Kaz Okamoto: they were denied. And I said, well, if they were… before I got, no one's ever come to me while I was in office and asked if they could get in the union.

794
02:05:20.000 --> 02:05:36.639
Kaz Okamoto: from owning a shop in the Crenshaw District, and if that happened, it happened before me, and more than likely, working in a salon does not constitute that you know how to work on a set on a movie or a television show, because it's not the same.

795
02:05:37.200 --> 02:05:42.510
Kaz Okamoto: Like, working at a counter at Macy's doesn't make you a makeup artist.

796
02:05:42.900 --> 02:05:55.290
Jerry Corley: Yeah. You know, it's like, that's when you ask, you know, basically, what do you mean by your constituents? Do you mean your constituents, which are all of LA, or is it just a certain segment of LA?

797
02:05:55.290 --> 02:05:56.649
Kaz Okamoto: No, it's just a certain segment.

798
02:05:57.120 --> 02:06:02.790
Jerry Corley: But I get it, and that's, that's true. It's like, we… I've had this conversation with other people.

799
02:06:02.790 --> 02:06:18.820
Jerry Corley: And it'd be like, you know, there are certain criteria that have to be met before you can get in a union. And it's like, and it's not, you know, if you can't meet that criteria, you're not gonna get in a union. And that's across the board. Like, everybody has to meet that criteria. It's not just designed for, you know.

800
02:06:18.820 --> 02:06:19.590
Jerry Corley: Right.

801
02:06:19.590 --> 02:06:20.920
Kaz Okamoto: In the old days.

802
02:06:21.070 --> 02:06:31.370
Kaz Okamoto: in my position that I had as business rep, like, the previous business rep, the male business rep, would take $10,000 from you and let you in.

803
02:06:31.870 --> 02:06:32.930
Jerry Corley: Okay.

804
02:06:32.930 --> 02:06:34.680
Kaz Okamoto: But I didn't do that kind of stuff.

805
02:06:34.680 --> 02:06:35.330
Jerry Corley: Yeah.

806
02:06:35.330 --> 02:06:42.520
Kaz Okamoto: I let you in for $1,000, because I was… just kidding. No, but, you know, so it had to be fair for everybody.

807
02:06:42.630 --> 02:06:44.280
Kaz Okamoto: You know? Anyway…

808
02:06:44.450 --> 02:06:48.340
Jerry Corley: Yeah, good point. That's a good point. It talks about something about who you are.

809
02:06:50.610 --> 02:06:59.660
Kaz Okamoto: Three things that I can only say. I may dress like a lesbian, but I'm not, because I still like to suck dick.

810
02:07:02.300 --> 02:07:07.400
Kaz Okamoto: Okay, What is it,

811
02:07:07.970 --> 02:07:16.809
Kaz Okamoto: Oh, I was the first, female BIPOC person of color to become business rep of my union in 85 years.

812
02:07:17.230 --> 02:07:18.410
Jerry Corley: Wow, that's…

813
02:07:18.410 --> 02:07:18.960
Kaz Okamoto: See, that's a…

814
02:07:18.960 --> 02:07:21.049
Jerry Corley: Big one. That's a really big one, yeah.

815
02:07:23.600 --> 02:07:32.110
Kaz Okamoto: Let's see… the other… other one I have is that I'm a three-time Primetime Emmy winner with 12 Emmy nominations.

816
02:07:34.450 --> 02:07:37.330
Jerry Corley: That's definitely… that's a huge credential, yeah.

817
02:07:37.330 --> 02:07:52.389
Kaz Okamoto: Yeah, I use that as my intro when I get up on stage, and then the person, the MC that introduces me says that, and people go, wow, wow! And then the MC says, but it wasn't in comedy, and then I get on…

818
02:07:52.390 --> 02:07:54.260
Jerry Corley: Yeah, that's funny. Yeah, yeah, yeah, that's good.

819
02:07:54.260 --> 02:07:55.429
Kaz Okamoto: It was in makeup.

820
02:07:55.980 --> 02:07:56.850
Jerry Corley: That's good.

821
02:07:56.850 --> 02:08:00.579
Kaz Okamoto: Those are my 3 things for all that stuff.

822
02:08:00.580 --> 02:08:17.739
Jerry Corley: That's very good. That's a good list. That does, you know, it does kind of give us a… certainly starts to give us an understanding of the texture of your character, right? And, what was interesting is when you did, I Still Suck Dick.

823
02:08:17.740 --> 02:08:24.659
Jerry Corley: So, listening to your old… we talked about earlier being old-fashioned, but then doing that joke…

824
02:08:25.510 --> 02:08:31.420
Jerry Corley: So, I would probably add in there, I am old-fashioned, but I'm not, I'm not,

825
02:08:31.660 --> 02:08:39.179
Jerry Corley: I don't have an aversion to, being a little shocking sometimes, so I think that's something that you're…

826
02:08:39.180 --> 02:08:47.109
Kaz Okamoto: Because I don't do blue comedy, but some of the stuff I have is… the blue comedy I have is pretty funny, because it's not the usual…

827
02:08:47.110 --> 02:09:07.570
Jerry Corley: Because you don't expect it. It's like when that 83-year-old guy got up there, and he sung at AGT, and, basically, it's a family show, but he does, she's got smiles, she's got class, she's got, you know, she's got, she's got rhythm, she's got sass, but she also had a penis, you know?

828
02:09:07.570 --> 02:09:07.890
Kaz Okamoto: Yeah.

829
02:09:07.890 --> 02:09:13.369
Jerry Corley: It's like, and the place goes crazy, because he's 83,

830
02:09:14.250 --> 02:09:18.469
Jerry Corley: It's funny, but if he was younger, it's dirty.

831
02:09:18.660 --> 02:09:22.000
Jerry Corley: So, in that case, it's perspective as well. So, I mean…

832
02:09:22.000 --> 02:09:26.919
Kaz Okamoto: Because you don't think old people like Cliff and myself would talk about these kind of things.

833
02:09:26.920 --> 02:09:33.399
Jerry Corley: Right. Well, you know, even as we get older, we, you know, we still think about those things, so it's like.

834
02:09:33.400 --> 02:09:33.800
Kaz Okamoto: Yeah.

835
02:09:33.800 --> 02:09:36.209
Jerry Corley: You know, that doesn't go out of your head, you know?

836
02:09:36.210 --> 02:09:49.230
Kaz Okamoto: Yeah, and I'm sure Cliff would agree, I'd rather go to bed early and, like, have a really great meal than, you know, because I'm not interested in those other things anymore. I'm busy.

837
02:09:49.420 --> 02:09:52.550
Kaz Okamoto: You know? Sorry, Cliff, you might think of it, but I don't.

838
02:09:52.840 --> 02:10:01.099
Kaz Okamoto: But… Plus, I just turned 70, so that doesn't help me, you know. I just dye my gray.

839
02:10:03.110 --> 02:10:09.439
Kaz Okamoto: But this was very interesting. To do 10, I would have… definitely have a headache, but it is possible, but…

840
02:10:09.440 --> 02:10:15.150
Jerry Corley: You don't have to do 10 at once, right? You can do them in different sittings. The idea is to flesh you out, right?

841
02:10:15.150 --> 02:10:24.630
Kaz Okamoto: Right, but I think it's great to use this to make a new persona, not necessarily, you know what I mean? Like, make a fake persona.

842
02:10:24.630 --> 02:10:32.900
Jerry Corley: Okay, yeah, and reinforce your persona, if you are having somebody write for you. But I think you're starting to identify your persona…

843
02:10:33.240 --> 02:10:48.400
Jerry Corley: And, it also just, once in a while, doing something like this can open up the possibilities of another part of you that we haven't really… that you haven't really thought of as being the, you know, the frontrunner of who you are. Lena, you had your hand up?

844
02:10:49.630 --> 02:10:49.970
LINA: Yeah.

845
02:10:49.970 --> 02:10:50.760
Kaz Okamoto: Thank you.

846
02:10:51.840 --> 02:10:52.660
Jerry Corley: What do you got?

847
02:10:53.540 --> 02:10:56.419
LINA: But if CAS wasn't done, I'll go up against.

848
02:10:56.710 --> 02:10:57.590
Jerry Corley: I think she was done.

849
02:10:57.590 --> 02:10:59.730
Kaz Okamoto: I just said, thank you. All good.

850
02:10:59.730 --> 02:11:00.190
Jerry Corley: Yeah.

851
02:11:00.190 --> 02:11:00.950
Kaz Okamoto: Thanks, Lena.

852
02:11:01.420 --> 02:11:07.100
LINA: I'll need you to finish. Why it's kind of depressing, but whatever.

853
02:11:07.730 --> 02:11:12.290
LINA: There are 3 things that make me me. Cutting off my entire bloodline.

854
02:11:12.610 --> 02:11:15.720
LINA: Was really the key to peace.

855
02:11:16.130 --> 02:11:17.510
LINA: an internal life.

856
02:11:17.510 --> 02:11:20.370
Jerry Corley: That's a good one.

857
02:11:20.930 --> 02:11:22.070
Jerry Corley: It's a really good one.

858
02:11:22.070 --> 02:11:34.700
LINA: Everyone that took advantage of me when I was young and vulnerable is either now dead, turned to Jesus after being a Satanist, or Jewish.

859
02:11:35.120 --> 02:11:37.950
LINA: 20, right? Or obese, miserable, and broke.

860
02:11:39.260 --> 02:11:41.659
LINA: I like to think that as karma.

861
02:11:44.800 --> 02:11:50.260
Jerry Corley: That's a good one. That's a good… certainly a good character description that's unique to you.

862
02:11:50.530 --> 02:12:00.849
LINA: I grew up with sadists… Narcissists as parents, so… Trust me, you… I've seen it all.

863
02:12:01.080 --> 02:12:06.919
LINA: And my 33 years of life.

864
02:12:07.720 --> 02:12:12.169
LINA: I learned that the only company that I truly enjoy is my own.

865
02:12:14.960 --> 02:12:21.280
LINA: Every time I didn't fit in, and I made myself fit in, and I knew that I shouldn't.

866
02:12:22.290 --> 02:12:25.800
LINA: changed who I am, everything went wrong.

867
02:12:26.110 --> 02:12:27.250
LINA: So…

868
02:12:27.400 --> 02:12:34.749
LINA: Now I say to myself, and I love it. There was nothing wrong with me. All I just needed was to be by myself.

869
02:12:35.520 --> 02:12:40.929
LINA: And, I've never had any real friends.

870
02:12:41.990 --> 02:12:43.940
LINA: Really, I never have.

871
02:12:44.810 --> 02:12:54.479
LINA: I was their, like, they were my friends, but I was never their friend. They… they were just trying to use me. And that's not, like, to be depressing, but…

872
02:12:55.100 --> 02:12:58.660
LINA: By realizing that, you know, doing inventory.

873
02:12:58.900 --> 02:13:07.230
LINA: it… about your life really helps for the next space of your life, so I don't get being a dumbass, you know? You don't want to be a dumbass in your…

874
02:13:07.380 --> 02:13:09.289
LINA: 30s and 40s, you know?

875
02:13:09.920 --> 02:13:10.480
LINA: Yeah.

876
02:13:10.480 --> 02:13:21.850
Jerry Corley: Right, right. No, that's great learning. You know, by the way, just off the cuff, my dad did the same thing with his bloodline.

877
02:13:22.590 --> 02:13:35.590
Jerry Corley: And it was like, because, you know, he tried to keep those contacts there, tried to keep them open, because they were family, and then he was like,

878
02:13:36.010 --> 02:13:47.520
Jerry Corley: what am I doing? I'm driving myself crazy. These people are nuts. And the thing that did it was after his mom died, and everybody started arguing over who was gonna get what.

879
02:13:48.460 --> 02:13:48.940
LINA: Yeah.

880
02:13:48.940 --> 02:14:02.740
Jerry Corley: And he was like, you're disgusting, keep it all, I want nothing to do with you. And he just, like, that was it. Snap, cut off, he's just like, I just basically exercised them from my circle. And it's like, and then it's like, I had peace.

881
02:14:03.090 --> 02:14:14.070
Jerry Corley: And I was like, I never had… I didn't have to juggle that piece with me, you know, when I was just trying to live a happy life, you know? And so that's, that was a kind of an interesting lesson.

882
02:14:14.070 --> 02:14:30.369
Jerry Corley: Fortunately, I think my sister is cool, and my other sister, we've pretty much persona non grata, right? But, my brother, my cousin, and my sister, we get along great, so… but we also don't sit there and judge

883
02:14:30.490 --> 02:14:31.870
Jerry Corley: each other, and…

884
02:14:32.340 --> 02:14:50.549
Jerry Corley: cast dispersions and try to take things and try to, like, you know, basically, leech off of their… like, when my dad became successful, it was on the cover of TV Guide, man, all these people came out of the woodwork. We knew you'd make it, really, because when I was back in Texas, you called me a fag.

885
02:14:50.640 --> 02:15:09.980
Jerry Corley: So, it was like, it was like… it was interesting to see that… see him go through that as a grown man, and so, see that evolution, you know, and the jealousy that happened. My family wasn't jealous, my family was very supportive of me doing my stuff, so,

886
02:15:10.100 --> 02:15:11.280
Jerry Corley: But, you know…

887
02:15:11.650 --> 02:15:18.129
LINA: You don't have family members that did black magic on you because they are jealous of you?

888
02:15:18.690 --> 02:15:19.849
LINA: Am I the only one?

889
02:15:20.440 --> 02:15:29.959
Jerry Corley: No, you're not the only one. I know people who have had that, especially when they have parents that are, like, from Jamaica, people that had parents that were from.

890
02:15:29.960 --> 02:15:30.650
Kaz Okamoto: Brady?

891
02:15:30.870 --> 02:15:31.860
Jerry Corley: Caribbean.

892
02:15:32.380 --> 02:15:36.860
LINA: for, Catholic, and an all-girl.

893
02:15:36.860 --> 02:15:38.580
Kaz Okamoto: Or Columbia?

894
02:15:38.580 --> 02:15:39.400
Jerry Corley: Yeah.

895
02:15:40.180 --> 02:15:41.369
LINA: Hi, Mother.

896
02:15:42.120 --> 02:15:45.509
Jerry Corley: Using religion as an excuse for that, I've seen that.

897
02:15:45.530 --> 02:15:55.940
Jerry Corley: Definitely. You know, anytime you're putting constant thoughts out there that are negative, it's like, it's like a prayer in a way, and that energy has impact on people, and people who

898
02:15:55.940 --> 02:16:08.490
Jerry Corley: who… who feel that, or feel that imposed on their lives. So, yeah, definitely. Yeah, that's good stuff. And that should be… that's all story stuff, too. That's all stuff that could be used to really build out a nice script.

899
02:16:08.490 --> 02:16:22.240
Jerry Corley: a nice, you know, certainly adds that flair in the script, and we see it. And I bet you, I bet you if you came out with that in a script, in a story, and people were able to see that, they'd go, oh, fuck, that's just, like, so-and-so…

900
02:16:22.390 --> 02:16:30.400
Jerry Corley: you know, our cousin from Stockton, right? And be like, oh, wow, you're right, you know, that kind of thing. You know, people will be saying.

901
02:16:33.570 --> 02:16:34.339
Jerry Corley: Clip, a clip?

902
02:16:37.500 --> 02:16:38.610
Cliff Spenger: Mute yourself, Slip.

903
02:16:39.299 --> 02:16:40.569
Jerry Corley: Go ahead, Cliff, you have your hand up?

904
02:16:43.010 --> 02:16:43.780
Jerry Corley: Can you hear me, Cliff?

905
02:16:45.020 --> 02:16:46.439
Kaz Okamoto: He doesn't have his dirt buds in.

906
02:16:47.420 --> 02:16:49.279
Cliff Spenger: But that way after savings.

907
02:16:49.639 --> 02:16:51.179
Jerry Corley: Okay, there he is. Can you hear me, Cliff?

908
02:16:55.920 --> 02:16:58.629
Jerry Corley: How come Zoom's noise? Oh, okay.

909
02:16:58.629 --> 02:17:01.500
Cliff Spenger: How come the noise filter isn't working with Cliff?

910
02:17:01.840 --> 02:17:03.259
Cliff Spenger: Cliff, we're talking to you.

911
02:17:04.750 --> 02:17:05.690
Cliff Spenger: Cliff?

912
02:17:05.850 --> 02:17:06.975
Cliff Spenger: flip.

913
02:17:09.530 --> 02:17:10.790
Jerry Corley: Cliff is not hearing us.

914
02:17:13.420 --> 02:17:14.950
Cliff Spenger: He's 75, cut him to the

915
02:17:18.549 --> 02:17:26.309
Cliff Spenger: Okay, while Cliff's trying to say that, I want to say, one thing I can tell you about boundaries, right, is that when you…

916
02:17:26.309 --> 02:17:26.839
Kaz Okamoto: tree…

917
02:17:26.990 --> 02:17:29.540
Cliff Spenger: A hard, good boundary.

918
02:17:29.540 --> 02:17:44.940
Kaz Okamoto: For somebody, it makes you feel crappy. That's what I was always told. Because if it was something that's easy, you would feel good. But when it's hard to do, it makes you feel bad. And then you'll know it's really a good boundary.

919
02:17:45.549 --> 02:17:47.379
Jerry Corley: Oh, wow, that's a pretty good, way to.

920
02:17:47.379 --> 02:17:49.339
Kaz Okamoto: That's an AA thing, yeah.

921
02:17:49.340 --> 02:17:49.950
Jerry Corley: Yeah.

922
02:17:50.160 --> 02:17:51.620
Jerry Corley: Nice.

923
02:17:51.629 --> 02:17:52.190
Kaz Okamoto: Flip.

924
02:17:52.190 --> 02:17:55.969
Jerry Corley: If you were, you were, we weren't hearing you.

925
02:17:57.459 --> 02:17:58.590
Jerry Corley: Are you there?

926
02:18:01.879 --> 02:18:04.019
Jerry Corley: He's, like, at that… wherever he is.

927
02:18:04.020 --> 02:18:07.450
LINA: I don't think it works for him, whatever's going on with the sound.

928
02:18:07.450 --> 02:18:08.699
Kaz Okamoto: It's at Starbucks.

929
02:18:08.709 --> 02:18:10.239
LINA: Oh, oh.

930
02:18:11.900 --> 02:18:17.519
Jerry Corley: And I don't know what microphone he's using, but if he had AirPods in his…

931
02:18:17.820 --> 02:18:32.140
Jerry Corley: ears, then there's probably still a disconnect with the Bluetooth and the speakers, where his microphone is still on the AirPods, but they're not in his ears. So… or we're not getting… because it sounded like we were getting the sound that was coming

932
02:18:32.139 --> 02:18:40.850
Jerry Corley: from the computer or his phone, and not his AirPods anymore, but if they're still connected to the AirPods, he's not hearing us.

933
02:18:42.809 --> 02:18:49.029
Jerry Corley: So he's gotta change the sound. Let me see if I can drop that in the chat for him, if he can read that,

934
02:18:51.629 --> 02:18:59.450
Jerry Corley: And let's see, Cliff is a technophobic, still wa… still… still walking Santa Claus, yeah, that's funny.

935
02:19:00.430 --> 02:19:04.459
Jerry Corley: So, let's see, hold on, let's see, Cliff…

936
02:19:54.390 --> 02:20:13.040
Jerry Corley: Alright, so, let me see, so we got, let's see, anybody else popping in their personal, things that will help their persona? I'll say, Jonathan usually pops something in there, but he might be away from the computer right now.

937
02:20:13.040 --> 02:20:18.349
Jerry Corley: So if… so did you share all of the ones you wanted to share, Lena?

938
02:20:21.970 --> 02:20:25.309
LINA: Yeah, I mean, I have more, but…

939
02:20:28.520 --> 02:20:29.430
Jerry Corley: Yeah, that's good.

940
02:20:29.430 --> 02:20:29.900
Kaz Okamoto: The chair!

941
02:20:29.900 --> 02:20:33.980
Jerry Corley: So, this is kind of… yeah, go ahead, let's hear it. We've got time.

942
02:20:34.430 --> 02:20:36.440
Jerry Corley: If you muted yourself.

943
02:20:37.600 --> 02:20:42.240
LINA: Sorry. One thing I wrote is… If you're an empath.

944
02:20:42.990 --> 02:20:48.720
LINA: Don't ever let anyone know you're an empath. Do the opposite, pretend you're a narcissist, so nobody takes advantage of you.

945
02:20:48.720 --> 02:20:51.350
Jerry Corley: I love that!

946
02:20:51.350 --> 02:20:54.590
LINA: In the last 3 months, and my life has changed.

947
02:20:54.590 --> 02:21:01.079
Jerry Corley: Oh, that's good, that's funny. Oh, I know there's certain things that you've said that I was like, that's crazy, and then they came true.

948
02:21:01.080 --> 02:21:01.620
LINA: Yeah.

949
02:21:01.620 --> 02:21:17.400
Jerry Corley: Like, including 4 out of the last 5 Super Bowl winners. That was wild, right? And it's, like, was interesting, but I never placed a bet based on your… your thing, so I didn't want to make you a thing. I was just taking advantage of that. But it was, like, true.

950
02:21:17.400 --> 02:21:22.960
Jerry Corley: Like, and then when you… the thing with those things, when you start to overthink it.

951
02:21:22.960 --> 02:21:43.300
Jerry Corley: sometimes it, that kind of impulse goes away or something. But it was like, there's a couple of things you had said that I thought were nuts. I mean, I flat-out sent it to you, that's nuts. And all of a sudden, two weeks later, it came true. I was like, oh, shit! Like, what's his name? Dying? The actor.

952
02:21:44.300 --> 02:22:01.730
Jerry Corley: you wanted to go see this actor, it was a favorite of yours. One of my students had a film that he was… that he made, crappy film, but the actor was in the film, and I said, hey, you want to go meet so-and-so? He's gonna be at the premiere for my student's film, and I've got a plus one, and you said, okay.

953
02:22:01.730 --> 02:22:07.379
Jerry Corley: And so you went and shook his hand, Neeve said to me, He's gonna die!

954
02:22:07.700 --> 02:22:12.010
Jerry Corley: And I was like, what? I felt it. And I was like, pfft, come on!

955
02:22:12.230 --> 02:22:27.589
Jerry Corley: Like, a week later, he was dead. And I was like, holy shit. That's wild. That was crazy. And I was like, okay, that's like my mom. My mom used to have these things, too, and she'd, like, tamp them down, way down, because people thought she was crazy.

956
02:22:27.620 --> 02:22:42.219
Jerry Corley: You know? And so it was very fascinating. So I think in that, there's a character there to… it's almost like The Conjuring. The wife of Jason, of, of, what's his name,

957
02:22:42.220 --> 02:22:50.270
Jerry Corley: Patrick. What's Patrick Wilson, who played Stretch? I should remember his name. His wife's character

958
02:22:50.270 --> 02:23:07.460
Jerry Corley: is really feeling all of this stuff, and it really has a big impact on her health, and then, so… and I think there's a character there that could be written and expanded on for a story that's both, you know.

959
02:23:07.600 --> 02:23:11.490
Jerry Corley: It has its… its possibilities in truth.

960
02:23:12.350 --> 02:23:27.669
Jerry Corley: doesn't all, like, psychic ability and empath ability, cosmic ability, being in touch with that energy, and… because people always wonder, is that true? Because most people try to live in just the literal sense of this world.

961
02:23:28.360 --> 02:23:42.070
Jerry Corley: But people also wonder, is there a parallel world? And it's like, that's a fascinating… that's why Narnia is popular, that's why The Exorcist was so popular, that's why all this stuff that we see where there's mystical,

962
02:23:42.070 --> 02:23:54.230
Jerry Corley: energies, become popular because people still wonder, well, how do we control it? How do we harness it? How do we… and so I think there's definitely something there for you to expand upon. Yeah.

963
02:23:54.230 --> 02:23:55.850
Kaz Okamoto: Wasn't that dead zone?

964
02:23:56.110 --> 02:24:03.360
Kaz Okamoto: Right? Where… what's his face? I can't remember the actor's name. He shook someone's hand, and he… he had a vision of their death.

965
02:24:03.360 --> 02:24:04.690
Jerry Corley: Yeah, yeah, so that…

966
02:24:04.690 --> 02:24:07.080
Kaz Okamoto: Is that a Stephen King short story or something?

967
02:24:07.080 --> 02:24:28.829
Jerry Corley: Might be, but it was very true, and it's not the first time you got that impulse, and I thought you were nuts, you know? But, you know, like, some of the people that you said you thought was gonna have a tragic end, and they did within, like, 3 weeks of you saying that, I'd be like, oh, shit, she might be an empath. So that was wild.

968
02:24:28.900 --> 02:24:31.259
Jerry Corley: And it was just sort of, like, off the cuff, it was like…

969
02:24:31.490 --> 02:24:39.830
Jerry Corley: she's a little eccentric, right? I was like… and yet, you were right on. As soon as that started to happen, I go, -oh, I gotta rethink that.

970
02:24:39.980 --> 02:24:44.809
LINA: Yeah, I wish they were an act. I want people to think it's an act, because…

971
02:24:45.340 --> 02:24:49.930
LINA: They're not, you know, gonna try to use it or, you know… You know.

972
02:24:49.930 --> 02:25:14.780
Jerry Corley: So anyway, but, so let's, let's, as soon as Clip figures out the microphone there, maybe we'll be able to, hear, hear what his are, or more input he had. He did share some of them. So remember, keep practicing with this, and it's something to redo or revisit every, every year or every six months. I think as you're, we're all evolving, and we all learn new things about ourselves, so with those.

973
02:25:14.780 --> 02:25:22.820
Jerry Corley: Like, they can help keep… continue to make your, you know, your voice. So if… and as a comedian, you're gonna evolve, too.

974
02:25:22.820 --> 02:25:45.749
Jerry Corley: Like, Dave Chappelle is not the same comedian he was when he did Comic Relief back in the day, and he first got that first national exposure than he is today. So, I mean, that changes. He has a profoundly different look at the business, about the system, about the power structures in the world. So,

975
02:25:46.250 --> 02:25:51.920
Jerry Corley: So it's like, once you're… if you're writing, if you're… if you're performing.

976
02:25:51.950 --> 02:26:16.059
Jerry Corley: You want to make sure to share these profiles with people who are… you're thinking of having you… having write for you. If you're a writer, say ask your comedians, like, if they could, you should be following them and watching the material before you write for them anyway. You should know their voice, and know what they write about, and don't introduce stuff just because you think it's funny. You've got to ask, does it fit in their voice?

977
02:26:16.060 --> 02:26:22.170
Jerry Corley: Does it say what they normally talk about? Does it have their opinion? Like, if somebody's kind of, like.

978
02:26:22.170 --> 02:26:29.900
Jerry Corley: Christian-leaning person, and you're coming with something that's completely the opposite, that's way out of their… their…

979
02:26:30.010 --> 02:26:38.739
Jerry Corley: just the way they view life, and it wouldn't be their angle, so you want to be sure to do that. Hey, Cliff, is… did you get your microphone fixed?

980
02:26:40.330 --> 02:26:43.609
Jerry Corley: You can hear me now, at least, so probably. There you are.

981
02:26:43.800 --> 02:26:54.570
Cliff Spenger: I, I have, I was in a public place with earphones, the earphone power runs out, and then everything goes to shit in my life, pretty much.

982
02:26:55.310 --> 02:27:01.790
Cliff Spenger: Participating. I have a few things I wrote down about things I would say,

983
02:27:01.900 --> 02:27:08.529
Cliff Spenger: I don't know if I'm the only person who could say it, but it's close, I guess. I created my own careers.

984
02:27:09.030 --> 02:27:19.459
Cliff Spenger: Each one's been 30 years. That's something not many people can say. I've had 2 of them. I feel doomed to be original.

985
02:27:19.640 --> 02:27:27.469
Cliff Spenger: I'm only happy with my own ideas when I'm gonna create something, and I'd rather create than copy.

986
02:27:28.030 --> 02:27:28.850
Cliff Spenger: And.

987
02:27:28.850 --> 02:27:29.490
Jerry Corley: Oh, that's good.

988
02:27:29.490 --> 02:27:35.910
Cliff Spenger: This world, that's… it seems like that's a, you know, a self-imposed challenge at this point.

989
02:27:35.910 --> 02:27:42.449
Jerry Corley: That's a really good point of view, too. It's like, it is, it does, it seems like everybody… so many people are using…

990
02:27:42.520 --> 02:28:00.809
Jerry Corley: AI concepts where, we can have, like, AI write a song for us, we don't even have to create it ourselves. It's like, you know, any… or animation. Like, any individual who has no skills can, you know, basically key in some prompts into a…

991
02:28:00.810 --> 02:28:09.209
Jerry Corley: into a, you know, into a, LLM, or a chatbot, and it comes up with an image, and goes, look what I made!

992
02:28:09.810 --> 02:28:28.409
Jerry Corley: Bro, you didn't make that. You just came up with some words, and it, like, generated it based on whatever images it found on the internet, and plugged them in together, you know? Some of it's pretty cool, but it's not, you know… if you actually drew that, or painted it, or came up with it, that's where it's amazing, you know?

993
02:28:28.410 --> 02:28:44.470
Cliff Spenger: That's when, you know when you write a good joke, Jerry, that moment… you've talked about it, that moment where you go, oh, I just created something. Yeah. That's the joy, and AI is gonna take that away from people who might be able to create something that comes out of them.

994
02:28:44.910 --> 02:28:53.109
Jerry Corley: Yeah, exactly, and it's like, the dopamine hit is not the same dopamine hit. It is like genetics… it's like, you're getting… you're getting plain rap heroin.

995
02:28:53.570 --> 02:29:02.060
Jerry Corley: You know, you're getting plane-wrapped drugs, and it's not gonna have the same impact. It's like you get a watered-down drink at a bar, and you're like, that doesn't…

996
02:29:02.210 --> 02:29:12.830
Jerry Corley: didn't hit, you know? Or you get, you know, you just don't get that feeling. It's like, if you're in a relationship for lust.

997
02:29:13.050 --> 02:29:26.890
Jerry Corley: it's still… it's a feeling, but it's not love, right? You can feel the difference between the two, if you feel you have purpose in that relationship, so you'll definitely feel that, you know, or, you know, if somebody like, oh, you can make him love you.

998
02:29:26.980 --> 02:29:39.289
Jerry Corley: Or you can make her love you. That kind of, like, that kind of chore. That's not fun, that's not authentic. But same thing, like, with AI. They're definitely not authentic. You know, when you're,

999
02:29:39.480 --> 02:29:53.160
Jerry Corley: you know, using it as a reference, using it as a thesaurus, using it for tools is one thing, but when you're actually using it to create the scratch, then yeah, I think you're… that's… we can talk about this all day long.

1000
02:29:53.160 --> 02:30:16.559
Cliff Spenger: It's a great search engine, but it doesn't create, yeah. I was thinking, it's similar to, you know how wood… wood has changed over the years? You know, if you look at 2x4s, the trees aren't as old, and so the wood isn't as good. The vegetables that we have now, because of modern farming, it's not as good as the vegetable… it's watered down, and now all our intellectual stuff

1001
02:30:16.560 --> 02:30:18.620
Cliff Spenger: It's gonna suffer the same thing.

1002
02:30:19.150 --> 02:30:20.030
Jerry Corley: Yeah, without a doubt.

1003
02:30:20.030 --> 02:30:20.660
Kaz Okamoto: Good.

1004
02:30:20.660 --> 02:30:21.390
Jerry Corley: Yeah.

1005
02:30:21.390 --> 02:30:23.690
Kaz Okamoto: Cliff. We'll be dead. You and I.

1006
02:30:24.390 --> 02:30:28.600
Cliff Spenger: Yeah, well, that's what I was gonna tell Jerry. I'm old enough to know that.

1007
02:30:28.600 --> 02:30:29.000
Kaz Okamoto: Good luck.

1008
02:30:29.000 --> 02:30:33.440
Cliff Spenger: That I'm on my way out, Jerry, and I feel bad for everybody left behind.

1009
02:30:33.920 --> 02:30:47.860
Cliff Spenger: In another 10 years, you'll be where I am. I don't worry so much about it, because I've done all I can do, and I can see where it's going, but it's kind of a shrug-your-shoulder things when you get older, because it's like, I've done what I can do, you know?

1010
02:30:47.860 --> 02:30:50.329
Jerry Corley: Yeah, yeah, I get it. Yeah, I totally get it.

1011
02:30:50.450 --> 02:30:52.770
Jerry Corley: Kaz, you have your hand up, and then Jack.

1012
02:30:53.270 --> 02:30:56.520
Kaz Okamoto: Yeah, it's kind of like doing comedy on Zoom.

1013
02:30:56.580 --> 02:31:09.380
Kaz Okamoto: When no one has their mic open, they're not allowed to laugh or clap or anything, it's all silent, so the whole time, you feel like you're bombing, you know, because there's… you don't have that…

1014
02:31:09.380 --> 02:31:16.739
Kaz Okamoto: energy, the raw energy of live people and the feedback. You know, that's one thing that,

1015
02:31:17.100 --> 02:31:19.779
Kaz Okamoto: that I don't like about taking,

1016
02:31:20.220 --> 02:31:24.500
Kaz Okamoto: like, your stand-up classes on Zoom, because I'm missing that part.

1017
02:31:24.610 --> 02:31:27.300
Kaz Okamoto: You know, I like the live part better. But, like.

1018
02:31:27.300 --> 02:31:46.400
Jerry Corley: You've got to ask yourself, you really have to ask yourself when you're doing that sort of thing, are you there for the ego, or are you there for the constructive learning? Because in that sort of sense, if you were on radio, you wouldn't hear the laughter, right? But you have to be able to learn to deliver in that medium.

1019
02:31:46.460 --> 02:32:04.989
Jerry Corley: and see… and sense the feedback, because that's part of the craft of the artistry, too, is, like, learning how to utilize the camera, learning how to work in that position. Same thing on set. If you're on set, and you're delivering your lines, your funny lines, the…

1020
02:32:04.990 --> 02:32:16.459
Jerry Corley: the crew isn't gonna laugh, because they'll ruin the sound tick. So it's like, so they have to… they have to stay silent, even though they want to laugh. You deliver it as though it's the funniest thing, and you keep that straight face.

1021
02:32:16.460 --> 02:32:18.679
Jerry Corley: And so, like, that practice…

1022
02:32:18.680 --> 02:32:30.810
Jerry Corley: is good. I've had the same conversation with Buffy, you know, and Buffy, and I said, you like the feedback of the live, and which is fine, that's a whole… but it's also a different…

1023
02:32:31.150 --> 02:32:40.109
Jerry Corley: approach to it, and you can get some really good feedback in a Zoom situation, and even if you look at the gallery and see people go.

1024
02:32:40.660 --> 02:32:42.050
Jerry Corley: You know it's a hit!

1025
02:32:42.050 --> 02:32:45.969
Kaz Okamoto: Yeah. Right? I think that's what being someone who's new.

1026
02:32:46.670 --> 02:32:51.149
Kaz Okamoto: Because I've only been getting up on stage since October of 25.

1027
02:32:51.570 --> 02:33:06.330
Kaz Okamoto: that that was my barometer for knowing if it was funny, getting that feedback. But then often, you know, you do a joke for one audience, they're laughing, you know, and just totally cracking up. You do the same joke.

1028
02:33:06.450 --> 02:33:12.620
Kaz Okamoto: for another audience, and you got nothing. So, which audience is right? You know, like…

1029
02:33:12.620 --> 02:33:32.249
Jerry Corley: A lot of times, if you really analyze what's going on, that's one of the things I like about, you know, analyzing audience behavior, knowing how that works. So if, same thing with writing a joke for a comedian, right? So this is where it ties into what we're talking about today, or the ghostwriting. I used to write for this magician.

1030
02:33:32.460 --> 02:33:39.090
Jerry Corley: And she got up on stage in Vegas, and I was watching her do the jokes, and she reworded them.

1031
02:33:42.060 --> 02:33:45.640
Jerry Corley: And when she reworded them, she wrote the funny out of them.

1032
02:33:45.750 --> 02:33:56.820
Jerry Corley: And so she went up there and did the joke, and she goes, I go, well, that joke she blew, that joke she blew, that… so afterwards, she goes, and she said this in front of me, the jokes you wrote weren't funny.

1033
02:33:57.530 --> 02:34:01.630
Jerry Corley: She said it so other people could hear it. I said, that's because you fucked them up.

1034
02:34:02.660 --> 02:34:20.129
Jerry Corley: And she was like, oh, you know, wait a minute, nobody's ever spoken to me that way. And I said, so maybe you want to sit down and find out where you fucked them up. Look, if you could write chokes, you would have written them yourself. But you didn't, you had me write them, but then you changed them to be unfunny.

1035
02:34:20.500 --> 02:34:22.089
Jerry Corley: Let me show you why.

1036
02:34:22.620 --> 02:34:35.099
Jerry Corley: And why the joke works the way it was written, and why it doesn't work the way you wrote it. And so now she was able to understand why. And, and even if she didn't fully grasp it, when she did it the way it was written, it got a laugh.

1037
02:34:35.520 --> 02:34:46.410
Jerry Corley: But there was something going on. And, like, I remember, one of the comedians doing a bit, and she said, I did this bit one night, got a great laugh, so next night I did it, nothing.

1038
02:34:46.410 --> 02:35:02.740
Jerry Corley: Really a lot less laughs, and I said, she goes, I did the exact same set. I said, I bet you didn't… you didn't do it the exact same way. And she says, I did. I said, show me the video. And in the video, video number one, she created community with the audience.

1039
02:35:03.030 --> 02:35:15.560
Jerry Corley: Then did the jokes, and the jokes were funny, because she opened them up, and it was now a conversation rather than her talking at them. Video number 2, she got right to the jokes and failed to do that little moment of interaction.

1040
02:35:15.840 --> 02:35:25.410
Jerry Corley: Where they felt like they got her, and they felt like they were with her, and then, she… she didn't do as well. I said, so, that first moment right there.

1041
02:35:25.520 --> 02:35:35.139
Jerry Corley: is when you create that sort of community with the audience, that's when they… they can trust you. You broke… you broke the seal, if you will. And then, so it's a matter of…

1042
02:35:35.280 --> 02:35:41.930
Jerry Corley: We all do this, like, we get up there on stage, we have… we're… in our mind, we want to test our jokes.

1043
02:35:42.430 --> 02:35:45.889
Jerry Corley: We don't get up there and say, I want to connect with this audience.

1044
02:35:47.050 --> 02:35:59.690
Jerry Corley: And so you can sometimes, if you're writing for somebody, you can see when they're connecting to the audience, and when they're just doing the jokes. If they're just doing the jokes, sometimes it'll be flat, but if they connect with the audience, and then do the jokes, and do it as a conversation…

1045
02:36:00.210 --> 02:36:05.670
Jerry Corley: Now you see it work. That's where it's something you have to keep an eye on, too, if you're writing for somebody

1046
02:36:05.790 --> 02:36:18.660
Jerry Corley: If you have to make sure, am I using my craft to… are they using their craft to deliver the material within the conversation of being there live with the audience, or are they just saying words?

1047
02:36:19.200 --> 02:36:22.469
Jerry Corley: If they're just saying words, the audience is not going to connect to them.

1048
02:36:22.570 --> 02:36:28.750
Jerry Corley: There's no emotional connection to the material, and that's a big problem, too, when you're writing for somebody.

1049
02:36:28.750 --> 02:36:45.180
Jerry Corley: maybe they don't get the emotional angle that they're supposed to be delivering them to. So when I… a lot of times, when I would write for somebody, I would also send them, especially people that were new, I would also send them the audio of me doing the jokes, so they'd hear the inflection, because sometimes…

1050
02:36:45.180 --> 02:36:49.370
Jerry Corley: A lot of new people aren't used to taking the words off a page and making them come alive.

1051
02:36:49.770 --> 02:36:59.669
Jerry Corley: in a spoken voice, right? They just don't see the nuance that's happening. They can't hear it. So, a lot of times you have to say it for them, so then… so they get it.

1052
02:37:00.050 --> 02:37:24.630
Jerry Corley: it's a line read, but it still works when they get it, and now, oh, I see what you're doing with the joke, then they try it that way, and it works. If you're selling them, how do you put down on the page? How do you sell sarcasm? How do you sell emotion without them, without sort of like, okay, you're using a happy face here, and you go like… and then you take it away at the end. Like, for example, like, you're using what's called Bethos.

1053
02:37:24.670 --> 02:37:27.890
Jerry Corley: Positive, positive emotion, followed by…

1054
02:37:28.090 --> 02:37:35.240
Jerry Corley: negative, or sad emotion, or a straight-ahead emotion. It's like, we were at dinner, and

1055
02:37:35.450 --> 02:37:40.030
Jerry Corley: We had a glass of wine, he took my hand, looked me right in the eyes, and he said.

1056
02:37:41.460 --> 02:37:43.500
Jerry Corley: Are you gonna eat the rest of those fries?

1057
02:37:44.930 --> 02:37:50.559
Jerry Corley: So, in that moment, you're changing the emotion from leading us to…

1058
02:37:50.950 --> 02:37:58.949
Jerry Corley: marry me, sort of thing, and then you change to, you're gonna eat the rest of those fries? And it, like, it changes… but if you're writing that on the page.

1059
02:38:00.060 --> 02:38:04.260
Jerry Corley: And they can't hear the emotional shift, the joke is not gonna make as much sense.

1060
02:38:04.610 --> 02:38:05.370
Kaz Okamoto: the delivery.

1061
02:38:05.370 --> 02:38:08.659
Jerry Corley: Yeah, delivery is key, and they have to understand that.

1062
02:38:08.660 --> 02:38:12.230
Kaz Okamoto: Was Wilson Patrick the guy that you said was starting…

1063
02:38:12.230 --> 02:38:12.760
Jerry Corley: Listen.

1064
02:38:12.760 --> 02:38:19.090
Kaz Okamoto: Oh, Patrick Wilson? Well, I didn't know that he's one of the producers of the Lost Boy musical on Broadway.

1065
02:38:20.100 --> 02:38:21.590
Jerry Corley: I didn't know that either.

1066
02:38:21.590 --> 02:38:24.769
Kaz Okamoto: Him and two of his buddies, they all went to Carnegie Mellon.

1067
02:38:25.040 --> 02:38:37.739
Kaz Okamoto: the three of them bought the rights to do it, and the Tonys were last night. And I saw his face, and I said, God, that guy's face looks familiar. And then that's where it's from, because he starred in your movie.

1068
02:38:37.740 --> 02:39:01.569
Jerry Corley: Fantastic, that's good. I'm glad he's doing other things. He's smart, too, because what was interesting, he's a good actor, but he wasn't catching fire, right? He was doing the Conjuring movies, you know, and that's micro-budgets over at Blumhouse, right? So he's not getting that big star money that, you know, he's getting paid, but he's not getting that big star money that, you know, some of these big-time stars

1069
02:39:01.570 --> 02:39:07.259
Jerry Corley: you know, I get $50 million for a picture. Sorry, I don't think anybody's getting that anymore. But,

1070
02:39:07.260 --> 02:39:13.259
Jerry Corley: But, so, then, he did what's, you know, like, like,

1071
02:39:13.300 --> 02:39:16.790
Jerry Corley: What's his name, played,

1072
02:39:17.240 --> 02:39:19.789
Jerry Corley: Rod Howard did. He said, okay.

1073
02:39:19.820 --> 02:39:38.319
Jerry Corley: as soon as he started losing his hair, he was… he had that boyish face and receding hairline, he was like, this is not working for me anymore, I'm gonna move into directing and producing. And so he made that leap, and… which was a great leap for him, and the same thing, now we see Patrick Wilson doing that. It's a good leap.

1074
02:39:38.450 --> 02:39:39.869
Jerry Corley: Right? Produce some stuff.

1075
02:39:39.870 --> 02:39:47.950
Kaz Okamoto: He has the kind of generic face, like Bill Pullman, you know, it's kind of like a nice-looking white male.

1076
02:39:47.950 --> 02:39:48.649
Jerry Corley: Right, right?

1077
02:39:49.060 --> 02:39:52.650
Kaz Okamoto: And, but… there's nothing…

1078
02:39:53.230 --> 02:40:02.899
Kaz Okamoto: like, awfully striking. He's a good actor, right? But there's nothing, you know, he's not, like, the chiseled jawline, you know.

1079
02:40:02.900 --> 02:40:04.300
Jerry Corley: Right, right, right.

1080
02:40:04.590 --> 02:40:14.929
Jerry Corley: You know, yes, yeah, so there's, like, yeah, where he doesn't have that sort of, like, like, what was that thing that Jack Nicholson had that other people didn't have?

1081
02:40:15.160 --> 02:40:25.019
Jerry Corley: Right? He's certainly not Jack Nicholson. The person that might become Jack Nicholson is Leonardo DiCaprio, because I think he's Jack Nicholson's love child.

1082
02:40:25.790 --> 02:40:33.879
Jerry Corley: You know, if you look at some of the expressions he makes to go, oh, that's so Jack Nicholson, he's definitely… it's gonna be revealed at some point.

1083
02:40:33.880 --> 02:40:38.380
Kaz Okamoto: I had 12 Emmy… I mean, Tony nominations, and I think they won 3.

1084
02:40:38.380 --> 02:40:39.410
Jerry Corley: Wow.

1085
02:40:39.410 --> 02:40:42.159
Kaz Okamoto: Yeah, you should look it up. It's pretty interesting.

1086
02:40:42.160 --> 02:40:45.899
Jerry Corley: I will. I'll take a look at that. Jack Raine, you have your hand up.

1087
02:40:51.460 --> 02:40:52.330
Jerry Corley: Jack, right?

1088
02:40:52.330 --> 02:40:54.470
Jack Rain: Okay,

1089
02:40:54.710 --> 02:41:01.929
Jack Rain: Yeah, you know, AI slop is getting bad when the audiences on social media channels are complaining, like, on

1090
02:41:02.080 --> 02:41:03.150
Jack Rain: Pornhub.

1091
02:41:07.470 --> 02:41:09.030
Jack Rain: And I'm out.

1092
02:41:09.030 --> 02:41:11.510
Jerry Corley: Pornhub isn't a social media channel.

1093
02:41:11.510 --> 02:41:13.690
Jack Rain: You're not in the comments section enough.

1094
02:41:14.000 --> 02:41:22.489
Jerry Corley: I guess you're right. I'm doing… I'm doing other things besides commenting. I comment in a different way.

1095
02:41:24.160 --> 02:41:26.669
Jack Rain: It's just unbelievable!

1096
02:41:26.670 --> 02:41:27.350
Jerry Corley: Huh.

1097
02:41:27.510 --> 02:41:38.900
Jerry Corley: So, it's like, so, well, you know, they do have that as well. They were talking about that earlier, about the porn that was now generated through AI, and that's, like, you see some of that stuff, I'm like, pfft.

1098
02:41:39.140 --> 02:41:43.859
Jerry Corley: That's garbage. But it's like, some people get hot over anime, right? So…

1099
02:41:43.860 --> 02:41:50.519
Jack Rain: Did you know that Pornhub also has, shorts as well, just like YouTube, but they should just call it quickies?

1100
02:41:50.690 --> 02:41:52.600
Jerry Corley: I just thought they took off their shorts.

1101
02:41:55.750 --> 02:41:56.685
Jerry Corley: So…

1102
02:41:57.620 --> 02:42:00.840
Jack Rain: Did you know that crickets are really good for protein?

1103
02:42:01.560 --> 02:42:10.839
Jerry Corley: Yeah, well, you've got plenty of them. So, let's… Lesson 4, like, where does… where… where comedians find writing… writers? In Jerry's class.

1104
02:42:10.840 --> 02:42:11.520
Jack Rain: Yes!

1105
02:42:11.520 --> 02:42:28.259
Jerry Corley: It, like, yeah, well, in Jerry's class, certainly. That's actually a good source, by the way. There are a lot of, like, in my classes, I've had new comedians come on into the class and ask me, hey, do you think the students would want to write jokes for me?

1106
02:42:28.440 --> 02:42:44.919
Jerry Corley: I need jokes on these topics, I pay $50 a joke. And I've had comedians write jokes for, some of the students in the class, and got paid. So, so that's really a lot of fun when that happens.

1107
02:42:44.920 --> 02:42:48.899
Kaz Okamoto: You mean the other way around? That the students write for the comedian?

1108
02:42:49.030 --> 02:43:02.180
Jerry Corley: Yeah, the students write for the comedian. Yeah. For a comedian, a new comedian that's in the class, and they're like, they have resources, they have funds, and it's like, do you think some of the students could write some jokes for me for this upcoming event?

1109
02:43:02.180 --> 02:43:16.539
Jerry Corley: and that I'm doing… and I need jokes on these topics, and so some of the students would submit some jokes and get paid. So it was really kind of fun to see that. It's happened, like, 3 or 4 different times. 3 or 4 different students who have come in and asked the students to write them jokes.

1110
02:43:16.820 --> 02:43:22.900
Jerry Corley: And that time when, David Sheehan came into class, asked me to write, and asked, Joe Duncan to write for him.

1111
02:43:23.210 --> 02:43:27.410
Jerry Corley: for that presentation he was doing for that, benefit for Rick Dees.

1112
02:43:29.010 --> 02:43:30.499
Jerry Corley: Cliff, you have your hand up?

1113
02:43:30.840 --> 02:43:40.020
Cliff Spenger: Yeah, if you look on some of these comedy sites, there's always some new comedians who are interested in buying jokes, and that might be a way to get started.

1114
02:43:40.310 --> 02:44:03.600
Jerry Corley: Yeah, so deadfrog.com, sometimes in some of the, groups on Facebook, and, you'll find, like, LinkedIn, comedy clubs, open mics, writing classes, festivals, go to roast battles, you'll find some writers there. Also, I like, what I like to do, if I'm, if you're looking for a writer, you'll find some there.

1115
02:44:03.600 --> 02:44:06.810
Jerry Corley: If, if you're looking to write for people.

1116
02:44:07.090 --> 02:44:30.830
Jerry Corley: Pay attention to what they're doing, write a couple of tags and toppers for them, or some jokes that might fit in what they're working on currently, and, and, you know, show them, and see if they want to buy it from you. You can do that as well. That's what I did, and, you know, I made a lot of connections that way. Some in Reddit communities, this is actually coming from

1117
02:44:30.830 --> 02:44:42.340
Jerry Corley: sources that have spoke to me about it, when they've found people they've… people talk about having people write for them on Reddit, and some people reach out to them and say, hey, I can try to write some jokes for you.

1118
02:44:42.870 --> 02:44:49.679
Jerry Corley: What you… what I would do is I would prepare a packet that introduces yourself

1119
02:44:50.730 --> 02:44:52.500
Jerry Corley: Talks about your approach.

1120
02:44:52.750 --> 02:45:08.390
Jerry Corley: reminds them that it's written, jokes are meant to be spoken, and that would have to be, you know, we'd have to test the material first, and then if the material worked and you decided to keep it, then that's when the pay… payment would come in. You're not just writing shit.

1121
02:45:08.400 --> 02:45:27.969
Jerry Corley: And they don't… it's untested. So, but you'll see a lot. DaveFrog.com has them. Writer's Digest is a great place to get leads. Upwork and Fiverr. One of my students found his career that he's doing right now while he answered an ad on… on Craigslist.

1122
02:45:28.830 --> 02:45:45.629
Jerry Corley: And he got this gig, and he was writing for them. He's now, like, part owner in the company, and making quite a nice living. The other time I talked to him, he says, yeah, he said, not too bad, Jerry. I'm now wondering whether I need to get a BMW or 5 or a 7 Series.

1123
02:45:45.860 --> 02:45:52.469
Jerry Corley: I said, sounds like you're making some money, bro. That's good for you. But he wanted to be a comedian.

1124
02:45:52.600 --> 02:46:00.139
Jerry Corley: But he wound up being a writer. And he says, I'm fine with it. I don't, you know, I don't need to travel and all that stuff. I'd rather just write.

1125
02:46:00.460 --> 02:46:01.380
Jerry Corley: Who's the guy?

1126
02:46:01.380 --> 02:46:05.780
Kaz Okamoto: It ended up, yeah, that was in your class that was doing commercials.

1127
02:46:05.980 --> 02:46:10.480
Kaz Okamoto: Remember, he did a frog commercial, or a turtle commercial, or something?

1128
02:46:10.700 --> 02:46:11.950
Kaz Okamoto: Do you remember that?

1129
02:46:12.220 --> 02:46:13.919
Jerry Corley: There's a couple of people that have done.

1130
02:46:13.920 --> 02:46:21.149
Kaz Okamoto: Yeah, that, like, was a major commercial writer that was taking classes or did one-on-ones with you or something that I…

1131
02:46:21.150 --> 02:46:44.610
Jerry Corley: Yeah, that's, let's see, who is, well, Joe Dungan, right? Joe Duncan is now writing for, Funny You Should Ask and Comics Unleashed, so he's got two shows. They're Byron Allen shows, but he's got two shows. And, then there's, like, one, one student who is writing, he's a, basically writer-adjacent position over at Jimmy Kimmel Live.

1132
02:46:44.670 --> 02:46:55.769
Jerry Corley: And then I've got another student who was doing commercials, and, basically animated explainers. And then there's, like, yes, then there's David,

1133
02:46:56.570 --> 02:47:06.549
Jerry Corley: Dave, who is my, Dave Roth, David Roth, who is a, copywriter who won a Clio, won several Clios.

1134
02:47:06.550 --> 02:47:07.439
Kaz Okamoto: Yeah, that's the guy.

1135
02:47:07.440 --> 02:47:24.159
Jerry Corley: Yeah, so David Roth was trying to help other comedians get into freelancing commercials, because they're funny, and yet he knows a lot of people who work in advertising who aren't funny, and the people in advertising are making $400,000 a year, and his comedian friends are broke.

1136
02:47:24.160 --> 02:47:29.369
Jerry Corley: And they're funnier. So he was trying to show them how to freelance into commercials.

1137
02:47:29.370 --> 02:47:40.829
Jerry Corley: and how to create a portfolio. So that's also something that you should consider. We covered that in another class, on animated explainers and things like that, how to write for a living. So,

1138
02:47:40.830 --> 02:48:02.609
Jerry Corley: And that was like, there's ways you can look up how to create your own fake portfolio. It's basically, you're writing mock commercials that are kind of real, and you film them, and then you put them as your, like, and your showcase on your website. People check them out, they go, they like your style, and they can hire you to write commercials for them.

1139
02:48:02.610 --> 02:48:18.070
Jerry Corley: Also, when you have political commercials, if you're writing something humorous there, you know, you can write something humorous that digs at somebody else, but is also humorous, and it's much more memorable than if you're just making an insult, or you're, you know.

1140
02:48:18.110 --> 02:48:27.030
Jerry Corley: talking negatively about an opponent. You're actually writing some funny about that. So there's lots of… there's so many gigs there that we don't… that comedians don't see.

1141
02:48:27.180 --> 02:48:37.519
Jerry Corley: If you can conjure a story and make it believable on its stage, you can write for anybody, you know? And I don't think people see that opportunity available to them.

1142
02:48:37.520 --> 02:48:52.889
Jerry Corley: I was looking… always looking at multiple revenue streams back in the day, especially, you know, whether it was greeting cards, whether it was animated explainers, or writing commercials, and it's like, I always… I like the feeling of after, certainly after writing for Leno.

1143
02:48:52.890 --> 02:49:05.000
Jerry Corley: of being my own person, being the independent, being a contributor, or being, a freelancer, because then you're like, yeah, it's your own schedule. You don't have to rely on

1144
02:49:05.080 --> 02:49:05.970
Jerry Corley: You know…

1145
02:49:06.110 --> 02:49:20.599
Jerry Corley: a corporation, or the man, if you will. You just write… you write for them, and you do it from home, or whatever, or on the road, on a plane. You don't have to worry about, being in, you know, in a writer's room in a…

1146
02:49:20.770 --> 02:49:24.919
Jerry Corley: at a studio, necessarily, or production office.

1147
02:49:25.740 --> 02:49:26.589
Kaz Okamoto: I have a question.

1148
02:49:26.590 --> 02:49:27.310
Jerry Corley: Yes.

1149
02:49:27.560 --> 02:49:31.090
Kaz Okamoto: Have you ever thought about doing a more,

1150
02:49:31.800 --> 02:49:45.549
Kaz Okamoto: intensive class on how to become a cruise ship comedian. Like, not just introduce it, but, like, you know how you do it, like, rider's package that you do riding for late night?

1151
02:49:45.980 --> 02:49:49.489
Kaz Okamoto: Go through all those steps and help People put together.

1152
02:49:49.490 --> 02:49:57.320
Jerry Corley: Well, that's a good idea, how to become a cruise shop, cruise ship comedian, and doing the whole, like, maybe a four-week course or something like that.

1153
02:49:57.320 --> 02:49:57.910
Kaz Okamoto: Yeah, because I.

1154
02:49:57.910 --> 02:49:58.800
Jerry Corley: Full online course.

1155
02:49:58.800 --> 02:50:15.159
Kaz Okamoto: for people… I bring Cliff into this because he's 75. When you get older, some of the jokes that we do are dated, you know? You've told me this before, a lot of people may not know what that means, you know? But, on cruise ships, you know.

1156
02:50:15.230 --> 02:50:29.299
Kaz Okamoto: Yes, they're… younger people go to Mexico and Cancun and stuff like that, but older people go to Alaska, they do other types of trips that, you know, that they kind of like the older comedy stuff, you know?

1157
02:50:29.300 --> 02:50:35.320
Kaz Okamoto: So, I think I'd be interested in that. I don't know if anybody else would be, but…

1158
02:50:35.320 --> 02:50:38.810
Jerry Corley: Yeah, the cruise ships definitely has a… certainly has,

1159
02:50:38.810 --> 02:50:40.110
Kaz Okamoto: So niche, right?

1160
02:50:40.110 --> 02:50:42.640
Jerry Corley: Passengers of a certain, you know.

1161
02:50:42.950 --> 02:50:48.119
Jerry Corley: Certain age that are on there, and they're looking for comedians of a certain age that can actually

1162
02:50:48.340 --> 02:50:50.919
Jerry Corley: Do two different 45-minute sets.

1163
02:50:51.120 --> 02:50:51.820
Jerry Corley: So.

1164
02:50:51.820 --> 02:51:00.929
Kaz Okamoto: So, and you said the earlier ones are usually the clean set, and then after, you know, 9 o'clock, it goes blue, right?

1165
02:51:00.930 --> 02:51:11.920
Jerry Corley: Yeah, if you're, like, especially if you're doing carnival cruises, they have a… they have full-time comedy clubs, 24 of them on their… on their ships, so they employ a lot of comedians.

1166
02:51:12.090 --> 02:51:12.470
Kaz Okamoto: Wow.

1167
02:51:12.670 --> 02:51:19.770
Jerry Corley: So, there's lots of work available out there if you can meet that criteria.

1168
02:51:19.930 --> 02:51:26.050
Jerry Corley: And… and get that, you know, get your… get a video out there that's… has as broadcast quality

1169
02:51:26.050 --> 02:51:43.779
Jerry Corley: That means that your sound is, you know, you've got lav here, it's picking up the ambient sound of the audience, you're getting good laughs, you know, and you know, you send it out to a cruise booker, there's a couple of people who do book talent for the cruises that are looking for comics of a certain age.

1170
02:51:44.020 --> 02:51:49.490
Jerry Corley: So I think that's good, too. And yeah, so maybe that's an idea, put that together.

1171
02:51:49.490 --> 02:51:51.340
Kaz Okamoto: New revenue for you.

1172
02:51:51.340 --> 02:51:56.630
Jerry Corley: Yeah, definitely. It was a good course, too. It's something I think people would be interested in.

1173
02:51:56.630 --> 02:51:59.160
Kaz Okamoto: My other thing is, when's the next a la carte?

1174
02:51:59.530 --> 02:52:06.399
Jerry Corley: In about 3 weeks, and I'll be putting out the bundle soon, the list in the bundle, coming out this week.

1175
02:52:06.400 --> 02:52:07.750
Kaz Okamoto: Your full list?

1176
02:52:07.970 --> 02:52:15.740
Jerry Corley: No, I haven't, I'm always open to… it's gonna be completed by the end of tomorrow, so if you have something you would like to suggest, put it in there.

1177
02:52:15.740 --> 02:52:26.430
Kaz Okamoto: I'll send you… I'll send you an email. Okay. Someone who is a woman, because there's not that many women out there, but she, was on Kevin Hart's Funny AF.

1178
02:52:26.670 --> 02:52:27.140
Jerry Corley: Yeah.

1179
02:52:27.140 --> 02:52:41.129
Kaz Okamoto: And she was one of the top 3 finalists, or 4 finalists, and she didn't… top 3 finals. She didn't win, but she just did a don't-tell comedy thing that was just put out a couple days ago.

1180
02:52:41.240 --> 02:52:42.680
Kaz Okamoto: that was…

1181
02:52:42.780 --> 02:52:52.869
Kaz Okamoto: better than all the stuff I saw her do, and then even her final performance, and I saw her live twice, and she actually, has gotten better in.

1182
02:52:52.870 --> 02:52:53.739
Jerry Corley: What's your name?

1183
02:52:54.090 --> 02:52:56.009
Kaz Okamoto: Oh, Christine something.

1184
02:52:56.010 --> 02:52:57.200
Jerry Corley: Christina Mariani?

1185
02:52:57.200 --> 02:52:58.020
Kaz Okamoto: Yeah.

1186
02:52:58.520 --> 02:53:23.509
Jerry Corley: Oh, good, I'm gonna take a look at that special, because when I was watching her, I saw her very funny, cute, attractive young lady. She gets away with, kind of, the sexy outfits, too, and it's like, and the way she deadpans her stuff, and the stuff… only things I could find online with her are mostly, like, short segments, and then, short clips, and then podcasts. And now, with this special, I gotta take a look at it.

1187
02:53:23.720 --> 02:53:35.630
Kaz Okamoto: Hotel comedy was almost 15 minutes. So she does a… she used to be heavier, she lost, like, 50 pounds, she wears a crop top, t-shirt, dresses like a guy.

1188
02:53:35.630 --> 02:53:48.140
Kaz Okamoto: you know, kind of gives the lesbian vibe out there, but also, in the male sense, like, hey, you look like you'd want to have sex, right? Or, I mean, her stuff is blue.

1189
02:53:48.490 --> 02:53:50.020
Jerry Corley: Yeah, and she's Yeah.

1190
02:53:50.020 --> 02:53:51.960
Kaz Okamoto: Yeah, and it's, like, really funny.

1191
02:53:51.960 --> 02:54:07.620
Jerry Corley: a little, a little Anthony Jeselnik, kind of edge to her. Yeah. You know? Yeah, I kind of like, I like her delivery. So, and if, like, if she develops a full hour and is able to do that, that'd be, that'd be wild. They gotta check, check out. So, what was the,

1192
02:54:07.910 --> 02:54:09.640
Jerry Corley: What was the object with that?

1193
02:54:09.800 --> 02:54:12.290
Jerry Corley: That… that just pointing her out, or…

1194
02:54:12.290 --> 02:54:16.449
Kaz Okamoto: Yeah, because, you know, she… well, she didn't win, right?

1195
02:54:16.450 --> 02:54:16.930
Jerry Corley: Right?

1196
02:54:16.930 --> 02:54:30.169
Kaz Okamoto: Her and another black comedian didn't win, and there was 2 other guys, so there's 4 total. But Nikki Glazer offered them to open up for her on her next, national tour that she's putting together.

1197
02:54:30.170 --> 02:54:30.900
Jerry Corley: Oh, that's awesome.

1198
02:54:30.900 --> 02:54:38.100
Kaz Okamoto: Yeah, so, you know, she lucked out that way, but she, she performed at the, the Hollywood Improv.

1199
02:54:38.370 --> 02:54:42.119
Kaz Okamoto: You know, and she came, and I think,

1200
02:54:42.290 --> 02:54:51.119
Kaz Okamoto: I don't… I think she did flappers, but it was a short segment. They were getting ready to do the final one, so they were just rehearsing their segment.

1201
02:54:51.120 --> 02:54:51.640
Jerry Corley: Oh, God.

1202
02:54:51.640 --> 02:54:52.730
Kaz Okamoto: the final.

1203
02:54:52.780 --> 02:55:07.060
Jerry Corley: And she is, like, she really built a nice, social media following, too. So, when you're writing jokes, that's one of the things in the modern strategy is, like, put your stuff up, post jokes online.

1204
02:55:07.060 --> 02:55:16.589
Jerry Corley: And when people see that you write well, if they like your style, they reach out to you and say, hey, do you write for… I can't tell you how many people have said that, you know, will you write for me?

1205
02:55:16.590 --> 02:55:33.410
Jerry Corley: And it'd be like, I'm… at that point, I don't just write for comedians. I write for rich comedians. Yeah. Because they can't, you know, a regular comedian wouldn't be able to afford me. And it's not… I'm not saying that to… to blow smoke, I'm saying that to just say that's where…

1206
02:55:33.480 --> 02:55:44.340
Jerry Corley: I am in my, you know, in my writing journey. So, hey, you never know, I might be at that point where I'm, you know, I'll write for anybody. So, but a lot of people…

1207
02:55:44.340 --> 02:55:48.930
Kaz Okamoto: High energy, like, high, like, non-stop, back to back to back, to back to back.

1208
02:55:48.930 --> 02:55:50.410
Jerry Corley: Yeah, yeah, yeah.

1209
02:55:50.980 --> 02:55:53.289
Jerry Corley: I'll take a look at her, her don't tell.

1210
02:55:54.150 --> 02:55:54.740
Kaz Okamoto: Okay.

1211
02:55:54.960 --> 02:56:19.009
Jerry Corley: That'll be fun. So, these are the modern strategies. You can generate testimonials based on other comedians that have said great jokes, thank you very much. Like that, when Chris Rock said, hey, you write me more like that, I'll buy them from you. That's a neat little, accolade. When Steve Martin says, when it comes to writing, go to this guy's 13 comedy structures, that's a nice little testimonial accolade.

1212
02:56:19.010 --> 02:56:21.889
Jerry Corley: They… some of the stuff people put on YouTube.

1213
02:56:21.890 --> 02:56:31.900
Jerry Corley: that about the stuff I share online is very positive. Those are great testimonials as well. So, you become known as the punch-up person.

1214
02:56:31.900 --> 02:56:55.719
Jerry Corley: That's kind of what I did when I was first doing mics. I'd listen to other comics, and I would punch them up, write little punch-ups into my notebook, show these comedians afterwards, and say… and then tear it out of the page, and go, hey, if you want to use them, you can have them. And they go, you're just giving them away? And it's like, that's right. Just like… and I became known as the guy who gave away free jokes. Then people got to know who I was, then you get to the point where it's like.

1215
02:56:55.720 --> 02:56:59.500
Jerry Corley: Well, it's not free anymore, because you have, you know, you've got a wallet.

1216
02:56:59.500 --> 02:57:04.579
Jerry Corley: So, it's like, you know, it's all supply and demand, right? Same thing.

1217
02:57:04.620 --> 02:57:16.500
Jerry Corley: But if you can actually build a reputation out there, and gary Shandling used to have writers that wrote for him, tons of comedians out there back in the day. What's his name?

1218
02:57:17.550 --> 02:57:23.520
Jerry Corley: Oh, jeez, the comedian, it was like, brennan.

1219
02:57:23.660 --> 02:57:26.479
Jerry Corley: With the nose, remember him?

1220
02:57:28.390 --> 02:57:42.970
Jerry Corley: Oh, jeez, I can't… why is his name? Tip of my tongue, I can't remember it. But he was very popular back in the day. He had a lot of people writing for him. Rodney Dangerfield used to write for people, and then he had a lot of comedians write for him. So…

1221
02:57:42.970 --> 02:57:44.120
Kaz Okamoto: David Brennan.

1222
02:57:44.120 --> 02:57:44.850
Jerry Corley: David Brennan.

1223
02:57:45.730 --> 02:57:48.770
Jerry Corley: Renner, David Brenner, yeah. So…

1224
02:57:48.930 --> 02:57:55.399
Jerry Corley: there's a ton of people out there you could probably write for. So then write a writing session

1225
02:57:55.660 --> 02:58:14.719
Jerry Corley: Is, depending on each of the performers, the general flow is you bring, the comic brings the topic, the writer lists associations, the writer identifies assumptions, generates reverses, generates tags, builds out the act-outs, tests live, rewrites, and then the.

1226
02:58:14.720 --> 02:58:15.870
Kaz Okamoto: in your hand out?

1227
02:58:16.430 --> 02:58:17.500
Jerry Corley: Yes, there's the PDF.

1228
02:58:17.500 --> 02:58:19.210
Kaz Okamoto: That's being shown on…

1229
02:58:19.210 --> 02:58:21.000
Jerry Corley: Sorry. That's okay. My goodness.

1230
02:58:22.660 --> 02:58:23.730
Kaz Okamoto: Sorry to interrupt.

1231
02:58:23.730 --> 02:58:27.320
Jerry Corley: That's okay. I'm glad I'm… glad you told me that.

1232
02:58:28.150 --> 02:58:31.739
Kaz Okamoto: Because you're reading it, and I'm thinking, I don't see it. I'm not seeing it.

1233
02:58:32.430 --> 02:58:47.830
Jerry Corley: Yeah, so here… good, I'm glad you said that. So, you can see all… you have all these things on here. We have, industry publications for… back here for, like, looking for, jobs, finding writers, or looking for people to write for. Then you have,

1234
02:58:48.140 --> 02:58:55.499
Jerry Corley: Like, even in Adweek, I can't tell you how many opportunities I found on Adweek to write for people.

1235
02:58:56.780 --> 02:58:58.779
Jerry Corley: You know.

1236
02:58:58.780 --> 02:58:59.670
Kaz Okamoto: What's Adweek?

1237
02:58:59.670 --> 02:59:04.500
Jerry Corley: Adweek is a, basically, it's media

1238
02:59:04.620 --> 02:59:19.300
Jerry Corley: RAG, you know, it's a publication that covers advertising, the advertising industry. So, a lot of times you get into there, like, in the back, you'll find writers that are looking for work, they're freelance.

1239
02:59:19.470 --> 02:59:24.219
Jerry Corley: Advertising writers, and people that are looking for writers.

1240
02:59:24.350 --> 02:59:27.549
Jerry Corley: to write for them. For, you know.

1241
02:59:27.700 --> 02:59:37.780
Jerry Corley: write for this company that needs commercials, they've got a campaign going, they're looking for writers who can write… who can submit and write for them. So there's, like, those opportunities are hiding out there.

1242
02:59:37.880 --> 02:59:57.650
Jerry Corley: So, let's jump over to writing… structuring a writing session. This is very simple. Comic brings the topics. These are the topics I want to cover. You write those topics down, you start writing jokes for those topics. What I like to do is I like to use the incongruity listing technique. It's the way to generate the fastest volume of jokes.

1243
02:59:57.650 --> 03:00:00.360
Jerry Corley: And this is just, like, the simple steps, like.

1244
03:00:00.360 --> 03:00:24.270
Jerry Corley: Because a lot of… I wanted to break it down for the steps I go… that I go through in my head. Normally, I just say, make the list and write the jokes. But here, I was like, people say, can you break it down even further? So I kind of broke it down for the steps, further here for people to write from. And then they test it live, then there's… you rewrite where you think there's a, you know, maybe an associative gap or something, and then you only keep what works.

1245
03:00:24.290 --> 03:00:37.769
Jerry Corley: So, so… and then there's some exercises. Be a ghostwriter for a day, right? Pair up with, with, another person. I would… what I would do is, I would say, say what you want to write for…

1246
03:00:37.940 --> 03:00:38.840
Jerry Corley: Cliff.

1247
03:00:38.940 --> 03:00:54.609
Jerry Corley: You know, you would then, like, via email, exchange premises and write for each other and see what you come up with. That could be part of it. And then discuss which jokes feel authentic. We've done this in Teddy B's Zoom room.

1248
03:00:54.830 --> 03:01:02.660
Jerry Corley: As a… as a test, and it was, because he had a Zoom comedy room, and so we would do this as an exercise in there. It was a lot of fun.

1249
03:01:02.980 --> 03:01:05.760
Jerry Corley: It's almost like writing roast jokes in a way.

1250
03:01:06.160 --> 03:01:09.239
Jerry Corley: So, protect the voice, that means…

1251
03:01:09.650 --> 03:01:19.160
Jerry Corley: find their voice, do their voice, do an impression of them, say the jokes in their voice, and see if it fits them, right? And then you can actually write a joke

1252
03:01:19.290 --> 03:01:26.400
Jerry Corley: in… Take a joke, and then write it for each of these comedians. Brian Regan, who's basically act-out driven.

1253
03:01:26.440 --> 03:01:43.040
Jerry Corley: Nikki Glazer, who is, you know, she adds a little self-deprecation with a little sass and a little sex appeal. Bill Burr always acts like he's frustrated and he's gonna burst at the seams. Nate Bargazi, a storytelling, and then your own voice, and see how the joke changes.

1254
03:01:43.060 --> 03:01:47.150
Jerry Corley: So, and there's another exercise you can do as well.

1255
03:01:48.110 --> 03:01:55.559
Jerry Corley: There's another thing I wanted to cover, but we don't have the time, and it was basically looking at some of the roast jokes from,

1256
03:01:56.110 --> 03:02:00.640
Jerry Corley: From, that got, kind of rejected over Kevin Hart's roast.

1257
03:02:00.890 --> 03:02:04.180
Jerry Corley: And then what I realized is some of the jokes were…

1258
03:02:04.680 --> 03:02:16.609
Jerry Corley: Where, I'll show you one right here. Let me unshare or reshare. There's one thing I want you to notice when you're writing jokes, and it's really kind of a good way to see how there could be an associative gap.

1259
03:02:17.240 --> 03:02:19.210
Kaz Okamoto: How did you know they got rejected?

1260
03:02:19.210 --> 03:02:25.679
Jerry Corley: Because they… it's basically, they're… they're posting, based on what was on a podcast on what got rejected.

1261
03:02:25.680 --> 03:02:26.629
Kaz Okamoto: Oh, oh, oh, okay.

1262
03:02:26.630 --> 03:02:32.549
Jerry Corley: Yeah, so, so, in this case right here.

1263
03:02:34.670 --> 03:02:45.579
Jerry Corley: If we look at… one of us said, Kevin, thank you so much for being here. I thought… I know you have such a busy schedule with stand-up movies and sitting on that shelf every Christmas. I thought that was a good joke.

1264
03:02:45.640 --> 03:02:58.320
Jerry Corley: But that didn't make it to the final. Kevin, I was so disappointed when you did the Riyadh Comedy Festival, because on a human rights level, no one should be forced to listen to your comedy sober. I thought that was a great joke.

1265
03:02:58.820 --> 03:03:03.910
Jerry Corley: That got, that kind of got left on the, on the table.

1266
03:03:07.150 --> 03:03:30.209
Jerry Corley: So, I thought this one was good. It said, which was mocking Kevin Hart's business ventures, saying if Kevin can find a… make a pun with the word heart, he'll spend millions to develop shit, a shit business around it. I thought that was pretty funny. Another unreleased joke was, did you know that Kevin actually has a non-profit for organ donation called Heartless?

1267
03:03:30.210 --> 03:03:51.309
Jerry Corley: That's not true, but doesn't that sound like some dumb shit he would do? That, I thought, was a funny joke, good reverse. Kevin Hart himself ended up being on the, he said, Kevin is one of the few comedians without a single allegation. When he found out about the Me Too movement, he was shocked. He was like, people are… aren't saying no to… people are… people are saying no to things?

1268
03:03:51.540 --> 03:03:55.899
Jerry Corley: I thought that was pretty good. It was a little wordy.

1269
03:03:58.970 --> 03:04:00.989
Jerry Corley: Oh, here's this one right here.

1270
03:04:01.510 --> 03:04:08.850
Jerry Corley: It is misstructured, in my opinion. And can you see this one here? Do you see that, Kaz?

1271
03:04:09.020 --> 03:04:09.590
Kaz Okamoto: Yeah.

1272
03:04:09.590 --> 03:04:18.599
Jerry Corley: Okay, Chelsea Handler, it said, you might know Chelsea from being on E! for over a decade. She also has a famous talk show for a while.

1273
03:04:20.060 --> 03:04:23.689
Jerry Corley: I think the joke… Gets a little muddled.

1274
03:04:23.860 --> 03:04:30.750
Jerry Corley: what she said, Chelsea is known for… because for over a decade, she's known for being on E.

1275
03:04:32.840 --> 03:04:34.849
Jerry Corley: She also had a show for a while.

1276
03:04:35.040 --> 03:04:38.340
Jerry Corley: So, being on E, ecstasy.

1277
03:04:39.170 --> 03:04:57.340
Jerry Corley: And then also at a show for a while, but she's got to move the E to the end of that statement, otherwise it gets a little confusing. So, in that, this is where comedians can notice that the structure is flawed, and that's what's holding the joke back, right? So,

1278
03:04:59.020 --> 03:05:09.960
Jerry Corley: so there was a couple of other, anytime you… the more words you have, the more you have to, you know, make sure the joke is clear. So there was, like, another one, it's like,

1279
03:05:12.210 --> 03:05:23.430
Jerry Corley: This I thought was funny. It's a nice incongruity joke. Draymond is so cute. He has that thing where his mouth is always slightly a little open, you know? That's one of the things he and Chelsea have in common.

1280
03:05:24.020 --> 03:05:27.279
Jerry Corley: So, I thought that was good.

1281
03:05:28.440 --> 03:05:29.679
Kaz Okamoto: Was she the writer?

1282
03:05:30.050 --> 03:05:31.030
Kaz Okamoto: For Kevin?

1283
03:05:31.030 --> 03:05:32.879
Jerry Corley: Draymond, no, he's a basketball player.

1284
03:05:32.880 --> 03:05:34.820
Kaz Okamoto: Oh, oh, oh, okay.

1285
03:05:38.280 --> 03:05:49.110
Jerry Corley: So, this one right here, another line compared into Melania Trump saying, Tony Hinchcliffe is like Melania. The only thing relevant about him is that he opened for Trump once.

1286
03:05:51.340 --> 03:05:53.750
Jerry Corley: So, I think.

1287
03:05:54.500 --> 03:05:56.410
Kaz Okamoto: Is that supposed to be a sexual joke?

1288
03:05:56.730 --> 03:06:02.029
Jerry Corley: I… see, that's… that's a great, great point, because it's ambiguous. What are you talking about?

1289
03:06:02.030 --> 03:06:02.770
Kaz Okamoto: Yeah.

1290
03:06:03.170 --> 03:06:13.880
Jerry Corley: So in that case, so, I would say, if you're writing for the roast, and I wouldn't end on once, I would end on Trump.

1291
03:06:14.040 --> 03:06:25.080
Jerry Corley: Right? So, so Tony is a lot like Melania. The only thing relevant about, about him is that he opened his ass for Trump. You know, he also opened his ass for Trump.

1292
03:06:26.020 --> 03:06:27.999
Jerry Corley: That would be a better roast joke.

1293
03:06:28.180 --> 03:06:29.430
Jerry Corley: Right?

1294
03:06:29.430 --> 03:06:33.520
Kaz Okamoto: Would you say he opened, or should I say bent over for Trump?

1295
03:06:33.520 --> 03:06:36.110
Jerry Corley: Yeah, yeah, you say bent over, but it's a roast.

1296
03:06:36.110 --> 03:06:36.830
Kaz Okamoto: Yeah.

1297
03:06:36.830 --> 03:06:40.480
Jerry Corley: So the roast has gotta have the edge, so you gotta go dark with that.

1298
03:06:40.480 --> 03:06:40.950
Kaz Okamoto: Right.

1299
03:06:40.950 --> 03:06:57.220
Jerry Corley: That's… that's why it's a roast joke, that's the difference. So, and then, in that case, I would say opened his ass for… because Melania opened her ass for Trump, and it'd be like, he opened his ass for Trump, too, right? Or, he also, he, you know, for his, like, the only thing relevant…

1300
03:06:57.220 --> 03:06:58.000
Kaz Okamoto: Russian!

1301
03:06:58.230 --> 03:07:03.320
Jerry Corley: Yeah, the only thing relevant about him is he also gargled Trump's balls.

1302
03:07:03.470 --> 03:07:13.669
Jerry Corley: So that could be another way to say the joke. But it's noticing where to think, you know, to place things, especially in that one joke where E should have been at the end of that setup.

1303
03:07:13.740 --> 03:07:24.630
Jerry Corley: And so that's probably why it didn't resonate, because people were like, what do you mean by that joke? So it's like, it's just a simple structure thing, and a lot of times you can identify that in a joke.

1304
03:07:25.380 --> 03:07:27.340
Jerry Corley: That's why the joke isn't working.

1305
03:07:27.480 --> 03:07:27.860
Kaz Okamoto: And so…

1306
03:07:27.860 --> 03:07:32.829
Jerry Corley: And you could show somebody why it's not working, and they can fix it, your value just went up.

1307
03:07:33.070 --> 03:07:34.290
Jerry Corley: Does that make sense?

1308
03:07:34.500 --> 03:07:35.240
Kaz Okamoto: Yeah.

1309
03:07:35.240 --> 03:07:39.029
Jerry Corley: Alright, I'm gonna wrap it up right there. We lost Cliff.

1310
03:07:39.830 --> 03:07:41.710
Jack Rain: Thank God, no more raw dogging.

1311
03:07:41.710 --> 03:07:46.130
Jerry Corley: Right? It's like, exactly. So we're gonna wrap it up there, I'll send you the PDF.

1312
03:07:46.240 --> 03:08:03.280
Jerry Corley: Now you have another thing to work exercises off to develop your ability to do that, and if you're considering to write for somebody. And you can always, if you have a question, send me an email on that. Thanks for that tip, and Kaz, send me the ideas you thought for an a la carte.

1313
03:08:03.280 --> 03:08:09.020
Jerry Corley: And I think, that, that cruise ship one for a full-blown class would be a good one, too.

1314
03:08:09.020 --> 03:08:24.190
Kaz Okamoto: Okay. Also, I would love to see you do, like, take the Kevin Hart Roast and do an a la carte class just on breaking that down. Like, what you thought was working and what you didn't think was working, not the jokes that didn't get in.

1315
03:08:24.590 --> 03:08:26.120
Jerry Corley: That's a great idea, yeah.

1316
03:08:26.120 --> 03:08:35.340
Kaz Okamoto: Because we're… we don't know that unless we're subscribed to, you know, the Netflix, whatever, Junkie, and then Variety, and, what I read.

1317
03:08:35.340 --> 03:08:43.679
Jerry Corley: And I'll show it. I'll show the roast. Basically, we can watch the roast together if you didn't have it, and break it down at the same time. But I'll break it into segments so it moves quick.

1318
03:08:44.000 --> 03:08:46.759
Kaz Okamoto: Yeah, because I think that would be good.

1319
03:08:46.760 --> 03:08:47.540
Jerry Corley: Great idea.

1320
03:08:47.540 --> 03:08:49.150
Kaz Okamoto: of the audience reaction.

1321
03:08:49.150 --> 03:08:50.300
Jack Rain: Corn's on you!

1322
03:08:50.760 --> 03:08:51.600
Kaz Okamoto: You know?

1323
03:08:52.210 --> 03:08:54.900
Kaz Okamoto: They didn't do much of audience reaction.

1324
03:08:55.540 --> 03:09:01.269
Kaz Okamoto: Like, usually they don't anyway, you know, but, it was such a huge venue.

1325
03:09:01.270 --> 03:09:07.530
Jerry Corley: the Comedy Central one, they do, right? Yeah. Which is why it moves so well, and it's like, you know.

1326
03:09:07.820 --> 03:09:08.750
Kaz Okamoto: intimate, too.

1327
03:09:08.950 --> 03:09:27.479
Jerry Corley: And it's like, you notice in the Josh Johnson special, if you got to see that, it's on HBO, Josh Johnson, he doesn't have any audience reaction shots, it's always from behind the audience. Gave it a very theatrical kind of a quality to it, but I was like, was that audience even laughing?

1328
03:09:27.710 --> 03:09:28.690
Kaz Okamoto: Were they even there?

1329
03:09:29.240 --> 03:09:30.470
Jack Rain: No, they were…

1330
03:09:30.470 --> 03:09:31.340
Jerry Corley: They were there.

1331
03:09:31.810 --> 03:09:45.530
Jerry Corley: But, it's like, it was a little weird… it was a little… it was a different way to shoot it, but it gave it a… I enjoyed it. The whole thing was a nice presentation. But it was like, it's a different style. It's not stand-up.

1332
03:09:45.530 --> 03:09:47.269
Kaz Okamoto: But sometimes I see…

1333
03:09:47.680 --> 03:10:02.329
Kaz Okamoto: that setup, and it's, like, there's nothing on stage but the stage. There's no props or anything, you know what I mean? Because most shows, they've built something that has to do with the comedian, what they're doing.

1334
03:10:02.330 --> 03:10:08.919
Jerry Corley: He had a very nice thing go on there, right? So, the whole thing was, he's basically… he would do a segment.

1335
03:10:09.030 --> 03:10:13.349
Jerry Corley: And after the little segment, this circular curtain would light up.

1336
03:10:13.760 --> 03:10:18.669
Jerry Corley: And behind him, in the center of the stage, and the curtain would come up.

1337
03:10:18.670 --> 03:10:43.540
Jerry Corley: and you'd see a silhouette, and there was a guy playing a sax, and he'd play this little interlude, right, which is original. And he's a street musician, he's not a, you know, a musician who's out there a street musician, which gave it a little texture. And, he'd play this little thing you might hear when you're walking down the street at midnight in New York City, and it's like, it gave it a nice vibe, and then he would, like, stop, the curtain would… the light would fade.

1338
03:10:43.540 --> 03:10:47.670
Jerry Corley: And, and then,

1339
03:10:48.370 --> 03:10:59.700
Jerry Corley: he would start his next segment. And then the next segment is a trumpet player, and the next segment, he actually has a snare drummer play this little riff. And then the final segment, I think it was,

1340
03:10:59.700 --> 03:11:09.960
Jerry Corley: a violin player, right? But the violin player was dressed in a baby diaper and a big pacifier. So it was… and it… because… because he was doing something about Trump.

1341
03:11:09.960 --> 03:11:18.259
Jerry Corley: At being a baby. And, so I thought the interludes, and at the end, an entire orchestra was there.

1342
03:11:18.510 --> 03:11:23.829
Jerry Corley: doing an original piece, and ended the segment. So I thought, theatrically.

1343
03:11:24.160 --> 03:11:26.260
Jerry Corley: It was a really nice production.

1344
03:11:26.400 --> 03:11:34.830
Jerry Corley: And it gave it a good theater feel. And, that's kind of what they were going for. But it was shot with a weird, grainy filter.

1345
03:11:36.550 --> 03:11:45.109
Jerry Corley: And I thought that was… why are they doing that? Rather than, you know, so kind of give it this weird, kind of, like, dated feel to it. And,

1346
03:11:45.510 --> 03:11:49.949
Jerry Corley: It was more storytelling and philosophy than it was funny.

1347
03:11:51.430 --> 03:12:04.440
Jerry Corley: So, but hey, you know, it's a different presentation, and I… so I thought, overall, it was successful. Will it draw the same numbers as… the kind of numbers he's looking for? I don't know. We'll see how it plays out.

1348
03:12:04.440 --> 03:12:09.689
Kaz Okamoto: Johnson break away and started becoming a commentator at NFL games or something.

1349
03:12:10.100 --> 03:12:11.360
Jerry Corley: Not that I've heard of.

1350
03:12:11.980 --> 03:12:13.950
Jerry Corley: I'll have to take a look, maybe. I don't know.

1351
03:12:13.950 --> 03:12:15.379
Kaz Okamoto: Yeah, and then…

1352
03:12:16.170 --> 03:12:22.159
Kaz Okamoto: he wasn't very funny, and then he… he was no longer there. Like, he was doing…

1353
03:12:22.330 --> 03:12:22.889
Jerry Corley: I don't know, huh.

1354
03:12:22.890 --> 03:12:23.900
Kaz Okamoto: Let's see.

1355
03:12:23.900 --> 03:12:28.610
Jerry Corley: I'll have to look it up, yeah, I don't know about that. I'll have to look that up. Okay. We're gonna wrap it up.

1356
03:12:28.610 --> 03:12:29.940
Kaz Okamoto: That's scary.

1357
03:12:30.070 --> 03:12:32.230
Jerry Corley: And it was just us, like, how intimate.

1358
03:12:32.880 --> 03:12:36.340
Jerry Corley: But, next week I'll filter the topics.

1359
03:12:36.440 --> 03:12:48.369
Jerry Corley: A lot of, like, how to write likes are very popular, you know, especially when they're talking about popular comedians, and, we'll, we'll put more of the advertising out there.

1360
03:12:48.370 --> 03:12:51.450
Jack Rain: I have a, potential request that's…

1361
03:12:51.780 --> 03:12:52.949
Jerry Corley: Send it to me.

1362
03:12:54.440 --> 03:12:55.380
Jerry Corley: Send it to me.

1363
03:12:55.480 --> 03:12:57.750
Jerry Corley: I'm gonna end this, I gotta go pick up my daughter.

1364
03:12:57.750 --> 03:12:59.100
Kaz Okamoto: Okay, thank you! Bye, you guys!

1365
03:12:59.100 --> 03:13:00.199
Jerry Corley: Thank you, see you guys.

1366
03:13:01.070 --> 03:13:02.710
Kaz Okamoto: Happy Father's Day, Jerry!

1367
03:13:02.710 --> 03:13:04.410
Jerry Corley: Oh, thank you very much!

1368
03:13:04.900 --> 03:13:05.850
Kaz Okamoto: Next week.

1369
03:13:05.850 --> 03:13:06.730
Jerry Corley: Alright.

1370
03:13:06.730 --> 03:13:08.260
Kaz Okamoto: Or the 21st, I think.

1371
03:13:08.490 --> 03:13:10.150
Jerry Corley: Right on. Thank you.