WEBVTT

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Jerry Corley: Okay, so far, so good. I think people are getting their email links now. That was so weird.

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Jerry Corley: There we go. Janet, you got your email link. That was so weird. I sent it out, and it didn't go out. And I got a message…

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Jerry Corley: Saying… Something about duplicates… something or other, so I re-sent it.

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Jerry Corley: Heh.

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Jerry Corley: Technology works when you want it to, but doesn't.

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Jerry Corley: When you wanted to, let's see,

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Jerry Corley: And then check rain… Gonna make sure he's got his link.

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Cliff Spenger: Thanks, Jerry.

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Jerry Corley: There you go. Yeah, weird, wasn't just you, it was the entire email system that didn't send out.

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Cliff Spenger: Aww.

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Jerry Corley: So, it gave me some notification, like, Some sort of duplicate,

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Jerry Corley: mail, you know, duplicate… duplicate… duplicated email, did not send.

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Jerry Corley: That's the first time I've ever seen that.

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Janet Rapala: I tried clicking on some past Zoom links, and they were all not good. You must have a bazillion Zoom links, so…

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Jerry Corley: I generate new ones each time.

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Janet Rapala: Yeah, that makes sense.

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Jerry Corley: Because, especially with these classes, they're different, right? So, some people buy you, you know, will buy it once, and other people buy the packet, and so it's like, I've got to generate new ones. For, like, the 8-week class, I can do the same link.

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Jerry Corley: Because it's the same class, it goes out to the same people.

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Jerry Corley: So, I think, we're gonna get started here, that's good. Alright.

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Jerry Corley: That's so weird.

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Jerry Corley: Alright. See, I wish it would have warned me, like, you know.

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Jerry Corley: 10 minutes before? But instead, it's like, well, it didn't go out.

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Jerry Corley: Hey, so much for AI!

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Jerry Corley: Hey, what's happening, Jack Rain? I'm glad you're here. He's Superman today.

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Janet Rapala: Superman today, whoop, whoop!

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Jack Rain: Hey, my parents always called me Super!

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Jerry Corley: Wait a second, is that.

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Janet Rapala: I thought they called you special.

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Cliff Spenger: Oh, I was gonna say that.

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Jack Rain: Oh my gosh.

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Janet Rapala: Super.

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Jack Rain: special!

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Jerry Corley: You are super special.

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Jerry Corley: Yep. Let's see,

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Jerry Corley: We are going to be covering page to the stage, page to the stage. Now,

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Jerry Corley: Well, I just wanted to wait one more minute, so I make sure the people, some other people get on that we're on. I mean, it's not a big class, because this doesn't have, you know, the title doesn't have pizzazz.

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Jerry Corley: You know what I mean.

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Jack Rain: Losers!

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Jerry Corley: Yeah, losers, right? So, page to the stage.

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Karen Westerfield: not want to know how Richard Pryor did his material.

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Jerry Corley: You know, what's so interesting, yeah, that was one of the things that stuck out to me, is like, if you watch Richard Pryor work, it doesn't seem like he's scripted. You know, he's just so, like, spontaneous… he's, like, each moment…

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Jerry Corley: happens as it happens. And you know what's interesting is, like, he'll go off…

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Jerry Corley: a little bit off-script, but people were like, you know, you know, can you watch… oh, Richard Pryor doesn't do that, Richard Pryor just gets on and riffs. I was like, really, dude? Are you serious? Did you think this through? Do you think, any comedian would get on stage.

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Jerry Corley: When he's… when he's recording his album, recording a special, you got 6 cameras in the room, you're spending a million dollars on this, and you're gonna go, just gonna riff it.

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Jerry Corley: Not in a million years, right? So it's like, of course they map it out. I mean, Bill Burr's probably the closest to,

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Jerry Corley: not writing, per se, but he does write. He writes while he's on the stage, but he does write down, you know, the beats that he's gonna be doing, what, you know, the emotional beat or the subject matter he's gonna be talking about.

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Jerry Corley: And he has some vague idea. I mean, what do you think he does his podcast for? He does his podcast to test out material.

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Jerry Corley: So he riffs material on his podcast, and he goes, yeah, that's a good idea, that came to me. And so then he'll polish it on the stage.

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Karen Westerfield: I saw him at Flapper's, because he's working on a new thing, because Netflix is a joke, is coming up in May, and so he has notes.

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Karen Westerfield: You know? I've been working on a few things, and then, you know, you could tell how, like, when you watch certain comedians, it sparks a different thought.

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Karen Westerfield: You know what I mean? And then he goes up, and he goes.

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Karen Westerfield: That was good! And then he goes over and writes down something. So I thought it was pretty funny, you know, and he did, like, an hour and five minutes.

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Jerry Corley: Yeah, you know, so it's like that…

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Karen Westerfield: dollars I ever spent on a comedian.

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Jerry Corley: Well, it's fun to watch him work, because he does have, he does have his, you know… I remember him and I getting into an argument one time. I said, stop telling people you don't write.

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Jerry Corley: You know, these young kids are coming into this thing, and they're like, they think they don't have to write. Now they get up on stage and they riff for the first 10 years because they don't know how to write a joke. They say, you know that you used to do one- and two-liners.

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Jerry Corley: He goes, yeah, the first 5, 70 years of my career, I was doing one and two-liners, yeah, because I had to know how to write a joke. But I don't really write right. I go, but you do write.

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Jerry Corley: You know, and so when you get up and tell kids you don't write, all these kids are coming up just pretend, you know, thinking, I just need to riff, and it'll all work out in the end, yet they're doing the same material, same jokes, same no punchlines, same no laughs, and they're wondering why.

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Jerry Corley: You know? And it's like, so when the comedians kill themselves, it's all your fault, Bill.

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Cliff Spenger: So…

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Jerry Corley: But if you have a joke, if you know how to make a joke, if you know how to write a joke.

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Jerry Corley: You know how a three-way build-up works, because if you watch Bill Burr's material, he's got three-way build-ups, he does compare and contrast, he does analogies. Those are the three main ones he does. And it's like, and he finds irony, right? So…

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Jerry Corley: But that's it. It's like, there's 13 comedy structures, but he's locked into, like, 3 or 4.

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Jerry Corley: And, Dave Chappelle has many more that he works into his jokes, but, you know, it's like… and Bill might do some callbacks or something like that once in a while, but… and he does his act-outs. He even said to one of my students, when I really found comedy was when I started doing act-outs.

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Jerry Corley: So I thought that was a very interesting insight to share.

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Karen Westerfield: Once he got married and had kids, man, his comedy totally shifted.

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Jerry Corley: Totally. Totally.

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Karen Westerfield: So now it's just like, you know, talking about the wife, and what to do, and, you know…

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Jerry Corley: Therapy.

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Karen Westerfield: Yeah.

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Jerry Corley: He focuses a lot on his therapy. He's like.

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Karen Westerfield: Oh my god, I had an emotion! Oh, Jesus Christ!

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Jerry Corley: He's like, yeah. He's like, what do I gotta do? He's like, now, you know, I learned something in therapy. All that therapy I've been doing for the last 10 years, I sort of have to sort of apply it.

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Jerry Corley: You know, and he hasn't been applying any of it, so…

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Cliff Spenger: No.

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Jerry Corley: So now he's, but, you know, Cliff, you have your hand up.

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Cliff Spenger: Yeah, you, mentioned that he does, analogy and compare and contrast. Can you say… tell us the difference between

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Cliff Spenger: Analogy and compare and contrast.

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Jerry Corley: Yeah, it's a… it's… it's the very…

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Cliff Spenger: Beautiful.

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Jerry Corley: Oh, well, they are and they aren't, because compare and contrast is showing how two things are different.

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Cliff Spenger: Huh.

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Jerry Corley: Analogy, or showing how two different things are similar.

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Cliff Spenger: the same. Okay, okay, great. Yeah. Okay.

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Jerry Corley: So, generally, in comedy, they say, you know, you take two things and show how they're different, you know? You know, at 20 years old, in my 20s.

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Jerry Corley: I was able to, you know.

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Jerry Corley: I was able to… I was able to run a marathon.

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Jerry Corley: In my 60s, I can't even walk down the hall without fartin', you know?

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Cliff Spenger: Compare and contrast.

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Jerry Corley: Yeah, so, yeah, that's a compare and.

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Jack Rain: As a teenager, I used to masturbate. Now, as a YouTuber, I just clickbait.

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Jerry Corley: Alright, alright, Jack. Good wordplay, compare and contrast wordplay. Still worked, right? So…

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Karen Westerfield: Jerry, would it be the same thing if I said, like, what you said, you know, when I, in my 20s, I used to run marathons. Now, in my 70s, I can't even spell marathon.

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Jerry Corley: Yeah, definitely. That's a compare and contrast.

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Karen Westerfield: old age thing.

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Jerry Corley: Absolutely, yeah. And it's like, you know.

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Jack Rain: As a teenager, I ran marathons. Now, as a senior citizen, I put on Golden Girls marathons.

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Karen Westerfield: Okay, so anyway.

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Cliff Spenger: Oh, I got new teeth!

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Jerry Corley: Alright! Hooray! Hooray!

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Cliff Spenger: Yay!

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Jerry Corley: As a teenager, I used to run marathons. As a senior citizen, I… run…

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Jerry Corley: to the bathroom. You know, whatever it is, right? You know, whatever the deal is. You can do it in wordplay, and there's a paradox there, because similarly, you have run and run, right?

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Jerry Corley: So, it's like, that's a different way to do the compare and contrast. You're not just showing stark comparison, you're showing stark comparison, plus the coincidence of both have the word run in it. So, now you have now the coincidence of that extra…

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Jerry Corley: oh, these words are the same word, but they mean something completely different. You're reframing the meaning of the word, and it gives you a little paradoxical, coincidental effect.

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Jerry Corley: Same thing?

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Karen Westerfield: run, and now I have the runs.

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Jerry Corley: Yes, yeah, yeah, I used to run, now I have the runs. That's a really good way to say it, too. Yeah, definitely.

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Jerry Corley: Now, when we're talking about page to the stage, We're looking at, the… Emotion.

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Jerry Corley: That's the key, is the emotions. Like, when we're writing the jokes, it's one thing. Now, if you said that joke.

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Jerry Corley: But you had an emotion about it. What would the emotion be If you were…

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Jerry Corley: If you were at 20, I used to run.

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Jerry Corley: Now that I'm in… now that I'm in my 70s, or whatever, now that I'm in my 60s.

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Jerry Corley: I just get the runs.

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Jerry Corley: So, what would the emotional point of view… what do you think the emotional point of view would be for that?

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Jack Rain: Starting off, nostalgia.

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Jack Rain: Like, good times, some kind of relief, and then maybe switch to another emotion, or would you just do.

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Jerry Corley: Yeah, yeah, frustration, right?

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Karen Westerfield: But I…

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Jerry Corley: That would be good, especially if you're doing a compare and contrast.

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Jack Rain: You just…

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Cliff Spenger: You have… you have embarrassment in the other ruts. That's the only emotion you have, is embarrassment.

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Jerry Corley: Or frustration, because you're talking about it in the past.

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Karen Westerfield: Right. Also, sadness, because…

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Karen Westerfield: you know, as we get older… I mean, Jack, you're not there yet, so… but as we get older, you know, and your body breaks down, and you can never get it back at a certain point, right? So those are, you know, the salad days, and the great times, and…

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Karen Westerfield: when you were young and virile and could do anything, you had that super… oh, look, Jack has the perfect t-shirt, he has a Superman complex, that you can do anything and you're, you know, that nothing can hurt you.

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Karen Westerfield: You know, that's what being young and being able to do all that stuff was, for me, anyway.

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Karen Westerfield: Ew.

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Jerry Corley: Yeah, without a doubt, yeah. So, but, for comedy, Which emotion would fit best?

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Karen Westerfield: Hmm…

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Jerry Corley: Sadness, probably not. Sadness would probably make the audience go, oh…

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Karen Westerfield: Poor, pathetic, old.

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Jerry Corley: Right? Frustration, heightened frustration, anxiety, you know, certainly, like, now, you could also try… embarrassment would definitely fit in there, right? Embarrassment is a laughter trigger.

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Karen Westerfield: appointment?

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Jerry Corley: Disappointment, that would still… that's a downer.

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Karen Westerfield: Yeah.

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Jack Rain: If you run sarcasm,

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Jerry Corley: Yes.

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Jack Rain: Okay, cool.

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Jerry Corley: Sarcasm, definitely.

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Janet Rapala: Irony?

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Jerry Corley: You could even…

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Jack Rain: sarcasm.

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Jerry Corley: You ran Nostalgia.

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Janet Rapala: I remember…

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Jerry Corley: What if you did nostalgia, right, through both, right? You mentioned that, Jack, right? So it's like, yeah, in my 20s, I used to run. In my 70s.

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Jerry Corley: I get the runs.

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Jerry Corley: good times, right? Now you could see how that would be incongruous, but it still makes…

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Jerry Corley: It still can play funny. Then you would test out which one works best.

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Jack Rain: I, as good.

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Jerry Corley: Go ahead, Kaz.

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Karen Westerfield: But can you say,

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Karen Westerfield: In my 20s, I used to run. In my 70s… oh, crap, what was I talking about? You know, because I…

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Jerry Corley: Yeah, yeah, yeah, yeah.

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Karen Westerfield: That's how I would see. Like, when I called you and said.

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Karen Westerfield: did you reschedule? Are we having a class today? Oh my god, you know, like, did I miss something? You know, you know what I mean? Because I'm searching everywhere for the link, and but I'm not thinking, oh, something happened on your end, I'm thinking.

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Karen Westerfield: shit, man, what did I miss that I didn't pick up on, or… because that's where I'm at now, at this age of, like.

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Jerry Corley: No, I mean, I think we all do that, well, you know, not all of us. Some people, they blame everybody else. All the time, you know?

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Karen Westerfield: Oh, I would never do that.

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Jerry Corley: Right? Oh, man. There are people you know that we've encountered, usually narcissistic people, will be like, why did you make me do this? You know, that sort of thing. Okay, who tried to steal my pen?

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Jerry Corley: Who… it's right there under your notebook, you know? Yeah, I know somebody tried to steal it. You know, we've met people like this, right? Haven't we met people like this? And that's a great character study, because even though if we're on a constant

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Jerry Corley: trajectory to try to improve as individuals, which I think most people are. It's like, most people are, to the day I die, I'm probably gonna try to improve.

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Jerry Corley: Right? I want to be perfect. I know I'll never, ever be perfect, or even come close to it, but I'm still gonna try, right? And so that journey keeps you alive, and gives you a goal, and, gives you a destination still, still trying to get better and better and better. But there are some people that spend their time

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Jerry Corley: blaming everybody for everything, you know?

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Karen Westerfield: I see it a lot with young comedians, especially open mic. You know, oh, the audience wasn't receptive, or they don't, you know, they don't have a sense of humor.

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Jerry Corley: Or these comedians, fuck you guys, you didn't get that joke.

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Karen Westerfield: Yeah.

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Jerry Corley: How are you gonna ever learn how to write a joke if you keep blaming the audience?

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Karen Westerfield: This audience sucks! I hate Montreal, why don't you people speak English? I mean, you know, that whole thing. I told you, I went to a place, and the guy

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Karen Westerfield: this black guy gets on stage, and he says, you know, I'm just gonna talk about how I hate fat white women. And I went, oh, what? You know? And all I could think about as I'm listening to is

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Karen Westerfield: you know, as I'm getting angry, oh, what's a good comeback for that? What's a good comeback for that one? And I thought, yeah, but you know what? You'll never be white!

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Karen Westerfield: That was my answer.

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Jerry Corley: wow!

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Jerry Corley: Yeah.

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Karen Westerfield: Will Tony answer?

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Jerry Corley: Yeah, it is, yeah, yeah, it's like, oh yeah.

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Karen Westerfield: You know what? You wanna go for it? Let's go for it.

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Jerry Corley: Let's go for it.

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Karen Westerfield: Come out of my mouth, though.

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Jerry Corley: If you're gonna punch down, let's punch down. You'll never be white. You know? You're just mad because you'll never be white. And that's the sad truth.

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Karen Westerfield: Yeah.

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Jerry Corley: Right? It's a sad truth, and…

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Karen Westerfield: never experienced white privilege like the rest of the people that are sitting in the audience listening to you.

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Jerry Corley: up there, and unless you're coming from… he must have, like, tried this out before, and he got a laugh from the audience he was talking to, because it sounded sarcastic, you know?

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Karen Westerfield: If it was an all-black audience, I could see how they might think it's.

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Jerry Corley: Yeah, yeah, because it's making them feel superior, so he might not know why he's getting a laugh on that, right? And so, when he does it the other way, when he's actually,

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Jerry Corley: Actually putting down…

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Jerry Corley: the, the crowd in front of him. It's like, and the word hate is such a strong word, even though it, for comedy, it might be exaggerated. You know, here's what I hate about this. That's just a… that's a weird way to start out. You're already starting out in a hole with that audience, rather than starting out at,

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Jerry Corley: starting out with them rooting for you to do anything. That's not a dilemma.

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Karen Westerfield: You know.

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Jerry Corley: I'd like to talk about fat white women.

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Karen Westerfield: My girlfriend. But how he started was, do you guys know what this is, right?

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Karen Westerfield: And then the audience goes, - and he goes.

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Karen Westerfield: And he flips off the audience, and I went, oh, Jerry wouldn't have liked that.

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Karen Westerfield: Because you're supposed to put the audience on your side and go, he's already pissed, he's already flipped off the entire audience, right?

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Jerry Corley: Wow.

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Karen Westerfield: Wow.

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Jerry Corley: Where was this, this guy a young guy?

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Karen Westerfield: No, man, he was a black man in his late 50s.

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Jerry Corley: Okay, okay.

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Cliff Spenger: Well, he's trying…

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Karen Westerfield: His life didn't turn out how he wanted it to. He was angry. I could tell by what he was talking about, he was angry.

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Jerry Corley: Yeah.

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Karen Westerfield: thought, well, I don't know, if you find.

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Jerry Corley: Well, that's gonna play against, yeah.

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Karen Westerfield: You find the right fat white woman, and she could set you up for life.

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Jerry Corley: Jonathan put in there, maybe he was talking about fat white women with a PH.

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Jerry Corley: P-H-A-T.

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Jack Rain: So, instead of starting off with, like, I'm doing it, what about doing, like, a.

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Jerry Corley: Hat, meaning, meaning it's thick.

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Jack Rain: what I'll start out with, I love…

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Jack Rain: like, sarcasm positiveness. Like, I love it. Okay.

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Jerry Corley: Yeah, it's like, well, you could go like, you know what, you know what my biggest… my… you know what my biggest problem is? Fat white women.

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Jerry Corley: Because, man, I love them. And they keep breaking my heart. That could be a way to go. It sounds like you're talking negative, and then you turn it positive.

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Jack Rain: he, like, go, like, I love that white woman, and then go into right there, so it's like, right off the bat, you're like, oh, he's being positive, he's not being a total prude, and then…

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Jack Rain: maybe there's, like, a… as he carries on the dialogue, there was, like, a bit of, like, a surprise, like, oh, dang, I thought he was going off really positive, but he said this instead.

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Jerry Corley: Oh, yeah, okay, so.

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Jack Rain: Creating with the emotion of happiness.

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Jerry Corley: Jonathan dropped in the Merran-Webster dictionary, the white guy dictionary to what fat means. Hey, thank you, Jonathan! It means, highly attractive or gratifying. That's fat. Yeah, okay. Yeah, got it. Alright.

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Jerry Corley: All right, now Merriam-Webster has taken on the Urban Dictionary and applying some of those terms. Good for you, Merriam-Webster.

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Karen Westerfield: And fuck.

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Jerry Corley: Go back to the UK, where you came from.

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Janet Rapala: I think THICC is T-H-I-C-C.

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Jerry Corley: T… what?

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Janet Rapala: Thick is P-H-I-C-C, I think. I don't know if it's in Merriam-Webster.

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Jerry Corley: It is? I did not know that.

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Janet Rapala: I don't know if it is, but I think it's spelled T-H-I-C-C.

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Jerry Corley: Look at Jonathan Blank, he's got this picture of him in the chat.

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Karen Westerfield: It's like a ticket?

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Janet Rapala: Yeah, he's with Oscar the Grouch.

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Jerry Corley: Yeah, good, yes, I see the Ask of the grouch there. Oh, my daughter will love that picture.

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Janet Rapala: Absolutely. Comment on Kaz is a comedian that did the finger to the Canadian audience. The audience would apologize.

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Karen Westerfield: Yeah, if it was… but it wasn't Canadian, they were, people from LA, North.

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Janet Rapala: Oh, well…

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Jerry Corley: It's weird.

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Janet Rapala: I burned them to the ground.

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Jerry Corley: Yeah, and that's why somebody… there's somebody who's gotten some laughs somewhere with that joke, and so he kept it in, but he doesn't understand starting on the wrong foot with that audience can turn… they can turn against you. I made that mistake in,

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Jerry Corley: when we did the La Quinta gig, and… and the La Quinta gig. Did I tell you guys that? That I opened, with a disparaging joke against my… about my ex-wife? Yeah. And because it was Mervyn… Marvin's Magic theater.

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Jerry Corley: And I was like, oh, I gotta do this joke, man.

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Jerry Corley: And it's like, and instead, I had my act planned, you know, what I was gonna open with, but then, instead, I go into the Marvin's Magic theater joke, Marvin's Magic theater, you know, my wife is magic, my ex-wife is magic in the kitchen, she can make flavor disappear. Now you see it, now you throw up. And,

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Jerry Corley: They were like, oh…

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Jerry Corley: And I realized in that instant, dumbass, you didn't give them a reason why she's the antagonist.

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Jerry Corley: So they're not gonna… and it's an older crowd, it's over 60, right? I think the average age was, clear, time of death, it was,

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Jerry Corley: It… they were, so there was a… it was a… it was super fascinating to study them and see what they were laughing at, what they weren't laughing at. So, and it was, you know, because they're of a certain age, most of them married.

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Jerry Corley: So they have, a different viewpoint towards companionship.

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Jerry Corley: Then, you know, say the younger crowd might, so it's a different way to start. So if I would have given them a reason to root for me, that joke may have worked a little better.

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Jerry Corley: So, but it was fun to see that,

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Jerry Corley: see that, that type of crowd. I haven't played that type of crowd in a long time, so then I would revise. Then I went home and I went, okay, what were the 60-year-olds laughing at, what they weren't laughing at, for me and all the other comics? And so I went through, and I go, this is fascinating to see how they skewed, right? And you can go in and just sort of redesign your set, MAP, Material Audience Performer.

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Jerry Corley: And come in differently.

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Jerry Corley: Now, what we're going to talk about today is talking about going page to the stage. Speaking of page to the stage, did anybody watch the Oscars last night?

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Karen Westerfield: Yes.

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Jerry Corley: Conan said it was being watched by a billion people around the world. I go, I don't think so, Conan.

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Karen Westerfield: No, they were blind.

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Jerry Corley: Right?

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Jerry Corley: But it's like, I don't think so. I don't think a billion people were watching the.

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Karen Westerfield: I didn't…

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Jerry Corley: Go live.

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Karen Westerfield: Why did he have them have comedians come on who've never been nominated for an Oscar? This is like, you know, Oscars are for film, right? So, the thing is, these guys are all, Emmy guys.

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Karen Westerfield: It was really weird, I didn't get it.

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Jack Rain: Well, there's a, inclusion of comedy films these days, and what better way to include comedy films than comedians going up?

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Karen Westerfield: Okay, I don't buy it, but I think maybe it could be the war in Iran that some people were,

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Karen Westerfield: boycotting the Oscars, because with all the turmoil going on in the world, here we are in fucking Hollywood, all dressed up to the nines, and, oh, let's pat each other on the back, and look how good we are, and look how talented we are, and…

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Karen Westerfield: You know, there was a lot of comedy last night, like the, the,

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Karen Westerfield: The cast from Bridesmaid? Way too long. That skit was way too long. Like, 10 minutes too long.

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Karen Westerfield: You know, it wasn't very funny.

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Jerry Corley: I didn't watch the whole thing, I just watched Conan's monologue, and I had to turn it off and throw up. Because it was, it was bad. It was… the jokes were bad, he was nervous as hell.

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Karen Westerfield: If you didn't see the movie, you didn't know why he was dressed that way. He acted like he was Betty Davis.

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Jerry Corley: What are you talking about? I watched the monologue. The monologue, he was dressed in a tuxedo.

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Karen Westerfield: Right, but you didn't see the opening?

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Jerry Corley: No, I didn't see the opening.

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Karen Westerfield: I just watch them unlock.

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Jerry Corley: I didn't want to waste my time, because… Okay.

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Jerry Corley: First of all, I'm not a big fan of Conan. You know, I think Conan way over-exaggerates on his jokes. He does a lot of, like, everything's loud and… not a… you won't see a single moment where he's talking either in an interview where he doesn't shout, or do something really over the top. You know, that's his style. Look, Conan's made it, and he's been very successful, but he's not my favorite guy, right? So it's like,

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Jerry Corley: I didn't think he should have had a talk show. I've been like, stay in the writer's room where you belong. Because when he first took over the late night with David Letterman.

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Jerry Corley: man, he was bad. He was bad for about a year, and they kept him on, and I was like, oh, nice move, Lorne Michaels, take a guy who's never been in front of the camera, and has never done stand-up, and put him in front of the camera doing stand-up. And, and he was very awkward, and he finally kind of found his footing, but,

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Jerry Corley: when he went up last night and was doing the Oscars, I was like, he did not go around town and do that 25 times.

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Jerry Corley: He did not go in different clubs and try to… and do that 6… do that 10 minutes, which is the… the monologue. You know, you'll get Nikki Glazer when she did the Golden Globes. It was so polished, so good, the way she just worked everything out, and it, she, every beat had a meaning. It seemed like Conan was lost. He kept, like, clapping a lot. It's like, oh, and, oh, and

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Jerry Corley: You've got a mic that's right there. You got a lapel mic right there that's picking up that clap every time you go, don't you know that by now? How long have you been on TV, man?

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Jerry Corley: You know, it's like, on top of that, he was so nervous.

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Jerry Corley: And it was like, I know why.

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Jerry Corley: Because he's been doing his podcast, and he hasn't been on stage. There's a big difference between sitting down doing a podcast in your own… in the comfort of your own studio, and then being on stage in front of a crowd. And it's like… and he was, like… that was, like, notoriously bad, for… because the expectation

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Jerry Corley: Conan's a pro. He should be able to make these adjustments. And he was really nervous. He was doing very amateurish, like, yeah, okay, you guys don't like that one, huh? Okay, okay, haha, yes, yeah, yeah, and yes, and .

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Karen Westerfield: work in a club.

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Jerry Corley: It… worse!

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Jerry Corley: worse. If he was working a club, at least he could, you know, berate the audience a little bit, and be like, you know, we're not in Palm Springs, we're in Palm Desert. Oh, great, we got the crew from the Thomas Brothers MacBooks here. You know, I wonder what happened to them after the GPS took over, you know? And it'd be like, you know, you… but in a club, you can do that. In that sort of presentation.

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Jerry Corley: At least, he was… And the audience is in whatever state the performer is in.

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Jerry Corley: So, because he had this anxiety, and he was nervous, guess how the audience is gonna respond to him? They felt a little uncomfortable. And they were trying to support him. He had one joke, that worked, he got a laugh, and that was the… there is the first time in history there are no British

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Jerry Corley: actors nominated in the Oscars.

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Jerry Corley: Wow, right? And I said, and the Brits are over there going, at least we arrest our pedophiles.

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Jerry Corley: Right? I thought that was a great joke. But I was surprised at the level of lack bad jokes. Brian Kiley was writing them.

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Jerry Corley: So, they should be decent, but they weren't. I was like, really? Hamnet and Bologna?

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Jerry Corley: Alright, you know, what was it, or what was the, Begonia? Begonia and Hamnet? You know, he does that about, did that about lunch meat, or something like that?

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Karen Westerfield: Yeah.

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Jerry Corley: And I was like, oh, yay, yay! Really?

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Karen Westerfield: You didn't see the end. The end, some big wig from the Academy came and said.

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Karen Westerfield: we're gonna make you the host for life, and follow me, you have your own office, and they… and he says, oh, here you go, and he goes, oh, wow, this is great, he has an office with a view over Century City, and then, the guy says, oh, I forgot the key, I'll be right back, closes the door.

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Karen Westerfield: And then green gas starts coming in the room, and they kill him, Conan. And then they take him out, and then they bring in another…

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Karen Westerfield: Person.

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Karen Westerfield: I thought that was funny.

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Jerry Corley: That's funny, because everybody felt that way, too. It was like, wow.

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Karen Westerfield: Again, and the whole idea that he thought he was so great that he'd have this gig for life, well, I doubt that he.

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Jerry Corley: It was men. I was just disappointed because, you know, I had higher expectations, I guess, for Conan. And, you know, there's two things going on. One, you're a pro, you didn't prepare. That bothered me. Secondly, you didn't rehearse, you didn't get out there and do this. You didn't go hit the clubs and work it, before, like, Kimmel would do.

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Jerry Corley: And, he… and the jokes were, like, half-assed. I was not really, I was, you know…

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Jerry Corley: The jokes weren't great at all. And then,

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Jerry Corley: And it didn't follow the normal pattern. The normal pattern is, like, here's what's happening around the world, here's what's happening in entertainment, here's a… he did a joke about CBS, and that was good. I think that was a good joke, a decent joke. Comparing CBS to what do you compare it to?

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Jerry Corley: I forget how it was, how it was done, but, and then you go, whatever's happening, and then he did a joke about what's not, what's happening around the world. Oh, yeah, because nothing's happening now. Last year we did this, and he did a compare and contrast. Last year, LA was on fire.

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Jerry Corley: This year, nothing's going on.

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Karen Westerfield: That was the joke.

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Jerry Corley: Yeah, and that was the joke, and I mean… and he didn't have any tags to follow up with it. He had his own, like, kinda tags, but they didn't really pay off.

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Jerry Corley: So it was really surprising to me that it didn't,

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Jerry Corley: That it, you know, the jokes were, like, not as, sharp as they could have been. And, and then you move to, you know, here's the films that are nominated, you know, we have so-and-so in the room, we have so-and-so in the room, we have so-and-so from such-and-such, which is nominated this year in the room, and then do a little background line and a joke. And then, such and such, here's a little fact about it and a joke.

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Jerry Corley: And he didn't do that process, which is why they're there. Let's… inform us about maybe a historical note about the Oscars, which he did, first time in history. No, there hasn't been a British performer nominated. And then he does… that was a good joke, but…

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Jerry Corley: Everything else, he seemed to be, like, really wandering. I was like, well, did his teleprompter go off? What happened? So it was not…

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Karen Westerfield: First female cinematographer ever to win an Oscar.

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Jerry Corley: I know! It's wild, it was great, because we were… Nikki Glazer just talked about this at the Golden Globes.

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Karen Westerfield: Yeah, just a little side note, you know.

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Jerry Corley: Yeah.

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Karen Westerfield: You missed a really great tribute from Billy Crystal to Rob Ryan.

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Jerry Corley: I, I, I did watch that later on.

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Karen Westerfield: Yeah, it was really good. I, I was, glad he did it.

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Jerry Corley: Good.

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Jack Rain: What's next?

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Jerry Corley: What are you talking about, Jack?

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Karen Westerfield: He doesn't like the conversation we're having.

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Jerry Corley: Gonna have to mute you.

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Jack Rain: I want to hear… I want to hear more about the, what's the word? The procedure for the day, for today's, session.

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Jerry Corley: Yeah, here we go.

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Jerry Corley: But it was like, that was an, that's important… it's an important thing to talk about, too. It's like, getting up there and Page to the stage. He didn't have time to put any kind of emotional context behind any of his jokes, because he didn't rehearse them. And it's like, you need.

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Cliff Spenger: By the way…

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Jerry Corley: aircraft.

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Cliff Spenger: By the way, he did go to clubs, he said so on his podcast.

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Jerry Corley: Really?

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Cliff Spenger: Yeah, to make… I guess to make it worse, he… he did actually go out to clubs and hit him.

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Jerry Corley: Wow, I didn't that at all. That's wild.

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Cliff Spenger: his, podcast, and I, I heard him…

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Jerry Corley: I remember him talking.

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Janet Rapala: LA Motor Club, that's where he went.

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Jerry Corley: I went… I remember him… I remember him talking to, Kimmel about it, and, he was like, well, you know, you can't… you can't really prep, because,

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Jerry Corley: you know, everything's changing so fast, and I was like, well, that's a cop-out, then you write evergreen material, because you do have to…

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Karen Westerfield: Makes sense.

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Jerry Corley: you do have to prep. Every year, there's something going on around the world, especially the last 10 years. Like, everybody knows. Alright, so let's get into this. We're doing Page to the Stage today. Good dialogue, David Mamet, is a good little quote to start out with. Good dialogue is not speech, it is the illusion of speech. Meaning…

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Jerry Corley: It is, you know, humans connect through what?

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Jerry Corley: Emotion.

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Jerry Corley: Right? Words are almost superfluous. We connect through emotion. So, one of the best ways to get to your, get to your, sort of, like, page to the stage, like, take that word off the page, and make it come alive. There was an old, there was a comedy, teacher, he used to have something on the internet years ago, one of the first videos I saw, and his guys from, like, he was from Kentucky, and he had a, had a real, you know, had that Kentucky drawl going on.

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Jerry Corley: real bad. And it's like, he goes, you know, right, you know, the quickest way to failure

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Jerry Corley: You know the quickest way to failure in comedy?

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Jerry Corley: Writing, writing your jokes.

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Jerry Corley: Because they're on a page.

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Jerry Corley: This is… I'm not making this up. These were the very words he said. They're on the page.

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Jerry Corley: That's one-dimensional.

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Jerry Corley: And that was his… and it's don't write your jokes. Right? And it's like, but I said, you know what else is on a page? Every script in Hollywood.

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Jerry Corley: But those actors make it come alive. Would you call Tom Hanks one-dimensional? Would you call, you know…

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Jerry Corley: Would you call, Jack Nicholson one-dimensional?

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Jerry Corley: Would, you know, would you call Meg Ryan one-dimensional? No, you'd call the… they'd take what the words on the page, and they make them come alive.

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Jerry Corley: So it's like, it's… you're going from the page to the stage, how do you… how do you take those words and come alive? That works the opposite, too. As you know, when you say a joke, you go, oh, that's funny, and then you go to write it down.

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Jerry Corley: And you write the funny out of it.

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Jerry Corley: Because most people don't write the way they talk, and that's not… the brain is designed that way, because you're using two different parts of the brain to write and to speak, and so we have to be aware of that. When we're aware of that, you can learn to write the way you talk.

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Jerry Corley: When I write, I'm always saying it out loud in my head.

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Jerry Corley: And after I write the joke, I say it out loud. Then I get up, stand up, and I say it out loud as though there's an audience in front of me.

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Jerry Corley: basically responding to it. Like, if I say, you know,

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Jerry Corley: My girlfriend called me on Halloween. Yeah, yeah.

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Jerry Corley: She called me on Halloween. She said, Jerry, I don't know what to pretend to be for Halloween.

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Jerry Corley: I said, why don't you just dress normally and pretend to be in a committed relationship? Now, when I say that, I'm imagining them saying, you know, my girlfriend called me on Halloween. You know, really? Oh, shit, my ex, who cheated on me, called me on Halloween.

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Jerry Corley: she said, Jerry, I don't know what to pretend to be for Halloween. What'd you say now? So I'm imagining they're thinking what their… what the interaction is. That helps with your timing, too. And it's like, so, most comedians, so let's go, most comedians focus on the words.

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Jerry Corley: Great comedians focus on how they feel about the words. And it's like, I see this time and time again, nobody has any kind of spontaneity, when they first take that stage, and it's gotta be… you gotta live your spontaneity. Come on with a different entrance. Jack practices this, I know that, I've seen him get on and do weird shit as he takes the stage, and it just… just to, like, get out of the box. And I think that's a good, that's a good…

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Jerry Corley: effort, right, to do something a little differently.

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Jerry Corley: So the audience, the audience doesn't laugh at just the, doesn't laugh at the idea of the joke, they laugh at your reaction to the idea. Just as we were talking earlier, Kaz, when we said about, how you feel about being in the 20s and being in the 70s.

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Jerry Corley: Right? And now expressing yourself through that. How do you feel about that, and how would you… how would you express your… how would that change the way you expressed it? We're gonna practice some of that today.

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Jerry Corley: We're gonna get right into that, too. It's like, comedy equals structure plus emotional point of view. So the structure is the mechanics. That's the writing. We focus a lot on that in my classes, right? The mechanics of the writing, because there's so many comedians that are getting into this business that have no structure, no ability to sit there and know how to make a joke funny based on the structure.

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Jerry Corley: Now, some of you have…

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Jerry Corley: my, little worksheet on, like, 7 different ways to write a joke, right? You remember that? Do you remember that little worksheet?

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Jerry Corley: It was the same joke, writing it 7 different ways, in compare and contrast, in a three-way build-up, in a mirrored phrase, in a reverse. Do you remember that worksheet? And if you don't have it, I'll bring it up and I'll put it in the chat.

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Jerry Corley: So, so that you have it, because it gives you a real different way to just see how the mechanics will change the joke.

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Jerry Corley: Then you add your emotion to it, and that's where the audiences connect with you. They can reminisce, they feel the same thing. The thing with Bill Burr is, like, even if you don't agree with his ideology, you can recognize his exasperation, or his frustration.

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Jerry Corley: And at least you're tapping into the emotion of that. So the emotion is so important. Doesn't have to be big!

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Jerry Corley: It just has to be authentic.

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Jerry Corley: Right? So, so before performing a joke, ask 3 questions. One, what is the target?

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Jerry Corley: What am I making fun of?

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Jerry Corley: A lot of times, when people are doing a joke, they're writing a joke, they're just trying to come up with something funny.

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Jerry Corley: Well, what's it mean? What do you mean? Who are you making fun of? I hear something funny in there, but I don't know exactly what we're targeting.

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Jerry Corley: And so, when I do that joke, my ex, who cheated on me, called me on Halloween. She said, Jerry, I don't know what to pretend to be for Halloween. I said, why didn't you just dress normally and pretend to be in a committed relationship? Who am I making fun of?

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Jerry Corley: my ex, who cheated on me. The target's very clear, right? So, a lot of times people are like, well, I'm not sure. So, if they're not sure, what do you think that's gonna do to the laugh? It's gonna drop it down.

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Jerry Corley: Right? So, so it's like, now, number two question. After what is the target, you say, what is my emotional point of view? How do I feel about this?

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Karen Westerfield: What's going on with your screen? It's going from close up to out to in to out to in to out.

385
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Jerry Corley: Is anybody else having this experience?

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Jerry Corley: Yeah?

387
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Jerry Corley: That is so weird! What the hell's going on? Mine's not doing that.

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Jerry Corley: Let me try this again. That's so funny!

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Cliff Spenger: It's the… it's your, it's your lesson plan that's getting bigger and smaller. Yeah.

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Jerry Corley: Really?

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Karen Westerfield: It's for the 20-year-old in you, and then the 70-year-old in you.

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Janet Rapala: Yeah, but it's seizure-inducing.

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Jerry Corley: It's so weird!

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Karen Westerfield: I was just, you know, going in and out.

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Jerry Corley: That's gotta be Zoom, man. Something happened in their update.

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Jerry Corley: Let's see, content only as background, side… oh, I see, they just did an update. Oh, nice, okay.

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Jerry Corley: Let's see if this helps.

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Jerry Corley: No, that's dumb.

399
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Jerry Corley: Alright, hold on.

400
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Jerry Corley: Oh my god, that's so weird. What is going on, Zoom? Stop being… dumb.

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Cliff Spenger: Alright.

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Jerry Corley: Just content only.

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Jerry Corley: Alright, now, how's that… how's that working for you?

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Cliff Spenger: Good.

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Jerry Corley: I don't.

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Cliff Spenger: That's built in.

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Jerry Corley: In and out, because that's crazy if it goes in and out. Doesn't make any sense.

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Jerry Corley: Before the joke… so before the joke, ask three questions. One, what is the target? What are we making fun of?

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Jerry Corley: 2. What is my emotional point of view? How do I feel about this? Am I angry, confused, superior? Superior? Do I feel superior to it? Does the audience feel superior to this? Is this self-deprecating? Does it make the audience feel like they've won? Cynicism? Normally, that's my default.

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Jerry Corley: That's my default persona, is cynicism. I'm cynical, right? I'm sarcastic. So, is it shocking? Is it, you know… and you want to avoid… is it embarrassing? You want to avoid sad, right? You don't want the audience going, oh…

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Jerry Corley: You know, maybe you do. Maybe you do want to take them there, like when I do that joke about,

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Jerry Corley: you know, like, I… when I talk about my mom dying, you know, it's like my mom, the greatest lady I've ever known, was diagnosed with cancer 6 weeks later, dead.

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Jerry Corley: It's like, wow, that was so devastating. I remember I couldn't even function, for a week, or so. It's like, I felt like I couldn't get out of bed. And we had a funeral service, we had a memorial service, and there was a whole bunch of people there, and there was, like, we had a… my dad had a band of booze, we're… we were Irish and Native American, so we had double booze. And, we were drinking, man, drinking a lot.

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Jerry Corley: And, you always have that one guy at the funeral, always ask that funeral question. You know this guy? Comes up to you and says, what do you want him to say about you at your funeral, Jerry? And that dude came up to me, he's like, that a bottle of Jack Daniels, a full bottle, right? And he's like, what do you want him to say about you at your funeral, Jerry? And I took that bottle, and I drank, and I said.

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Jerry Corley: What do I want him to say about me and my funeral?

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Jerry Corley: I want him to say.

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Jerry Corley: Hey, look, he's moving! Right? So, in that moment, if I take my time with that joke.

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Jerry Corley: I can really get the audience to be misty.

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Jerry Corley: Because I get misty, the sadness, I, you know, I let that moment of losing my mom come over me, and they go all into that moment, they're like, oh…

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Jerry Corley: And then you hit them with a punch, you're like, oh, you fucker! Right? So you can take them to that place, and there's nothing wrong with that, and that's fun to do. So, there's not… if you're gonna go sad, do it for a purpose, to misdirect that audience, because remember, it is comedy. Kaz, you have your hand up.

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Karen Westerfield: Yeah, what about… you and I had talked about this before, comedians had talked about, oh, I was just diagnosed with cancer, or, you know, I only have 6 weeks to live, and…

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Karen Westerfield: you know, like, to get the sympathy from the audience, I think it's bizarre. Or I… I go to a lot, I see, you know, you can tell by the way I look that I'm a lesbian, so, you know, I actually use that, but I flip it around. You can tell by the way I look, I'm not a lesbian.

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Karen Westerfield: But I'm dressed just like a frickin' lesbian, how you, you know, what they say a lesbian dresses like, which is so stupid, I don't get it.

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Karen Westerfield: You know, like, is that supposed to make me more… you more endearing to me?

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Jerry Corley: Well, it depends on who you're watching, I guess. I mean, they're trying to set up a dilemma, and get the audience to root for them. That's why you got a lot of guys that be like, they used to, like, they've… you used to have a lot of guys get up there and go, I just broke up with my girlfriend.

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Jerry Corley: Now, they think… Because their thinking is, oh, they're root for me because I just had a breakup.

427
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Jerry Corley: But, I just broke up with my girlfriend.

428
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Jerry Corley: Is different from, my girlfriend just broke up with me.

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Jerry Corley: Because now you have a dilemma, now you're the person who didn't have control, now something was imposed on you by an outside force. When you say, I just broke up with my girlfriend, you're imposing that on somebody else. So it's a different… the audience is like, okay, so we don't know, really.

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Jerry Corley: the point of view here. You know, if you get broken up with, now we can say, oh, wow, okay, now that's something, that's a dilemma, and now we get to see how you overcome this. So that's… that's something, but, you know, you're talking about death and stuff, unless you have something funny.

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Jerry Corley: You know, you… and you gotta dig yourself out of a hole. If… if they wind up paying it off, then they can talk about whatever they want to talk about. So it's… but the emotion starts out, Jack, you have your hand up?

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Karen Westerfield: Thanks.

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Jack Rain: I noticed with, Serious Jack mode, I noticed with, the services, it's kind of like a rapid-fire style, kind of diminishes the ramping up of the sad story, but for a rapid-fire hit, I noticed it did a potential 3-way build-up.

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Jack Rain: We had a funeral service, we had this service, and then you could have topped it off with, we had a streaming service, or a stripper service.

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Jack Rain: I forgot what the services were, you said, but I heard, like, oh, bam.

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Jerry Corley: Say that again, Jack? I lost you on that one.

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Jack Rain: Yeah, yeah, when you were talking about the funeral service, when someone passed away, you were mentioning… you said 3 different services.

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Jack Rain: And… I'm saying there was a potential for a 3A buildup right there, but that would have diminished.

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Jerry Corley: That would have diminished the payoff on the joke. Good instinct, yeah, it would have diminished the payoff of the emotion where I wanted to take it, right? Yeah. So I wanted to… I wanted them to feel…

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Jerry Corley: the sadness, and then I was gonna pull the rug out, right? So, but that's a good… to notice the three-way build-up. There's, like, we had a funeral service, then we had the, then we had a, memorial service, then we had a streaming service.

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Jack Rain: It still makes me laugh. It's just like…

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Jerry Corley: Basically, we just focused the camera on my mom's dead body and put it out to the world, man.

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Jack Rain: What up, YouTube guys?

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Jerry Corley: What up, YouTube bros? Check this out, so that's kind of a fun…

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Jack Rain: Like, comment, like, comment, subscribe. If you want to see her kick it out of the… out of the casket, say hi.

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Jerry Corley: Funny. Yeah, you can see that almost… that's a good sketch. You should write that down as a sketch, Jack, and shoot it. Now,

447
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Cliff Spenger: The livestream is dead stream.

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Jerry Corley: Dead… yeah, that's good. Now it's a dead string.

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Jerry Corley: So we have, what is the target, what is my emotional point of view? And number three, how do I physically or vocally express that emotion? Now.

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Jerry Corley: Physically, or… that's the only way I could think of to write it. How do I express that emotion? How do I show that emotion? Now, I want you to think about this. When you're showing emotion.

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Jerry Corley: You don't think of the emotion.

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Jerry Corley: you recall…

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Jerry Corley: The colors, the textures, the smells, and the emotion will come to you. If you go to chase the emotion, it'll always seem, inauthentic.

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Jerry Corley: Right? So you want to be sure that when you're showing an emotion, that the emotion, what you're doing is not, that you're not…

455
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Jerry Corley: trying to indicate an emotion, because it always seemed, like, flat and forced. So, instead, if you just sort of, like, take a moment, like, all you have to do sometimes is see somebody's face.

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Jerry Corley: And really see it before you say the words.

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Jerry Corley: And that will change it. Now, that's why it takes a lot of comedians, like, 10 years to get good, because they're, first of all, learning how to write a joke, number one. Number two, learning how to connect with real emotion, and then convey that on the stage. That's acting.

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Jerry Corley: Right? And now, so that takes a… that's a skill set. Now, I want you to also know that… so those are the core concepts, the three steps, right, before forming a joke. However, we didn't consider

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Jerry Corley: We're considering the words and what we say, and the physicality. What we're not considering is the pause, and how the pause has an impact on your comedy. I want you to take a look at this comedian, it's Keith Alberstadt.

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Jerry Corley: Now,

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Jerry Corley: Keith is, he's sarcastic, and, but watch his… watch his… watch him just hold these pauses, man. It's so… they're so interesting.

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Audio shared by Jerry Corley: Thank you!

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Audio shared by Jerry Corley: Thank you very much! So great to be here. Gotta share this with you. I recently got a Facebook message on my birthday.

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Audio shared by Jerry Corley: Simply said, HBD.

465
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Audio shared by Jerry Corley: Apparently, an abbreviation for Happy Birthday.

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Audio shared by Jerry Corley: Also, the perfect way to tell somebody, hey, I was thinking about you today.

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Audio shared by Jerry Corley: But I got stuff to do.

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Audio shared by Jerry Corley: I am sarcastic by nature, not everybody is on board with that, I understand. Perfect example. I was at a wine store here in New York, I was getting a bottle of wine for a dinner function, couldn't read the label very well. So out of complete curiosity, I said, excuse me, ma'am, what year is this? And she said, the wine?

469
00:56:12.460 --> 00:56:13.510
Audio shared by Jerry Corley: No, ma'am.

470
00:56:20.480 --> 00:56:24.310
Audio shared by Jerry Corley: I am a time traveler.

471
00:56:31.700 --> 00:56:33.570
Audio shared by Jerry Corley: I am only here to beg you.

472
00:56:34.450 --> 00:56:37.120
Audio shared by Jerry Corley: Don't break up with your boyfriend.

473
00:56:41.340 --> 00:56:43.420
Audio shared by Jerry Corley: Or I'll never be born.

474
00:56:45.780 --> 00:56:54.349
Jerry Corley: Amazing pauses, right? And see, that joke, if you just put it on the page, It's nothing.

475
00:56:55.300 --> 00:57:05.489
Jerry Corley: But the way he performed that sucker right there with those pauses… amazing pauses. Now, I want you to also notice something. This is a performance technique Jack…

476
00:57:06.340 --> 00:57:16.409
Jerry Corley: You should know about this. And I say, too bad there's not more comedians in this class, because watch the way he uses his eyeline

477
00:57:16.930 --> 00:57:21.019
Jerry Corley: When he first sets up the conversation with the wine steward.

478
00:57:21.040 --> 00:57:40.160
Jerry Corley: Right? So, he's looking at the wine steward. Now, realize there's nobody in front of him, right? But he finds that place, who the wine… where the wine steward is. Then he goes into thought, or talks to the audience, then he comes right back to that eyeline when we… when he wants us to know that he's talking to that person.

479
00:57:40.240 --> 00:57:41.979
Jerry Corley: Right? And that person's still there.

480
00:57:41.980 --> 00:57:44.529
Jonathan Blank: I'm in the middle of a Zoom session.

481
00:57:44.890 --> 00:57:45.660
Jonathan Blank: Awesome.

482
00:57:46.960 --> 00:57:57.549
Jerry Corley: So, really take a look, really, let's watch this again, and watch how he goes, no ma'am. And then he, like, watch that eye line. He'll move around to talk to the audience.

483
00:57:59.850 --> 00:58:09.389
Jerry Corley: This is, and anyone… just watch how we… it's just a little adjustment, but keep a close look on this, because this is so important. I see comedians blow this all the time.

484
00:58:09.390 --> 00:58:11.919
Audio shared by Jerry Corley: What year is this? And she said, the wine?

485
00:58:12.680 --> 00:58:17.930
Audio shared by Jerry Corley: So out of complete curiosity, I said, excuse me, ma'am, what year is this? And she said, the wine?

486
00:58:26.610 --> 00:58:27.630
Audio shared by Jerry Corley: No, ma'am.

487
00:58:34.630 --> 00:58:37.000
Audio shared by Jerry Corley: I am a time traveler.

488
00:58:45.850 --> 00:58:47.699
Audio shared by Jerry Corley: I am only here to beg you.

489
00:58:48.620 --> 00:58:50.780
Audio shared by Jerry Corley: Don't break up with your boyfriend.

490
00:58:55.500 --> 00:58:57.580
Audio shared by Jerry Corley: Or I'll never be born.

491
00:59:02.550 --> 00:59:09.170
Jerry Corley: And he breaks it, and the applause starts. So, now, if you saw that written on a page.

492
00:59:10.340 --> 00:59:12.109
Jerry Corley: It would almost be meaningless.

493
00:59:13.100 --> 00:59:20.129
Jerry Corley: But the way he plays it out, Jack changed his clothes all of a sudden, because he's no longer Superman. He changed into a sleeveless…

494
00:59:20.130 --> 00:59:26.549
Jerry Corley: So, in this… but that, that is… that's such a great example of how

495
00:59:26.550 --> 00:59:45.290
Jerry Corley: if you looked at those words on the page, what would they mean? How would they read? And then he gets up there and performs that whole thing, and it's a big difference. That's what we mean by page to the stage. And that pause, that pause, man, holy cow! You know what it's like to hold a pause like that?

496
00:59:45.420 --> 00:59:47.510
Jerry Corley: on TV?

497
00:59:48.680 --> 00:59:58.450
Jerry Corley: That's balls, man. That's why I was like, man! So when I saw him do this, I saw this video a long time ago, I saved this video. I go, this guy…

498
00:59:58.450 --> 01:00:12.240
Jerry Corley: Holy shit, that is some… that is some really good courage right there to hold that pause. And it just really shows how powerful that is. That creates tension, allows… don't… whatever you do, don't break up with your boyfriend.

499
01:00:19.130 --> 01:00:26.630
Jerry Corley: Or I'll never be born. And so it allows the audience to fill in whatever blanks they need to fill in there, and it's not what he's coming up with.

500
01:00:26.990 --> 01:00:39.960
Jerry Corley: And so that's what the big payoff is. And so what a difference in making that piece come alive. That would have been nada if he didn't perform that the way he performed that. That is a perfect example of Page to the Stage. Any questions on that?

501
01:00:39.960 --> 01:00:45.269
Karen Westerfield: Well, he's not… he's looking at the same spot while he holds his paws, right?

502
01:00:45.270 --> 01:00:46.430
Jerry Corley: Yeah, but he does the…

503
01:00:46.430 --> 01:00:48.710
Karen Westerfield: side thing until the end would…

504
01:00:48.980 --> 01:01:01.259
Jerry Corley: Not till the end! Watch again, let's watch again, watch again, which is super fascinating, which I love, because it's a real moment, and that moment is playing out, right? So, where did he go? Hold on, I gotta find him again.

505
01:01:01.260 --> 01:01:10.920
Karen Westerfield: Well, it's just like you… it's like if you want him to say, really? You're asking me if it's the wine? No, it's today. You know, that… that sarcasm goes through your head.

506
01:01:10.940 --> 01:01:20.990
Jerry Corley: Right, and he does, yeah, but he also checks in with the audience a little bit, or looks around, right? So he's like, when he does… it's real subtle.

507
01:01:24.790 --> 01:01:25.779
Jerry Corley: So let's take a look.

508
01:01:25.780 --> 01:01:27.450
Audio shared by Jerry Corley: She said, the wine?

509
01:01:29.670 --> 01:01:31.019
Audio shared by Jerry Corley: See him look around a little bit?

510
01:01:31.390 --> 01:01:33.040
Karen Westerfield: It's not coming up on the screen.

511
01:01:33.670 --> 01:01:34.770
Audio shared by Jerry Corley: Okay.

512
01:01:34.770 --> 01:01:36.959
Jerry Corley: It's not? Okay, hang on a second, shoot.

513
01:01:37.290 --> 01:01:37.990
Jerry Corley: Alright.

514
01:01:38.560 --> 01:01:39.380
Jerry Corley: Boy.

515
01:01:39.380 --> 01:01:40.880
Janet Rapala: Yeah, we don't have the vis…

516
01:01:41.100 --> 01:01:47.310
Jack Rain: You have the, share the post, Thing up over the video.

517
01:01:47.880 --> 01:01:49.890
Jerry Corley: Oh, gotcha. Alright, let me turn, let me try.

518
01:01:49.890 --> 01:01:51.300
Jack Rain: Just gonna X out of that.

519
01:01:53.040 --> 01:01:53.820
Jerry Corley: Thank you.

520
01:01:55.310 --> 01:01:58.539
Jerry Corley: Oh, there we go. Okay, cause, yeah, alright, thank you.

521
01:01:59.400 --> 01:02:02.499
Jerry Corley: Alright, okay, now, the wine?

522
01:02:03.420 --> 01:02:06.109
Audio shared by Jerry Corley: What year is this? She said, the wine?

523
01:02:08.110 --> 01:02:09.400
Audio shared by Jerry Corley: See, he looks away.

524
01:02:12.930 --> 01:02:18.830
Jerry Corley: And because the reason, like, it's not just mechanical, he's in that, are you shitting me?

525
01:02:19.370 --> 01:02:39.169
Jerry Corley: are we okay here? And then he checks in with her again, but he never forgets that she's there in front of him. He's reliving that moment, and this is part of what you're doing to relive the moment. Now, I've seen actors, I've seen comedians, blow their eyeline, and you're like, okay, who are they talking to now?

526
01:02:40.070 --> 01:02:45.460
Jerry Corley: You know, because they forget, they have to come back to that spot, and it's like, if you're reliving that moment.

527
01:02:45.960 --> 01:02:52.160
Jerry Corley: And it's really happening. In your imagination, you're talking to this person, are they walking around the place?

528
01:02:52.350 --> 01:02:56.469
Jerry Corley: You know? Or she's holding the bottle that you just gave her.

529
01:02:56.840 --> 01:02:59.349
Jerry Corley: What year is this? The wine?

530
01:03:02.880 --> 01:03:05.600
Jack Rain: I could see multiple emotions transitioning.

531
01:03:05.600 --> 01:03:06.100
Jerry Corley: Yeah!

532
01:03:06.100 --> 01:03:10.249
Jack Rain: between dialogue, which is so… Actor-y, very good. It's great.

533
01:03:10.250 --> 01:03:21.119
Jerry Corley: And it's really good, but he doesn't stay on it 100%. He does have his own thought. Are we… you're shitting me, right? Yeah. And then he checks back in with her.

534
01:03:21.260 --> 01:03:23.799
Jerry Corley: And then even when he first says, no ma'am.

535
01:03:25.730 --> 01:03:26.770
Audio shared by Jerry Corley: No, ma'am.

536
01:03:33.750 --> 01:03:36.120
Audio shared by Jerry Corley: I am a time traveler.

537
01:03:37.560 --> 01:03:39.109
Audio shared by Jerry Corley: Wow, wow, that's like…

538
01:03:44.970 --> 01:03:46.840
Audio shared by Jerry Corley: I am only here to beg you.

539
01:03:47.730 --> 01:03:49.919
Audio shared by Jerry Corley: Don't break up with your boyfriend.

540
01:03:54.610 --> 01:03:56.700
Audio shared by Jerry Corley: Or I'll never be born.

541
01:03:57.940 --> 01:03:58.480
Audio shared by Jerry Corley: That's…

542
01:03:58.480 --> 01:04:09.059
Jerry Corley: patience. That's, like, that's such a good little technique to learn, and it's like, it's still just, like, it really captivates that moment. And you can just see how that might be written on a page, and go.

543
01:04:09.490 --> 01:04:15.400
Jerry Corley: How did he get that? How did he get that performance out of that, with those words on the page?

544
01:04:15.530 --> 01:04:21.590
Jerry Corley: And it's like, even at one point, you know how he was like, they gave him an applause break, and he was not ready for that applause.

545
01:04:21.590 --> 01:04:21.930
Jack Rain: Yeah.

546
01:04:21.930 --> 01:04:22.450
Jerry Corley: He's not…

547
01:04:22.450 --> 01:04:22.849
Jack Rain: used to.

548
01:04:22.850 --> 01:04:27.230
Jerry Corley: with being there. He was like, huh, okay, just say, hold on, because…

549
01:04:27.260 --> 01:04:45.209
Jerry Corley: Late night audiences are so giving, because they've been warmed up, right? And the comedian usually is one of the last segments before the end of the show, so they've already… they're already going, they're already in that zone, and then, and so when he gets up there, they're… they're ready, they give, give, give.

550
01:04:45.210 --> 01:04:59.380
Jerry Corley: So, that pause is amazing, and he probably doesn't get that same response in a club, right? It's a little bit of a different thing. So, it's really fun to see that, see how that takes off like that. Alright, so, let's get back to this.

551
01:05:08.820 --> 01:05:26.170
Jerry Corley: All right, so that was Keith Alberstadt. It's a fun little moment to see that… that… that courage in taking those pauses. And I would like everybody to put in their, sort of like, in their notebooks, as far as what are some of my goals. I want to test…

552
01:05:26.170 --> 01:05:40.519
Jerry Corley: I want to test my pauses. I want to risk bombing to test these long pauses. Just test and see what you can do with these pauses, and if it changes the nature of things, letting the audience fill in a blank here, and then taking them a different direction.

553
01:05:40.520 --> 01:05:41.420
Jerry Corley: So…

554
01:05:41.420 --> 01:06:06.390
Jerry Corley: One of the, one of my students, emailed me after I sent out that Richard Pryor, email, and he said, I'm trying to find my persona. He's a bit older, and, he says, I don't know how to find it. And there's, like, there's, you know, you look… what I say, you start with your emotional default. Like, what, what is your normal emotion when you're a comedian? And now, generally.

555
01:06:06.390 --> 01:06:14.010
Jerry Corley: I'm pretty cynical. I've always questioned authority type of guy, you know? And I think that was part of it, was, you know, being…

556
01:06:14.010 --> 01:06:32.339
Jerry Corley: raised listening to George Carlin, and so it's that, it's a cynicism about when, you know, a perceived authority says this is the way it is. I'm like, really? Is it? You know, that's kind of my take, right away, and I try to find the unassailable truth to prove them wrong. Jack.

557
01:06:34.180 --> 01:06:41.840
Jack Rain: Yeah, with finding, your character persona, I came across a book recently, as, you know.

558
01:06:41.840 --> 01:06:42.949
Jerry Corley: Did you wipe it off?

559
01:06:43.310 --> 01:06:49.229
Jack Rain: No, I still have to go back and get some more toilet paper. There's…

560
01:06:49.340 --> 01:06:58.869
Jack Rain: Goddamn, I got distracted. What was I saying? Oh, yes, Scott Sedeta's, 8 characters of comedy.

561
01:06:59.080 --> 01:07:02.540
Jerry Corley: Oh, yeah, I wonder where you got that book, I referred it to you.

562
01:07:02.540 --> 01:07:03.909
Jack Rain: No, I had it for.

563
01:07:03.910 --> 01:07:08.389
Jerry Corley: No, I gave you Scott Sedita's book. I'll go up and look at those texts.

564
01:07:08.390 --> 01:07:10.910
Jack Rain: Yeah, show me, screenshot that to me. Okay, okay.

565
01:07:10.910 --> 01:07:18.859
Jerry Corley: I'll screenshot that for you, because I remember, I go, oh, you'd learn from this one, because it's a good one. And what he's doing it for is mostly for sitcom.

566
01:07:18.860 --> 01:07:42.989
Jerry Corley: Yes. Now, he really nailed, the approach towards sitcom. I mean, when you see his actors work in their showcases, you're like, wow, they look like they're in sitcoms. He really teaches you those beats of a sitcom. And those are the eight characters, I think, of sitcoms. And, and generally, I have the, if you've seen the, sort of the character, persona.

567
01:07:43.060 --> 01:08:01.779
Jerry Corley: like, infographic I've given out before. It's like, you know, what are the 20, you know, different masks, or something like that. And it's like… but 8 is good. 8's a good gauge, sort of keep track of. There's more than that, but 8 is a good sort of general viewpoint, and I think Scott's book is good.

568
01:08:01.910 --> 01:08:09.290
Jerry Corley: So, and his courses are great. If you want to take an acting course, and you really want to learn sitcom acting,

569
01:08:09.290 --> 01:08:28.910
Jerry Corley: he's the guy, but we're moving away from traditional sitcom, and we're going more towards, just sort of like… it's kind of more rough and real, lately. That's what the kids are into. More natural. So most comedians fall naturally into one of, of a few emotional modes.

570
01:08:28.910 --> 01:08:42.260
Jerry Corley: Naturally into one. Can you explore more? Yes, but naturally, we fall into one. So, we're gonna go, we're gonna find out which one's more natural to you. So, create a scenario. Here's a scenario. Your flight just got canceled.

571
01:08:42.560 --> 01:08:50.410
Jerry Corley: Ready? Your flight just got canceled. Now, walk me through Different emotional perspectives.

572
01:08:50.550 --> 01:09:10.480
Jerry Corley: So, if I was gonna do it, because I'm a little Bill Burr, George Carlin type of energy, right? I might be like, what, you know, I'd be like, you know, your flight has been canceled. And like, what kind of airline cancels a flight when we're already on the plane? What kind of, what kind of airline does that? I mean, what did the pilot leave the stove on?

573
01:09:11.569 --> 01:09:22.770
Jerry Corley: Alright, that's one emotional perspective. Now, it's like, basically, Bill Burr is frustrated with the world. It's even bigger than that. Bill Burr is frustrated with himself.

574
01:09:23.680 --> 01:09:29.390
Jerry Corley: And his… his unwillingness to grow. Or his… his…

575
01:09:29.830 --> 01:09:52.380
Jerry Corley: lack of understanding that he needed to grow, and he's only discovering it now. Now you're seeing it, see, he's got more depth than most people think, right? Because it's like, he's always asking questions, like, why is it so… you know, how come I couldn't figure this out? You know? So, like, that kind of, like… but he's like, he really pushes that angst. That's why, when you listen to Bill Burr.

576
01:09:52.380 --> 01:10:03.820
Jerry Corley: And he's got that… even he's got that microphone, he's always, like, yelling. He's always urgent. You know, I… I… you know, how many people… who wouldn't be afraid to get married right now? I mean, you see what's going on?

577
01:10:04.470 --> 01:10:19.200
Jerry Corley: You see, and it's always, like, everything's, like, urgent, and everything's, like, him, like, losing his mind. So he has that through-line going constantly with his emotion. So I want you to take that idea, your flight gets got canceled, and I want you to write responses.

578
01:10:19.820 --> 01:10:25.949
Jerry Corley: For the angry perspective, the Bill Burr energy, what would your take be if you're gonna do it emotionally angry?

579
01:10:26.290 --> 01:10:36.490
Jerry Corley: Or that sort of, like, ugh, you know, dire frustration. The superiority perspective, the Jezelnik energy, really, is very kind of…

580
01:10:36.530 --> 01:10:52.909
Jerry Corley: He's kind of, like, maybe a little Tosh 2.0, type of, my flight just got canceled. What, that smug confidence. How would you respond to that? The self-aware perspective, and each one I chose an emoji for, right? Me, the mad face.

581
01:10:52.910 --> 01:11:06.029
Jerry Corley: this sort of, like, superior, like, smug perspective, the self-aware perspective with a little emotional anxiety, right? That's Taylor Tomlinson. She's so good. If you watch Taylor work.

582
01:11:06.040 --> 01:11:17.819
Jerry Corley: She wears her heart on her sleeve. Every beat has a real, authentic emotional perspective. My flight just got canceled, so, so you're taking that line, and you're going through

583
01:11:18.560 --> 01:11:33.149
Jerry Corley: like a Bill Burr energy, a Jeselnik energy, Taylor Tomlinson energy, with a self-aware perspective, a little vulnerable, a little social anxiety, and the deadpan perspective of either a Mitch Hedberg or Stephen Wright.

584
01:11:33.400 --> 01:11:38.059
Jerry Corley: So I want you to write, my flight just got canceled, and do 4 takes.

585
01:11:39.130 --> 01:11:50.010
Jerry Corley: And right… and I want to be… and I want you to say these out loud when we… when… after I come… after I turn this back on, but give you 10 minutes. And each one should have a subtly different response

586
01:11:50.980 --> 01:11:58.050
Jerry Corley: if you're really coming through as trying to adapt each one of these emotions. Does that make sense? Does anybody have any questions?

587
01:11:58.050 --> 01:12:02.089
Karen Westerfield: Can you make this smaller so all four of them can be on the screen at once?

588
01:12:05.520 --> 01:12:06.279
Jerry Corley: Of course.

589
01:12:06.920 --> 01:12:07.600
Karen Westerfield: Thank you!

590
01:12:08.690 --> 01:12:10.019
Jerry Corley: But now, can you read it?

591
01:12:15.230 --> 01:12:31.089
Jerry Corley: So instead of… and I'm leaving out the cynical… you can add, for opponents, you can add the cynical Joan Rivers perspective. I love Joan. Joan is always like, you know, oh, oh, grow up! You know, that's just really stark cynicism.

592
01:12:31.090 --> 01:12:37.420
Jerry Corley: And so, angry perspective, the, so let me see if I can maybe even remove some spaces here.

593
01:12:37.580 --> 01:12:46.080
Jerry Corley: the, self-aware Taylor Tomlinson perspective, cynical, as a bonus, the cynical Joan Rivers energy, the, just like…

594
01:12:46.180 --> 01:12:49.350
Jerry Corley: Fiery frustra- fiery cynicism?

595
01:12:49.630 --> 01:12:55.130
Jerry Corley: So, yeah, I think that's… that all kind of fits there. You can see it, right?

596
01:12:55.420 --> 01:12:58.819
Jerry Corley: And so… My flight just got canceled.

597
01:12:59.070 --> 01:13:03.570
Jerry Corley: And then, 4 takes. And let's hear them. I'll be back in 10.

598
01:20:18.120 --> 01:20:21.260
Jerry Corley: Alright, did I give you enough time? Did you come up with something?

599
01:20:23.550 --> 01:20:24.820
Jerry Corley: What do you got, Jack?

600
01:20:26.960 --> 01:20:32.370
Jack Rain: S… Pull up my notes…

601
01:20:33.730 --> 01:20:38.110
Jack Rain: Come on, I go ice cream. Okay, here we go. For the Bill Burr.

602
01:20:39.520 --> 01:20:43.809
Jack Rain: My flight was canceled! What? Was the pilot on the Epstein list, too?

603
01:20:46.240 --> 01:20:49.879
Jerry Corley: Make it, how about, instead of just, shouting.

604
01:20:50.020 --> 01:20:52.830
Jerry Corley: Make it a real emotion.

605
01:20:53.130 --> 01:20:53.860
Jack Rain: Okay.

606
01:20:54.770 --> 01:20:56.760
Jerry Corley: So, take a… take a moment.

607
01:20:56.890 --> 01:21:02.989
Jerry Corley: Take a moment to… you're rushing, you're trying to just, like… you're indicating.

608
01:21:04.300 --> 01:21:07.859
Jerry Corley: Right? And it's like, the one thing you gotta do is, like, what are you seeing?

609
01:21:08.820 --> 01:21:09.600
Cliff Spenger: Right.

610
01:21:13.120 --> 01:21:14.690
Jack Rain: My flight was canceled.

611
01:21:16.280 --> 01:21:19.739
Jack Rain: That son of a bitch, pilot better not have been on the Epstein Island.

612
01:21:19.900 --> 01:21:36.719
Jerry Corley: Alright, that's better, yeah. You could, you could, you could, you could be Bill Burr, you can do it loud, but I don't want you to just yell for… it's like when those MCs get up there and they yell just to replace genuine enthusiasm, you know?

613
01:21:37.290 --> 01:21:40.380
Jerry Corley: You know, and it's like, shut the fuck up, right?

614
01:21:40.380 --> 01:21:41.019
Jack Rain: That's the first thing.

615
01:21:41.020 --> 01:21:47.830
Jerry Corley: I want to say is, like, you're popping my eardrums because you can't come up with an original emotion, you know?

616
01:21:48.680 --> 01:22:11.710
Jerry Corley: to the stage, he's been doing some pretty cool things. He's been working on his impressions and becoming authentic emotionally. Please help me welcome to the stage right now, Mr. Jack Raine, say hello, right? That's honest, that's real. I'm excited, too. I want to see what he comes up with. So, so that's one way to practice it, is how to show genuine

617
01:22:11.710 --> 01:22:22.369
Jerry Corley: And it takes practice, right? So, the more we practice… and then stage is the best place to practice it, man, when we're, like, real live with that audience. Alright, so that was good, that was good, you figured it out. Next one.

618
01:22:22.620 --> 01:22:25.609
Jack Rain: Conf… The confidence one.

619
01:22:26.300 --> 01:22:28.039
Jack Rain: My flight was canceled.

620
01:22:29.040 --> 01:22:34.500
Jack Rain: They must have found out last minute they had to make some accommodations for a certain celeb.

621
01:22:36.510 --> 01:22:38.020
Jack Rain: Oh, they had a flat tire?

622
01:22:40.860 --> 01:22:42.140
Jerry Corley: Alright, good, yeah.

623
01:22:42.140 --> 01:22:43.290
Jack Rain: The world transition.

624
01:22:43.510 --> 01:22:46.099
Jerry Corley: Yeah, yeah, I liked it, not bad, not bad.

625
01:22:47.700 --> 01:22:48.880
Jack Rain: Self-aware.

626
01:22:55.990 --> 01:22:57.170
Cliff Spenger: Bye.

627
01:22:57.170 --> 01:22:58.400
Jack Rain: flight was canceled!

628
01:22:59.860 --> 01:23:02.560
Jack Rain: Was it because I said Chick-fil-A was the bomb?

629
01:23:03.200 --> 01:23:04.970
Jerry Corley: Alright, not bad, yeah, not bad.

630
01:23:05.310 --> 01:23:15.990
Jerry Corley: Take your time with that, don't indicate. I don't want you to move your face unless you absolutely have to. So you're doing a lot of indicating with your eyes, right? And it's like, well, you need to practice, because I've seen your acting.

631
01:23:15.990 --> 01:23:16.610
Cliff Spenger: Yep.

632
01:23:16.810 --> 01:23:33.980
Jerry Corley: And you could be so much better if you don't indicate your emotions. And it's hard to do when you're first, you know, when you're young, and it's like… but it's like, you really… it takes practice, and it's… you know, I'm saying it, and I know I make those mistakes, too. But it's like, when I'm on.

633
01:23:33.980 --> 01:23:44.649
Jerry Corley: I could tell, because, man, the hairs in the back of my neck go up, and I know it's like I'm in the zone right now, and everything that's happening is real. And so, yeah, you're getting closer, too.

634
01:23:44.650 --> 01:23:47.340
Jack Rain: Back there, Nick, he must have lots of fur balls.

635
01:23:47.340 --> 01:23:58.739
Jerry Corley: Yeah, I, do. They're in the back of my throat, those furballs. But that's, that's because I'm MAGA, I've been gargling Trump's balls. I was like…

636
01:23:58.850 --> 01:24:00.609
Jack Rain: Cough once!

637
01:24:01.400 --> 01:24:01.950
Jerry Corley: I don't lie.

638
01:24:02.580 --> 01:24:08.110
Jerry Corley: Alright, go, that's how you do, that's how you do the Arnold Schwarzenegger impression.

639
01:24:08.110 --> 01:24:11.639
Jack Rain: Yeah. How do you, how do you practice it on scargo Balls?

640
01:24:11.640 --> 01:24:13.840
Jerry Corley: Alright, go.

641
01:24:13.840 --> 01:24:14.869
Jack Rain: Yeah, alright.

642
01:24:15.360 --> 01:24:17.050
Jack Rain: My flight was canceled.

643
01:24:17.770 --> 01:24:20.400
Jack Rain: These Gen Zs will cancel anything.

644
01:24:21.400 --> 01:24:22.430
Jerry Corley: Mmm!

645
01:24:22.620 --> 01:24:26.510
Jerry Corley: My flight is canceled. It's better than my career.

646
01:24:27.660 --> 01:24:30.480
Jerry Corley: Right, so that's good. That was good. Now, Jalen Rivers.

647
01:24:31.050 --> 01:24:32.950
Jack Rain: And Joan Rivers. Oh!

648
01:24:33.460 --> 01:24:34.440
Jerry Corley: No stuff!

649
01:24:34.440 --> 01:24:35.220
Jack Rain: I'm sorry.

650
01:24:35.220 --> 01:24:36.359
Jerry Corley: I have to win an impression.

651
01:24:36.360 --> 01:24:39.429
Jack Rain: No, that was a joke, that was a joke.

652
01:24:39.430 --> 01:24:40.180
Jerry Corley: Okay, okay.

653
01:24:42.430 --> 01:24:49.529
Jack Rain: Sorry! I had a deal about that, just… Alright, alright, cynical, John Rivers.

654
01:24:51.990 --> 01:24:57.359
Jack Rain: You know, Frontier wouldn't do this. Hell no, for the right price, they'd risk everyone's lives.

655
01:24:57.740 --> 01:25:15.459
Jerry Corley: Nice, that's not bad, yeah, I like it, good work, yeah, good. That was good, that was good, Jack. And it's like, four… remember, it's four different takes, and it's like, it's not easy, like, when you're put on the spot, you know as an actor, when you go to audition, sometimes when you're doing a commercial, they go, give me 3 different takes.

656
01:25:15.460 --> 01:25:15.920
Jack Rain: Illinois.

657
01:25:15.920 --> 01:25:22.530
Jerry Corley: and you're giving them 3 different takes, you're like, oh my god, what's a take? How do I do that? Now, you have 4 different takes to choose from.

658
01:25:22.990 --> 01:25:25.940
Jerry Corley: That you now can emulate

659
01:25:26.000 --> 01:25:34.559
Jerry Corley: Joan Rivers, for take. Anthony Jeselnik, for a take. Bill Burr, for a take. Taylor Tomlinson, for a take.

660
01:25:34.560 --> 01:25:46.340
Jerry Corley: And you… and Stephen Wright for a deadpan take. And so now you have… if you're asked to do 3 different ways, you can choose 3 different ways to approach that, and now you know specifically where you can go to.

661
01:25:46.400 --> 01:25:55.590
Jerry Corley: So, I mean, that is, like, by choosing somebody you can sort of emulate, at least you have a place to start, and then you make it your own.

662
01:25:55.760 --> 01:26:04.910
Jack Rain: a little psychology trick I do with the casting that I've noticed seems to work is when I go in, I go really, really big.

663
01:26:05.200 --> 01:26:14.509
Jack Rain: And then they asked me to, like, dial it back, which I obviously don't know how to do really easily, so I do that, so then they were like, oh, okay, I could direct them on set easily.

664
01:26:14.510 --> 01:26:24.699
Jerry Corley: Oh, yeah, this guy's got range. Yeah, exactly. Yeah, you're right. You go big first. If you're gonna have the two different, two or three different ways, go big first.

665
01:26:25.030 --> 01:26:30.259
Jerry Corley: And then they'll dial you back, yeah, because if they do… it's harder to get somebody from here to big.

666
01:26:30.260 --> 01:26:30.790
Jack Rain: Yeah.

667
01:26:30.790 --> 01:26:33.479
Jerry Corley: is from big to dial it back.

668
01:26:33.480 --> 01:26:33.970
Jack Rain: It's good at the.

669
01:26:33.970 --> 01:26:41.499
Jerry Corley: Plus, you like to go in big on stage, which is what's interesting, because most people try to act like they're in control.

670
01:26:42.430 --> 01:26:43.220
Jack Rain: Oh, good.

671
01:26:43.230 --> 01:26:57.949
Jerry Corley: Right? And so going in, going in frustrated, or out of control, or, and filled with anxiety, but it still has to be plausible, right? So we have a lot of… we're juggling a lot of, like, a lot of balls when we're… when we're performing.

672
01:26:57.950 --> 01:27:00.960
Jack Rain: Sorry.

673
01:27:00.960 --> 01:27:04.059
Jerry Corley: Not gargling. Cliff, what do you got?

674
01:27:10.710 --> 01:27:12.199
Cliff Spenger: Who are you calling on?

675
01:27:12.200 --> 01:27:12.780
Jerry Corley: A cliff.

676
01:27:13.420 --> 01:27:16.220
Cliff Spenger: Oh, I'm sorry, I can't hear very well.

677
01:27:16.220 --> 01:27:19.789
Jerry Corley: I thought you were doing a Jack Alberstadt pause.

678
01:27:20.570 --> 01:27:28.550
Cliff Spenger: No, but that guy was awesome, and I'm gonna check him out again. I couldn't, read the,

679
01:27:28.780 --> 01:27:37.099
Cliff Spenger: who I was supposed to be like, so I just did the emotions, because every time I switched back, I would lose my chat. But I did, I did one for Happy.

680
01:27:38.300 --> 01:27:43.100
Cliff Spenger: The flight's been canceled. Oh, thank God, now I don't have to go to jury duty!

681
01:27:44.090 --> 01:27:48.320
Cliff Spenger: That was, one emotion. Angry, I guess this could be built for…

682
01:27:48.320 --> 01:27:51.530
Jerry Corley: giggled, what if you giggled through that? What if, you know…

683
01:27:51.530 --> 01:27:52.430
Cliff Spenger: Yeah.

684
01:27:52.430 --> 01:27:57.209
Jerry Corley: I heard the announcement, my flight is canceled.

685
01:27:59.020 --> 01:28:03.749
Jerry Corley: No, I don't have to go to jurorsuty. Yeah, yeah, exactly, for sure.

686
01:28:03.750 --> 01:28:10.730
Cliff Spenger: Everybody's upset and you're happy. Yeah. Yeah. The other one, angry, the flight's been canceled.

687
01:28:10.960 --> 01:28:14.989
Cliff Spenger: Ugh, this makes me so angry. I'm so hot.

688
01:28:15.500 --> 01:28:21.979
Cliff Spenger: And they say the flight's been canceled. It's a gorgeous day outside. The flight's been canceled because the plane's got ice issues.

689
01:28:22.500 --> 01:28:25.059
Cliff Spenger: I'm so hot, I need a knife pack.

690
01:28:27.530 --> 01:28:28.809
Cliff Spenger: That's all I got for that one.

691
01:28:29.330 --> 01:28:35.540
Cliff Spenger: And, oh, you were saying one about,

692
01:28:36.110 --> 01:28:43.739
Cliff Spenger: I was trying to think of another emotion that we were dealing with here, but my brain's blanking. Oh, oh, Smug!

693
01:28:44.150 --> 01:28:45.800
Cliff Spenger: Your flight's been canceled.

694
01:28:46.450 --> 01:28:51.279
Cliff Spenger: I got a private plane at this airport, no problem. Everybody wanna go with me? You know, he's happy.

695
01:28:51.280 --> 01:28:52.870
Jerry Corley: Yeah, yeah, yeah, yeah, okay, good.

696
01:28:53.260 --> 01:28:54.530
Jerry Corley: Good, smug.

697
01:28:54.530 --> 01:28:55.509
Cliff Spenger: That's all I got.

698
01:28:55.510 --> 01:28:56.359
Jerry Corley: That's good, good.

699
01:28:56.360 --> 01:28:58.929
Jack Rain: What a ladies' man.

700
01:29:01.270 --> 01:29:16.199
Jerry Corley: So in that, in that practicing, because what was funny, Cliff, is you gave me a laugh getting into that last one, right before you got in, it was a real authentic laugh, recalling that, being able to do that again.

701
01:29:16.970 --> 01:29:21.330
Jerry Corley: Like, you know, my flight was canceled.

702
01:29:21.550 --> 01:29:26.390
Jerry Corley: Now I don't have to go to jury duty. Yeah, it's a real one, right? So, and finding that authenticity.

703
01:29:26.390 --> 01:29:30.119
Cliff Spenger: Yeah, the laugh is a good, good emotion indicator, yeah, I get ya.

704
01:29:30.120 --> 01:29:33.359
Jerry Corley: Yeah, yeah, yeah, yeah. And it's like, Psy is…

705
01:29:34.170 --> 01:29:38.289
Jerry Corley: like, if you get up on stage and you start with that, it's like, oh, man.

706
01:29:38.290 --> 01:29:39.060
Cliff Spenger: Yeah.

707
01:29:39.060 --> 01:29:40.960
Jerry Corley: It was one of those, you're like… Yeah.

708
01:29:41.880 --> 01:29:43.080
Jerry Corley: I'm out of Adderall.

709
01:29:43.080 --> 01:29:45.550
Cliff Spenger: It doesn't take much to express.

710
01:29:46.500 --> 01:29:50.659
Jerry Corley: Let me do, you know, President Trump pissed off.

711
01:29:51.680 --> 01:30:15.149
Jerry Corley: I'm out of Adderall! Because, like, I don't know if you guys saw that post, that post from that former employee at, Celebrity Apprentice. He said, I was on Celebrity Apprentice for 8 years, I was… I was in my… one of my jobs was talent, making sure the talent was taken care of, and he says, and I'll tell you, and he's a comedian, too.

712
01:30:15.150 --> 01:30:21.840
Jerry Corley: goes, and I'll tell ya, that Trump, was constantly crushing Adderall and snorting… snorting it.

713
01:30:22.540 --> 01:30:37.770
Jerry Corley: And he goes, you know, I signed an NDA, but he's president, he's not on the show, so fuck him, right? And so, he's telling the whole thing. I was like, oh my gosh, see, I knew it! I knew it! That's why, you know…

714
01:30:37.920 --> 01:30:50.369
Jerry Corley: And, that's why he's been slurring his words. People have that sort of assumption. It's not dentures. He's got a… he's got a pallet plate up there.

715
01:30:50.410 --> 01:31:07.979
Jerry Corley: Because he blew a hole in his hard palate from too much cocaine and amphetamines. That's the rumor, at least, and it was like, by some people who are now posting shit that shouldn't, who had NDAs, I was like, oh my gosh, that's wild. So imagine…

716
01:31:08.720 --> 01:31:19.309
Jerry Corley: That's another character, though, because Trump is such a character. That's another character you can draw from, right? Because his, you know, his emotions are pretty vivid.

717
01:31:19.310 --> 01:31:41.089
Jerry Corley: And so, so if you need a vivid emotion to pull from, there's… that's a place you can go. It's like, look, it doesn't matter what your politics are. Like, you know, find the good and the bad, and how you could use that as a creative device, you know? And so a lot of people don't take the time to use that. They just get so mad about it, they dismiss

718
01:31:41.100 --> 01:31:45.760
Jerry Corley: the possibilities. So, look, I'm… I'm not a fan.

719
01:31:45.830 --> 01:32:10.760
Jerry Corley: But there are things to learn from both the way he's navigated all the way through this. He doesn't seem to let this stuff bother him, you know, on the surface, and also his range of emotions are things to draw from, too. So, you know, when people hear me joke about it, it's like there's still some value to learn from everybody's behaviors. So, as a writer, you want to be able to build those characters, right?

720
01:32:10.760 --> 01:32:12.459
Jerry Corley: So, Janet, what do you got?

721
01:32:15.500 --> 01:32:23.840
Janet Rapala: Okay, there we go. Alright, I've got, I have all five, I'll run through them real quick and then take your notes. Okay, number one is angry.

722
01:32:24.170 --> 01:32:24.830
Janet Rapala: Ugh.

723
01:32:25.160 --> 01:32:29.530
Janet Rapala: My plane got canceled. How does this happen when you're already on the frickin' plane?

724
01:32:30.000 --> 01:32:32.700
Jerry Corley: Janet… You're a nurse.

725
01:32:33.610 --> 01:32:34.919
Jerry Corley: You've gotten angry.

726
01:32:35.280 --> 01:32:36.410
Janet Rapala: Oh, yeah.

727
01:32:36.410 --> 01:32:40.030
Jerry Corley: Okay, let's see that real anger when you do that, and it can be like…

728
01:32:40.180 --> 01:32:45.360
Janet Rapala: How does this frickin' happen when I'm already sitting on the frickin' plane?

729
01:32:45.360 --> 01:32:47.510
Jerry Corley: There you go, that's better, yeah.

730
01:32:47.510 --> 01:32:49.749
Janet Rapala: Okay, number two, superiority, I've got…

731
01:32:49.940 --> 01:32:54.440
Janet Rapala: Well, I hope we get to upgrade my boarding number for the line for the next one.

732
01:32:54.440 --> 01:32:55.390
Jerry Corley: That's good.

733
01:32:55.580 --> 01:33:02.429
Janet Rapala: Tough aware, I've got… well, now I can go to the ladies and not have to use the plain potty.

734
01:33:03.020 --> 01:33:07.069
Jerry Corley: Oh, that's good. Self-aware. That's a good self-aware, too, because that's a very personal bond.

735
01:33:07.070 --> 01:33:10.819
Janet Rapala: I don't always get to go potty before I get on the plane, and then I'm dying. Right.

736
01:33:10.820 --> 01:33:11.150
Jerry Corley: Right.

737
01:33:11.150 --> 01:33:18.020
Janet Rapala: Number 4, vulnerable honesty, it's kind of weird on the classification, not sure how close I was.

738
01:33:18.570 --> 01:33:27.390
Janet Rapala: Of course! I'm planted in my best seat, my stuff is all stowed perfectly, now I have to start all over.

739
01:33:27.690 --> 01:33:35.729
Jerry Corley: I like it, yeah. Yeah, and I like how it's giving you different lines. You know, you're having different lines to respond with. Good job there.

740
01:33:35.730 --> 01:33:37.489
Janet Rapala: And for the cynical, I've got…

741
01:33:37.900 --> 01:33:44.880
Janet Rapala: Well, maybe I can be reseated away from the shrieking toddler, or I'll trip them on the way out, and they'll have to go to first aid.

742
01:33:45.040 --> 01:33:49.540
Jerry Corley: That's good, he won't be… he won't be on the… he won't be on it when they re-board.

743
01:33:50.240 --> 01:34:08.119
Jerry Corley: That's good. Yeah, nice, and I like that little tongue thing you did. You stuck your tongue out, you did like that, that was really, like, that was your mischievous look, right? I'm getting away with something… something daring, more of the Glenn Close playing, Carilla de Vil.

744
01:34:08.120 --> 01:34:09.009
Janet Rapala: Yeah, heh he heh.

745
01:34:09.010 --> 01:34:18.079
Jerry Corley: Step into my lair. Yeah, good, I like that, good. And what I really liked about that was it gave you different words to say.

746
01:34:18.380 --> 01:34:25.659
Jerry Corley: to respond to it. That really helped to motivate you to come up with unique lines, and .

747
01:34:25.660 --> 01:34:32.429
Janet Rapala: I like the note you gave to Jack that it kind of gives you some different takes. So, you didn't like that one? Here, try this one. Or try this one.

748
01:34:32.430 --> 01:34:33.500
Jerry Corley: Yeah, and so…

749
01:34:33.500 --> 01:34:34.680
Janet Rapala: Gives you some variety.

750
01:34:34.680 --> 01:34:45.190
Jerry Corley: And when you understand, and this is what I say to people, like, this guy who emailed me after that, after I sent out the Richard Pryor email, he was like,

751
01:34:45.990 --> 01:34:53.449
Jerry Corley: I'm still having trouble looking for my persona. And one of the ways to do that is through this exercise here, right? And also.

752
01:34:53.800 --> 01:34:55.500
Jerry Corley: Who's your favorite comedian?

753
01:34:56.790 --> 01:35:01.199
Jerry Corley: Your favorite comedian will often reveal a lot about you.

754
01:35:01.470 --> 01:35:16.539
Jerry Corley: And so, maybe you've been looking for that persona, and you find that favorite comedian. That's why I sort of, like, you know, I got along with George Carlin really well, because he had that sort of, like, question authority cynicism that certainly my parents had.

755
01:35:16.730 --> 01:35:30.290
Jerry Corley: And, that don't take everything out of surface. Think it through. Ask some questions. This doesn't make any sense. Explain this to me. How does that make sense? You know? So, in that sort of, like.

756
01:35:31.080 --> 01:35:43.149
Jerry Corley: find… and then find the unassailable truth if you're gonna prove your point, you know? And it, it might not be… you know, people can still disagree with you, but if you find that unassailable truth and how to prove it.

757
01:35:43.150 --> 01:36:08.100
Jerry Corley: by giving an analogy or something, it really helps you to come across. So the cynical, sarcastic side of me, I'm also goofy, caring, and loving, so I have a love-through line as well, because I think love's the most powerful force in the universe, and it's like, and you should love your audience, not hate your audience, but you should still be frustrated with them. I treat my audiences like fourth graders, but in a good way. So Jonathan Blank put some good ones

758
01:36:08.100 --> 01:36:14.129
Jerry Corley: down in his chat, a superiority Perspective Cheselnik. My flight just got canceled.

759
01:36:15.180 --> 01:36:19.439
Jerry Corley: Now I have to go back home and pretend I'm happy to see my family.

760
01:36:19.570 --> 01:36:37.409
Jerry Corley: That was good. That's good, Jonathan. Angry perspective, Bill Burr, my flight just got canceled. Good thing I gotta go to the airport 5 hours early to deal with TSA delays. Yeah, not, my flight just got canceled. That's 2 years wasted planning the perfect terrorist attack.

761
01:36:37.680 --> 01:36:45.380
Jerry Corley: That's funny. Good. Nice. self-aware perspective, Taylor Tomlinson, my flight just got canceled.

762
01:36:48.640 --> 01:36:50.199
Jerry Corley: Kinda like my life.

763
01:36:50.490 --> 01:37:10.279
Jerry Corley: That's good, yeah, I like that. That's good. You see how we take your time with that? I like that self-aware perspective. She's more or less, you know, kind of looking at her failures, and it's like… that's why I like Taylor Tomlins, she doesn't take herself too seriously. She looks back at her life and analyzes her mistakes and laughs about them.

764
01:37:10.280 --> 01:37:14.970
Jerry Corley: Deadpan perspective, Steven Wright, my flight just got canceled.

765
01:37:15.770 --> 01:37:18.150
Jerry Corley: I guess the plane had other plans.

766
01:37:18.400 --> 01:37:23.510
Jerry Corley: Yeah, it's like, now my luggage gets to travel the world without me.

767
01:37:23.940 --> 01:37:26.340
Jerry Corley: Right, that's kind of like… Heh.

768
01:37:26.510 --> 01:37:36.960
Jerry Corley: It's like, I asked, next day, I went to the airport, and I said, can you send me to Miami and send my luggage to Montreal?

769
01:37:37.210 --> 01:37:40.369
Jerry Corley: No, sir, we don't do it that way. Well, you did it yesterday.

770
01:37:40.510 --> 01:38:01.289
Jerry Corley: Right, so it's like that kind of a… kind of a take. I like that, deadpan. Cynical perspective, Joan Rivers, my flight just got canceled, ugh, which is perfect, because what I really wanted to do today was hang out on an airport and get even with, with, fatter eating… and get even… get even fatter eating Cinnabon.

771
01:38:01.290 --> 01:38:10.580
Jerry Corley: Yeah, that's good. Good. Good takes. Those are different takes, different perspectives. That's good to, to see the four different takes there. And it's like,

772
01:38:10.670 --> 01:38:23.700
Jerry Corley: And Cliff, I'm like, thank God, I can't make it to jury duty. that's, that's, that's, that's, that's a good take there as well. Thank God. Oh, yeah. Your flight's canceled. Oh, thank God.

773
01:38:23.710 --> 01:38:40.239
Jerry Corley: No, I don't have to go to jury duty, right? You just… you're laughing your way through it, and that could be… let it wash over you. Lena, are you with us? Are you able to do a take, or no? No? If you don't turn your camera on, or you want to do it audibly, that's fine, too.

774
01:38:40.240 --> 01:38:42.010
LINA: I don't have one, I'm just here.

775
01:38:42.010 --> 01:38:45.980
Jerry Corley: Okay, just listening, that's con- that's cool. Alright, so,

776
01:38:46.550 --> 01:38:58.240
Jerry Corley: So that was… that's… let's go back to our outline. That's a really good take, and I want you to, like, really work through that with different… we're gonna do that with different lines, because that's kind of how we do things. And where'd Kaz go? She disappeared.

777
01:38:58.810 --> 01:39:03.760
Jerry Corley: She's like, could you make that smaller so I could see it? We made it smaller, and then she's gone.

778
01:39:04.070 --> 01:39:19.629
Jerry Corley: Maybe… maybe she loves internet connection. So let's… it's 11.42, let's take our screen break, and then we're gonna come back, and we're gonna do another, exercise like this. This is a good exercise, no? These four different perspectives, 5 different perspectives? Good.

779
01:39:19.630 --> 01:39:27.740
Jerry Corley: It gives you not only words, different words, but it gives you different emotional perspectives, so you take it out off the page. Alright, we'll see you guys in 10 minutes.

780
01:48:16.780 --> 01:48:19.400
Jerry Corley: Okay, alright, we are back.

781
01:48:20.160 --> 01:48:26.069
Jerry Corley: And if you're wondering whether I'm cutting the time short.

782
01:48:26.190 --> 01:48:31.350
Jerry Corley: For the brakes. I think so, I think I am.

783
01:48:31.930 --> 01:48:44.800
Jerry Corley: I was like, I just want to get back to this, this is fun! I love the emotional perspective type of thing, and it's like, that's one of the things I, I was just watching this little clip with Jimmy Carr during the break.

784
01:48:44.800 --> 01:48:53.969
Jerry Corley: And, it's part of the show where he takes questions from the audience. And this is also a good place to try things.

785
01:48:54.010 --> 01:48:58.269
Jerry Corley: Right? And every time he's on the road, he does his act.

786
01:48:59.400 --> 01:49:07.209
Jerry Corley: and his polished act, and at the end of the act, he does a Q&A, and that's the same place he tries new material.

787
01:49:07.730 --> 01:49:19.419
Jerry Corley: So, one of the ways to build, like, one of his secrets is, you know, every year, when he does a Netflix special, that material is done.

788
01:49:19.500 --> 01:49:28.389
Jerry Corley: And then he starts a new act. But, while he's touring, right, he has his dates, while he's touring, after every show.

789
01:49:28.550 --> 01:49:32.720
Jerry Corley: He has about, basically, 10 jokes or so that he…

790
01:49:32.900 --> 01:49:43.800
Jerry Corley: is trying, and he has them on a typewritten, you know, notes, and he'll go up and he's like, I'd like to try these jokes, and he runs these jokes by the audience. Those that are good.

791
01:49:44.250 --> 01:49:45.529
Jerry Corley: He keeps.

792
01:49:45.720 --> 01:49:51.839
Jerry Corley: and you do that every night over a year, you have a new act, right? And so…

793
01:49:51.950 --> 01:49:56.000
Jerry Corley: He doesn't have to rewrite an act at the end of the year, he's already got it.

794
01:49:56.400 --> 01:50:00.079
Jerry Corley: Because he's trying new material. Now, Jay Leno used to say.

795
01:50:00.140 --> 01:50:20.059
Jerry Corley: Do the tried and true up front, put the new stuff in the middle, and have the tried and true at the end, so every night you're testing new material, and if you're recording yourself, you're testing it, and you're making notes on it so that you have it at the end of the year for the following year, for new material. And so that's different ways to work.

796
01:50:20.130 --> 01:50:21.689
Jerry Corley: But,

797
01:50:22.330 --> 01:50:28.500
Jerry Corley: One of the things that happened was when he takes those questions, it allows them to answer honestly.

798
01:50:29.300 --> 01:50:35.400
Jerry Corley: One of the questions was, do you have any advice for a 16-year-old kid comedian?

799
01:50:36.160 --> 01:50:50.789
Jerry Corley: And so that, you know, he puts it up on the screen, right? So, do you have any advice for a 16-year-old kid comedian? And it's like, oh, oh, yeah, well, where are you? Where are you? Oh, you're over there. Hi. So my suggestion is write first.

800
01:50:51.230 --> 01:51:01.909
Jerry Corley: Learn to write first. Learn to write the mechanics of it. You know, how do I create the laugh, you know? He says… and he says, start with the punchline.

801
01:51:02.130 --> 01:51:05.030
Jerry Corley: So that's his advice to a 16-year-old kid.

802
01:51:05.130 --> 01:51:10.620
Jerry Corley: Start with the punchline. Know where you're going, and then reverse engineer the story

803
01:51:11.180 --> 01:51:22.450
Jerry Corley: to sort of misdirect and get that punchline to be the surprise. You know, it's kind of like writing a riddle, right? And so… and so he's answering honestly, right?

804
01:51:22.590 --> 01:51:36.689
Jerry Corley: So he goes, oh, so that's it. And plus, it's self-motivated. You can do that by yourself. You don't need a club, you don't need a crowd. Perform later, write first. And he says, oh,

805
01:51:36.920 --> 01:51:41.309
Jerry Corley: Also, he's not your real dad, right? And I was like, really?

806
01:51:42.920 --> 01:51:54.629
Jerry Corley: Really funny, from the throw that little reverse in there at the end, which he did spontaneously. But it was… he was real honest, right? And the audience applauded his candor.

807
01:51:55.180 --> 01:52:14.669
Jerry Corley: to be so forthright and… to this kid, and give him real advice, honestly. And that emotion captivated the audience in a whole different way. So, if your emotions are real… do you remember that clip of Greg Geraldo, when he's roasting Larry the Cable Guy, and he's like, you know,

808
01:52:14.990 --> 01:52:26.370
Jerry Corley: Why are you so popular? Right? He gets real, like, emotional about it, because he's really honestly frustrated that a guy, this Larry the Cable guy, is actually,

809
01:52:26.870 --> 01:52:31.249
Jerry Corley: you know, successful. And he's a Harvard grad.

810
01:52:31.250 --> 01:52:33.870
LINA: I love that, I love that, because it… you could just…

811
01:52:34.000 --> 01:52:37.339
LINA: You could see his, his stress.

812
01:52:37.600 --> 01:52:41.290
LINA: Like, coming out in just that line.

813
01:52:42.000 --> 01:52:44.469
Jerry Corley: And the audience applauds that.

814
01:52:44.670 --> 01:52:49.450
LINA: It's so funny, because it's, like, it's stressful for him, but it's just so…

815
01:52:49.450 --> 01:52:59.579
Jerry Corley: Powerful. It's visceral, and the audience just applauds that line, which is, for me, just so funny. The audience really… it just really speaks to that emotional…

816
01:52:59.790 --> 01:53:06.870
Jerry Corley: point. And so the other, so, let's, let's see what, so what other, pieces we can come up with here.

817
01:53:06.870 --> 01:53:23.829
Jerry Corley: And get you to write more, on it. Now, as we go through, so we had that… you guys did a great job with the five different perspectives. Now let's ask this question, which one is the easiest for you? Which one of those was the easiest for you, Jack?

818
01:53:26.850 --> 01:53:31.989
Jack Rain: I was actually trying to come up with a Robin Williams perspective,

819
01:53:32.750 --> 01:53:36.690
Jack Rain: I… it's… I can't really say off the top of my head.

820
01:53:38.480 --> 01:53:41.999
Jerry Corley: How would Robin Williams respond? My flight just got canceled.

821
01:53:42.600 --> 01:53:48.350
Jack Rain: there would be some kind of laughter and happiness to it, and I just can't think of…

822
01:53:48.650 --> 01:53:56.519
Jack Rain: the joke off the top of my head, because I wanted to do the perspectives first, but then when I got to Robin Williams towards the end, you called us back in.

823
01:53:56.520 --> 01:54:02.780
Jerry Corley: Oh, okay. So, yeah, if you were doing a Robin Williams perspective, he would definitely give us a second idea.

824
01:54:03.580 --> 01:54:15.080
Jerry Corley: You'd bring in the second idea, oh, because, you know, like, flights just got canceled, because, you know, the perfect time for flights canceling, right? It's like, when you're sitting in the plane.

825
01:54:16.740 --> 01:54:21.640
Jerry Corley: You know? And then give us an is-like, and then an analogy he might do.

826
01:54:21.760 --> 01:54:23.879
Jerry Corley: And then an act out, you know?

827
01:54:24.140 --> 01:54:26.160
Jack Rain: What flight getting canceled.

828
01:54:26.650 --> 01:54:33.640
Jack Rain: Is a lot like… sex when it's… When it doesn't…

829
01:54:33.820 --> 01:54:42.330
Jack Rain: When it just… when it just ends prematurely, you gotta… Work it out yourself.

830
01:54:42.330 --> 01:54:53.680
Jerry Corley: Or what if you guys are, you know, flight got canceled, flight got canceled, you know, when you're on the plane, and it's like, and it's like, it's like, it's kind of like sex with my girlfriend. Does the pilot have a headache too?

831
01:54:55.330 --> 01:54:59.930
Jerry Corley: So that could be, that could be part of that, perspective.

832
01:54:59.930 --> 01:55:03.380
Jack Rain: But it's… it's… it's…

833
01:55:03.760 --> 01:55:12.449
Jack Rain: Okay, my flight got canceled, which is a lot like sex for me, because whenever that gets canceled, it's like, well, it's in my hands now!

834
01:55:12.980 --> 01:55:22.360
Jerry Corley: Yeah, that's good. Nice. There you go. Yeah, that was good, right? So, but at least he had… he could do something about it, because he's in the cockpit.

835
01:55:23.870 --> 01:55:32.230
Jerry Corley: Right? So, you know, yeah, it's like, you know, when my wife says no to sex, at least he's already in the cockpit, right?

836
01:55:32.650 --> 01:55:38.240
Jerry Corley: So that could be fun too, right? And that's a fun way to take it. So, but, which one came easiest?

837
01:55:38.240 --> 01:55:42.090
Jack Rain: I would say the materialistic one, the,

838
01:55:42.280 --> 01:55:46.909
Jack Rain: That's Scotsy data. I just finished watching Chamber of Secrets. Whatever the…

839
01:55:47.340 --> 01:55:50.369
Jack Rain: Jesnik, Jeznik, Jeznik, the confident one.

840
01:55:50.370 --> 01:55:52.520
Jerry Corley: the Jeselnik one came easier to you.

841
01:55:52.520 --> 01:56:04.270
Jack Rain: only as the writer in my head of, like, oh, I enjoy watching blowhard people just get shat in their faces, like.

842
01:56:04.270 --> 01:56:17.899
Jack Rain: Farrell, and I… it's like… so, like, Jezonek, for me, it's like, oh, if he had just had, like, a transition to just shit blunder in his face, that's… I saw it as, like, a sketch slash as a writer in a… in a…

843
01:56:18.570 --> 01:56:25.190
Jack Rain: Creating a character within film, and… Just that, the… just…

844
01:56:25.340 --> 01:56:31.250
Jerry Corley: Jonathan broke down my Robin Williams. My flight just got canceled, kind of like Patch Adams.

845
01:56:31.250 --> 01:56:32.959
Jack Rain: Oh, fuck no!

846
01:56:33.970 --> 01:56:54.599
Jerry Corley: That's a good one. That's good, that's good. But look, I mean, even, you know, just putting the perspective out there, Robin Williams, right? That gave you… he gave Jonathan a different take, too, on what a punchline could be for that one. But the fascinating part for me, too, is the page-to-the-stage exercise.

847
01:56:54.600 --> 01:56:57.730
Jerry Corley: Not only gives you performance…

848
01:56:57.880 --> 01:57:08.679
Jerry Corley: suggestions. It also clearly is giving you guys different takes on what the punchline is. So that's what… one way when you're going through a joke is like, what's the punchline?

849
01:57:08.680 --> 01:57:31.359
Jerry Corley: try to do different voices. Sometimes I say even do accents, you know, and see, well, how would the… how would the stoner reply to that? How would the, you know, is the Mexican who has English as a second language say to that? Like, I had a, one of our landscaper my dad has, his name was Perfertio, and he was, like, a big guy, and he's like, everything was very calm.

850
01:57:31.360 --> 01:57:49.190
Jerry Corley: Everything was very good, no, it's okay, I'll do it, I'll do it, I got it, I'll take care of it. Hey, Yeri, I can use your help, would you turn on the sprinklers? Right? And it's just, like, very cool and casual, such a nice man, and it's like, everything, it was all… everything was always easygoing.

851
01:57:49.190 --> 01:58:08.180
Jerry Corley: You know, so it was like, imagine how he might respond to something, and that's okay, I'll do it, right? I'll start the engine. You know, he always fixed it, right? So it's like that kind of a take, you know, gives you a different way to approach a joke. So if you're trying to find a punchline for a setup.

852
01:58:08.440 --> 01:58:25.860
Jerry Corley: This is a great page-to-the-stage exercise you can apply. Alright, so now, now we see the insight. Everyone has a different take. You get, if I was gonna label their voices, the angry truth teller, but there's… it burns a little deeper than that. Dark superiority and mis… mischievous…

853
01:58:25.860 --> 01:58:34.800
Jerry Corley: He's dripping with mischief and sarcasm, daring himself to be naughty and create friction.

854
01:58:34.800 --> 01:58:40.370
Jerry Corley: Self-aware vulnerability, that's Taylor Tomlinson, social anxiety,

855
01:58:40.550 --> 01:58:56.970
Jerry Corley: questions, definitely. She was religious first, she's not anymore. Quiet, absurdist, Stephen Wright, Sharp Sharcasm is Joan Rivers. Like, you can use all of them, but one.

856
01:58:56.980 --> 01:59:06.769
Jerry Corley: will feel most authentic to you. So, it's like, for me, still, that sarcasm, that cynicism always comes out, even when I'm doing the nice corporate stuff.

857
01:59:06.770 --> 01:59:18.109
Jerry Corley: You know, if somebody, like, somebody says some or heckles from the audience, that's when my cynicism pops, right? It's like, it's like, and if the joke falls flat, it's usually because the emotion isn't clear.

858
01:59:18.920 --> 01:59:23.299
Jerry Corley: The audience doesn't… and if the audience doesn't know who you're making fun of.

859
01:59:23.500 --> 01:59:31.860
Jerry Corley: And how you feel about it. If we don't know how you feel about it, we don't care. The joke will lack energy. Alright, let's take a look here.

860
01:59:31.860 --> 01:59:44.019
Jerry Corley: At, Little Bill Burr. And it's like, now, sometimes watching other comedians gives you inspiration for emotion, right? So let's take a look at some Bill Burr, why women drive men crazy.

861
01:59:44.590 --> 01:59:52.149
Jerry Corley: Listen, listen, just listen to his tone, how he gets into it, right? It's right away, it's like… he's, like, right in there with this, emotion.

862
01:59:52.270 --> 01:59:55.760
Audio shared by Jerry Corley: You could wake me from a drunken stupor, I could still give you, like, 9?

863
01:59:57.010 --> 02:00:00.709
Audio shared by Jerry Corley: Dude, there's plenty of reasons to hit a woman, you just don't do it!

864
02:00:01.560 --> 02:00:05.689
Audio shared by Jerry Corley: But to sit there and suggest that there's no reason…

865
02:00:06.630 --> 02:00:14.690
Audio shared by Jerry Corley: Dude, the level of ego behind that statement… what are you, levitating above the rest of us? You're never annoying?

866
02:00:16.440 --> 02:00:21.459
Audio shared by Jerry Corley: Wait a minute, how many times have you thought about slapping your fucking guy in the head this week?

867
02:00:24.100 --> 02:00:25.339
Audio shared by Jerry Corley: There you go!

868
02:00:26.410 --> 02:00:27.410
Audio shared by Jerry Corley: Every day!

869
02:00:28.080 --> 02:00:29.410
Audio shared by Jerry Corley: Didn't do it, right?

870
02:00:30.680 --> 02:00:32.629
Audio shared by Jerry Corley: Oh, dude, it drives me nuts.

871
02:00:32.630 --> 02:00:45.780
Jerry Corley: Alright, so, in that take, right, and the video was annoying, I don't know why that clip turned up that way, but that take… listen to how we got the response from somebody in the audience.

872
02:00:45.780 --> 02:01:01.950
Jerry Corley: And it becomes, there you go! It's honest, because he has no other choice. You gotta respond to what's happening right now. So, in that case, you can feel that anxiety there for Bill Burr, right? So that anxiety is what plays it through there. Now, if we look at,

873
02:01:02.730 --> 02:01:07.289
Jerry Corley: If we can look at another take… let me grab in there, get in there and grab that.

874
02:01:23.910 --> 02:01:45.689
Jerry Corley: So Burr sounds like the guy's been holding on to all this stuff, holding it deep inside of him for years. You know, he's got that… especially now, as Kaz was pointing out earlier, like, it's like he's changed, but he's still… he talks about holding, just pushing down those emotions, and it's still, like, frustrating, and he's cynical, too. You know, he doesn't like…

875
02:01:45.690 --> 02:01:47.719
Jerry Corley: You can't tell me, like,

876
02:01:47.720 --> 02:01:59.909
Jerry Corley: You know, you can't hit a woman, right? And it's like, and it's like, really? You know, and then he goes into… he likes to take that friction and work through it and prove it one way or the other. So,

877
02:02:00.230 --> 02:02:05.039
Jerry Corley: So he starts with a calm observation, but then he takes it and builds through the frustration.

878
02:02:05.690 --> 02:02:23.849
Jerry Corley: And he doesn't always start calm, but he starts with an idea. It's the calmness that gets him to the idea, and then the idea builds, right? And that's when he usually hits the audience. You know, who wouldn't be afraid to get married right now? Really? You know, look at this guy. You're telling me that Arnold Schwarzenegger wasn't a great man, really? That's like…

879
02:02:23.850 --> 02:02:27.639
Jerry Corley: You know, is that what you're saying? You know, Terminator doesn't count?

880
02:02:28.470 --> 02:02:40.319
Jerry Corley: How many of you could move to Austria, learn the language, become famous for lifting weights, marry into the royalty, run for public office, and win? How many lifetimes would it take? I'm on my third attempt at Rosetta Stone Spanish.

881
02:02:40.600 --> 02:02:54.940
Jerry Corley: And it's all like this emotion, and he ends with the structure of the three descriptor line, I'm on my third attempt at Rosetta Stone Spanish. Self-deprecating, compare and contrast between Arnold's achievements and his.

882
02:02:55.550 --> 02:03:06.280
Jerry Corley: And it's like, and he has that three descriptor line, and that's the one that makes it pay off. So you can see how he loves to use the compare and contrast. Anthony Cheselnik.

883
02:03:06.740 --> 02:03:13.789
Jerry Corley: So, it's a, here's a Dark Jokes compilation. It gives you that, kind of that,

884
02:03:16.580 --> 02:03:21.630
Jerry Corley: just as… Slow, sarcastic vibe.

885
02:03:25.770 --> 02:03:27.870
Audio shared by Jerry Corley: In my entire… I'm aware.

886
02:03:28.300 --> 02:03:29.280
Audio shared by Jerry Corley: That I'm my .

887
02:03:29.780 --> 02:03:31.340
Audio shared by Jerry Corley: I am aware.

888
02:03:31.770 --> 02:03:35.449
Audio shared by Jerry Corley: That I must seem like a tough, cold son of a bitch up here.

889
02:03:36.340 --> 02:03:45.370
Audio shared by Jerry Corley: In fact, The only time I've ever cried in public in my entire life Was at my mom's funeral.

890
02:03:46.100 --> 02:03:49.510
Audio shared by Jerry Corley: I might be a tough, cold son of a bitch.

891
02:03:49.960 --> 02:03:54.470
Audio shared by Jerry Corley: But that doesn't mean I'm not also one hell of an actor.

892
02:03:56.840 --> 02:04:00.250
Audio shared by Jerry Corley: My baby brother's in high school now, and we're close.

893
02:04:00.430 --> 02:04:02.949
Audio shared by Jerry Corley: But sometimes let's try to take advantage of that, you know?

894
02:04:03.490 --> 02:04:11.039
Audio shared by Jerry Corley: A couple months ago, he calls me up, he goes, Anthony, I just cut school for no reason, and now I need you to write me a sick note

895
02:04:11.210 --> 02:04:14.279
Audio shared by Jerry Corley: And then forge Dad's signature, and make it good.

896
02:04:14.560 --> 02:04:17.890
Audio shared by Jerry Corley: I did my best, but I'm horrible at stuff like that.

897
02:04:18.250 --> 02:04:20.590
Audio shared by Jerry Corley: Teachers took one look at the note and said.

898
02:04:20.800 --> 02:04:22.810
Audio shared by Jerry Corley: You expect me to believe this?

899
02:04:23.390 --> 02:04:25.660
Audio shared by Jerry Corley: You don't have AIDS.

900
02:04:33.570 --> 02:04:38.230
Jerry Corley: So… You can… if we take that scenario right there.

901
02:04:40.050 --> 02:04:45.569
Jerry Corley: That we are writing… if we were writing a note.

902
02:04:45.890 --> 02:04:54.219
Jerry Corley: And, like, our kid or brother, asked us to write a note for them to excuse them from…

903
02:04:55.490 --> 02:04:56.600
Jerry Corley: Class.

904
02:04:57.780 --> 02:05:11.020
Jerry Corley: And it's like, what would that take be if you were gonna use, you know, your take versus, like, Anthony Cheselnik's take? Like, I was thinking about my take when I first heard that line. If I was gonna write

905
02:05:12.510 --> 02:05:18.660
Jerry Corley: my response, because when he said that, when I first heard that joke, when I said the line, my line was…

906
02:05:19.120 --> 02:05:20.879
Jerry Corley: Before I even heard his take.

907
02:05:21.290 --> 02:05:25.710
Jerry Corley: was, what would my response be? What would I put on that note?

908
02:05:25.860 --> 02:05:30.680
Jerry Corley: If it was my brother, I was like…

909
02:05:30.860 --> 02:05:38.119
Jerry Corley: It was my brother, and he was like… he was… and he sets his brother up to sort of be an antagonist and make it good.

910
02:05:38.220 --> 02:05:45.970
Jerry Corley: giving him these demands to basically commit fraud. So, think about it. If your brother or sister

911
02:05:46.100 --> 02:05:48.270
Jerry Corley: Wanted you to write a note.

912
02:05:51.700 --> 02:05:55.389
Jerry Corley: For him to take to school, for his absence, for his illness.

913
02:05:56.040 --> 02:05:59.759
Jerry Corley: and was demanding about it. What would you write?

914
02:06:00.720 --> 02:06:12.809
Jerry Corley: So I want you to take… take 5, and don't worry, take 3, whatever it takes you, to write what your comeback would be. Does everybody got this? Jack, are you with us? Cliff, are you with us? Am I just, like, talking to the moon here?

915
02:06:12.810 --> 02:06:15.040
Janet Rapala: I had a frickin' miscarriage!

916
02:06:16.290 --> 02:06:17.690
Janet Rapala: But it's the brother.

917
02:06:17.690 --> 02:06:30.259
Jerry Corley: Yeah, yeah, you give it to your brother, you know, his brother's like, you know, it's like, wait a second, can this be true? So the assignment, Jonathan, is like… so, Anthony Jeselnick had a joke, and he says, my brother…

918
02:06:30.480 --> 02:06:36.749
Jerry Corley: He's getting a little… he's getting a little arrogant now. He says, he came to me, he says, I cut school for no reason.

919
02:06:37.270 --> 02:06:42.640
Jerry Corley: And I need you to write me An absent note.

920
02:06:44.430 --> 02:06:45.970
Jerry Corley: And make it good.

921
02:06:47.380 --> 02:06:50.589
Jerry Corley: So, he sets the brother up as an antagonist.

922
02:06:51.160 --> 02:07:05.970
Jerry Corley: Right? So what would you do to get him back? It's benign retaliation here, right? So it's like, write a comeback, like, what would you write that a teacher reads and goes, you're an idiot, or whatever? I would, like, that's what I would do, like, yes.

923
02:07:06.360 --> 02:07:13.250
Jack Rain: the… the flight flare back from Epstein Island was too high.

924
02:07:14.540 --> 02:07:15.600
Jerry Corley: the flight…

925
02:07:16.340 --> 02:07:18.290
Jack Rain: The flight… the flight fare.

926
02:07:18.290 --> 02:07:30.860
Jerry Corley: Oh, yeah, the fare, the expense, yeah, the price… a fare. Who calls it a fare? The flight fare. Who says that? The flight fare, right? Is that you writing or talking?

927
02:07:30.860 --> 02:07:32.150
Jack Rain: Me talking.

928
02:07:32.150 --> 02:07:37.679
Jerry Corley: You say the fare? The flight fair? Is that how you talk? Who talks like that?

929
02:07:37.680 --> 02:07:41.650
Jack Rain: I have multiple personalities, it comes out.

930
02:07:42.180 --> 02:07:43.699
Jack Rain: They're all over the place, man!

931
02:07:43.700 --> 02:07:57.769
Jerry Corley: So it's like, yeah, that's a good one, that's a good one. Yeah, that could put him in… that could really be funny. He's like, teacher reading it, oh, look, Joey says he was unable to be at class yesterday because the flight fare

932
02:07:58.920 --> 02:08:01.630
Jerry Corley: Flight Fair? Really? You wrote this?

933
02:08:02.070 --> 02:08:07.939
Jerry Corley: The ticket flight, the flight for the ticket was too expensive back from Epstein Island.

934
02:08:08.130 --> 02:08:20.819
Jerry Corley: Imagine him with saying that in front of a class. That would definitely embarrass him, right? He doesn't read it, he just turns it in. And that's a scene you could put into a movie, right?

935
02:08:20.820 --> 02:08:21.240
Jack Rain: Yeah, yeah, yeah.

936
02:08:21.240 --> 02:08:30.660
Jerry Corley: Now, my, my comeback would have been, if it was my brother, It's like,

937
02:08:30.780 --> 02:08:44.649
Jerry Corley: It would be, like, my, my, comeback would be, like, see, looks like Kevin missed class on Friday because he had to get a biopsy of his uterus.

938
02:08:48.080 --> 02:08:52.290
Jerry Corley: That's great. Really? Yeah, really, Kev? Is that what happened?

939
02:08:52.290 --> 02:08:55.060
Jack Rain: Like, if I was… Gotta get a breast reduction.

940
02:08:55.060 --> 02:08:57.239
Jerry Corley: Yeah, that goes, that goes a little.

941
02:08:57.240 --> 02:08:59.180
Janet Rapala: Along with the miscarriage.

942
02:08:59.360 --> 02:09:03.319
Jerry Corley: Yeah, that's… right, exactly. Yeah, yeah, the miscarriage is really funny.

943
02:09:03.320 --> 02:09:04.999
Jack Rain: He was going through his fourth…

944
02:09:05.000 --> 02:09:13.959
Jerry Corley: You just had a miscarriage, plus in high school, that'd be so, like, humiliating, right? That's good, right? It really sets them up if you want to get back and do.

945
02:09:13.960 --> 02:09:18.100
Jack Rain: He was going through his fourth trimester.

946
02:09:18.350 --> 02:09:30.029
Jerry Corley: Yeah, yeah, right? So, so let's see if what Jonathan comes back with on that one, too. So this is good, this is like… like, a lot of times when you have… when you're watching comedians.

947
02:09:30.120 --> 02:09:47.880
Jerry Corley: It's been one of the things I like to watch Jezelnik, because he moves slow, right? And so it gives you time to take that line, same thing with Keith Alberstadt, and take that line and come up with a version. So that's why I said when you're watching comedians, only look at 3 minutes at a time max, transcribe it.

948
02:09:47.880 --> 02:10:00.800
Jerry Corley: Now it's so easy to get it transcribed, then you can take that transcription and write your own second ending, so it's a great practice. And it's like, then you can sometimes take that… take that line, take that joke.

949
02:10:00.930 --> 02:10:07.369
Jerry Corley: And when I say patch key it, rework it, rework it, till it's a new joke entirely.

950
02:10:07.910 --> 02:10:20.770
Jerry Corley: But the concept is there, right? So, it helps you to get to that, you know, taking the template of the joke, like when Gary Shandling says, I just sold the house I lived in, got a great price for it, too.

951
02:10:20.930 --> 02:10:22.940
Jerry Corley: Made the landlord mad as hell.

952
02:10:23.240 --> 02:10:32.640
Jerry Corley: Now, that joke is making the audience think I own the house, but I rent the house. So, and then I could take that concept and write my own joke.

953
02:10:32.640 --> 02:10:33.060
Jack Rain: Hmm.

954
02:10:33.060 --> 02:10:43.099
Jerry Corley: That way, and at the end, reveal that I rent the house. That's the realtor, you know, there's something… Sharon, there's something you should know about this house. What, it's haunted? No, I rent it.

955
02:10:43.100 --> 02:10:53.529
Jerry Corley: And then, bam, that surprising moment, detention builds, and the he said, she said, so you're able to take that joke, and nobody would ever say that's Gary Shandling's joke.

956
02:10:53.530 --> 02:10:56.120
Jerry Corley: But it's like, oh, I'm taking the template of that.

957
02:10:56.120 --> 02:11:05.150
Jerry Corley: Now, Jezelnik does this a lot, by the way. He's a temp… he watches… he gets the template of a joke, and he rewrites a joke so it's unrecognizable.

958
02:11:05.150 --> 02:11:17.540
Jerry Corley: So that's a great piece of practice to do. It's a great way to be inspired. It's just like playing cover music as a band, as a guitar player, and then you start writing your own songs based on

959
02:11:18.110 --> 02:11:22.890
Jerry Corley: that music, right? So, look at the, the axis of awesome.

960
02:11:23.020 --> 02:11:33.000
Jerry Corley: That group on, YouTube, you can find them, they do the 4-chord, the special 4-chord thing, where they take the same four chords, and they play, like, a hundred different songs.

961
02:11:33.980 --> 02:11:36.020
Jerry Corley: Because they all use the same four chords.

962
02:11:38.180 --> 02:11:39.439
Jerry Corley: my brother.

963
02:11:39.810 --> 02:11:45.430
Jerry Corley: Said I cut school for no reason, and I need you to write me an absent note and make it good.

964
02:11:45.800 --> 02:11:57.990
Jerry Corley: I like it. Because he's really setting up that… boy, that brother's really getting arrogant. It's like, I asked him why he would want me to write a note for him, when in third grade, he told me my story sucked.

965
02:11:58.370 --> 02:12:14.640
Jerry Corley: Right? It's like, he almost got away with it, except the teacher didn't believe that he was called into an emergency meeting on the Iran war. That's good. That's funny. I missed school on Friday because I was called into an emergency meeting.

966
02:12:14.640 --> 02:12:18.469
Jerry Corley: on the Iran war, right? That's funny.

967
02:12:18.470 --> 02:12:24.530
Janet Rapala: But that kind of tracks, given who Trump uses for advisor, so, you know, it's a possibility.

968
02:12:24.530 --> 02:12:29.339
Jerry Corley: That's right. Oh, shit. It's like, I said, wait a second, isn't your name Pete Hegseth?

969
02:12:29.850 --> 02:12:40.170
Jerry Corley: Yeah, it's like, he might get better advice from some of these kids, these days. It's like, you never know, wow, you know,

970
02:12:40.730 --> 02:12:49.379
Jerry Corley: It's, it's so interesting what the, the people that are running these places, like the, what's-her-name, the McMahon,

971
02:12:50.340 --> 02:13:03.690
Jerry Corley: Linda McMahon is the head of… the Secretary of Education, and she was really pushing the use of AI. A1, as she called it. A1. She didn't even know what it was. And yet studies…

972
02:13:04.800 --> 02:13:14.619
Jerry Corley: From sociologists and psychologists are showing that ever since technology has been introduced into our society, the learning

973
02:13:15.410 --> 02:13:17.520
Jerry Corley: Of kids has declined.

974
02:13:17.790 --> 02:13:22.340
Jerry Corley: You know, throughout their adulthood, right? So we're actually getting dumber and dumber.

975
02:13:22.380 --> 02:13:39.239
Jerry Corley: So, it's like, that's, why would you then push to AI in education? Like, holy shit, we're really, really dumbing down. Has anybody else got, a joke? Is Cliff still with us? Cliff has, note to teacher, Joey was unable to attend class yesterday because

976
02:13:39.590 --> 02:13:41.800
Jerry Corley: He's extremely imbecilic.

977
02:13:41.820 --> 02:14:00.290
Jerry Corley: Joey, is this note from you? I don't think you know how to spell imbecilic. That's funny. That's a funny thing to say, because kids wouldn't necessarily say that. Good. Alright. So, we look at different perspectives and how to, like, respond each time, each different

978
02:14:00.350 --> 02:14:08.950
Jerry Corley: persona is gonna return a different perspective. So let's get back to, our sheet, and…

979
02:14:25.020 --> 02:14:33.199
Jerry Corley: Now, here's a question. I just was looking at that video there, for, Jeselnik.

980
02:14:33.300 --> 02:14:40.200
Jerry Corley: Because there's… right on that freeze frame… There was that.

981
02:14:40.200 --> 02:14:41.190
Audio shared by Jerry Corley: Nobody saw me.

982
02:14:42.900 --> 02:14:45.359
Audio shared by Jerry Corley: Telling me that she has AIDS?

983
02:14:49.660 --> 02:14:51.770
Audio shared by Jerry Corley: I've got some great news.

984
02:14:53.540 --> 02:14:56.560
Audio shared by Jerry Corley: You don't have AIDS. Now watch this.

985
02:15:02.600 --> 02:15:07.069
Jerry Corley: They do this audience shot here. Now, you see this young lady in the shot?

986
02:15:08.460 --> 02:15:10.280
Jerry Corley: Right? With the smile.

987
02:15:10.280 --> 02:15:10.720
Jack Rain: Yeah.

988
02:15:10.720 --> 02:15:15.399
Jerry Corley: On her face. Now… when I'm on stage.

989
02:15:16.070 --> 02:15:29.330
Jerry Corley: A smiling face from a person, man, woman, whatever, and that looks like… it feels like they're really enthusiastically enjoying you, will have a different impact on how I respond.

990
02:15:29.870 --> 02:15:31.760
Jerry Corley: Does anybody feel the same way?

991
02:15:33.300 --> 02:15:36.690
Janet Rapala: She also has… she also has 5 cocktails in front of her.

992
02:15:36.690 --> 02:15:43.620
Jerry Corley: Yeah, but it looks like she's got a team, right? She's got a few people, but yes, definitely.

993
02:15:43.620 --> 02:15:55.760
Jack Rain: Maybe, maybe that's a trick that, that they do. They're like, you know, the, you know, the A-list comedians, they get her, get him, her, like, 5 cocktails.

994
02:15:56.230 --> 02:16:00.110
Jack Rain: Just to loosen them up so they can get good footage of that person.

995
02:16:00.110 --> 02:16:06.279
Jerry Corley: Well, I don't know, it's like, they have the… they have it pretty well mapped out. You see this light here, right?

996
02:16:06.280 --> 02:16:06.650
Jack Rain: Yes.

997
02:16:06.650 --> 02:16:12.080
Jerry Corley: This light here is not just for decor, it's to light up the audience, and when they do that.

998
02:16:12.160 --> 02:16:31.909
Jerry Corley: reverse shot that cover shot, coverage shot, to the audience, that audiences can be… it's gonna show up well. It's photographed beautifully, look at that, right? So when they're down at his legs, like, here's Jezelnick's legs, so that you get where the camera is, right towards there, and they probably…

999
02:16:31.910 --> 02:16:35.740
Jerry Corley: Placed the people right there at that spot.

1000
02:16:35.740 --> 02:16:36.100
Jack Rain: Yeah.

1001
02:16:36.100 --> 02:16:40.320
Jerry Corley: that would be attractive for the shot, right? So now… but…

1002
02:16:41.110 --> 02:16:49.449
Jerry Corley: What I want you to… the reason why I want you to consider this is when you're practicing at home, like Jimmy Carr said to the 16-year-old.

1003
02:16:49.450 --> 02:17:01.850
Jerry Corley: Write first. When you're writing your jokes, and you get up and you start saying your jokes out loud, you're imagining the audience. Imagine, how would you take change from the page to the stage if

1004
02:17:02.059 --> 02:17:05.629
Jerry Corley: This… these people were laughing and smiling looking at you.

1005
02:17:05.730 --> 02:17:09.670
Jerry Corley: As opposed to you just saying it to the blank… a blank wall.

1006
02:17:10.080 --> 02:17:11.469
Jerry Corley: Or even a mirror.

1007
02:17:13.309 --> 02:17:16.049
Jerry Corley: Would it change? I would think it would change.

1008
02:17:16.360 --> 02:17:23.990
Jerry Corley: You know? I'm a… I flirt. I flirt with, you know, I flirt with men and women. Not, not sexually with men.

1009
02:17:24.320 --> 02:17:27.959
Jerry Corley: Or women, necessarily, but it's like…

1010
02:17:28.740 --> 02:17:41.030
Jerry Corley: I want, you know, basically, I, you know, I'm… they're laughing, it's gonna change the way I respond to them. I want them to continue laughing. So that's what I mean by flirt. I flirt with the trying to continue to keep that emotion going.

1011
02:17:41.240 --> 02:17:44.610
Jerry Corley: And, sometimes I flirt with danger.

1012
02:17:44.940 --> 02:17:47.819
Jerry Corley: Like, if somebody's, like,

1013
02:17:48.040 --> 02:18:03.549
Jerry Corley: you know, kind of, like, resisting, I'll call them out and see what happens there. You know, so it's like, you can… but it will change your perspective. That's another way to go from just the flat words on a page to make it come alive. Imagine

1014
02:18:03.549 --> 02:18:09.309
Jerry Corley: different people and how they're responding to you, so the takes from other people. Cliff, you have your hand up?

1015
02:18:10.020 --> 02:18:22.430
Cliff Spenger: Yeah, I was just gonna say that I think that you have to sort of assume that when you're performing. I have a… when I perform, I have very limited feedback from them, because it's very loud, and I put out

1016
02:18:22.639 --> 02:18:35.480
Cliff Spenger: comedy and different things. You have to sort of assume that they're… and you get… you hear the laughter, you hear the feedback from them. You kind of have to assume that… because why are you there if you don't think you're funny? So just assume

1017
02:18:35.480 --> 02:18:44.100
Cliff Spenger: that when you assume that they're enjoying themselves, and you're getting the feedback, you're gonna be in that better performer state. That's my…

1018
02:18:44.670 --> 02:18:52.540
Jerry Corley: Well, yeah, but the take could also be, like, when you're, maybe the night is going a little off, right? A little bit different.

1019
02:18:52.540 --> 02:19:10.259
Jerry Corley: to be honest and be open to the moment, like, when they furrow their brow, it's like, maybe it's because I swallowed a word, and they didn't hear it, they didn't hear the setup. And so, I'll respond to that. But I do, like, I have that take of… I know the jokes are funny.

1020
02:19:10.559 --> 02:19:25.550
Jerry Corley: Right? And it's like, and they should be laughing. So when I'm doing radio, and I can't hear the laughter, usually, you know, you'll have a DJ that's laughing along with you. But if I'm doing radio and I can't hear the laughter, I'm imagining them in their car laughing.

1021
02:19:26.590 --> 02:19:28.790
Jerry Corley: Right? Because that helps your timing, right?

1022
02:19:28.790 --> 02:19:29.340
Cliff Spenger: Exactly.

1023
02:19:29.340 --> 02:19:31.999
Jerry Corley: Yeah, so you gotta, like, you gotta…

1024
02:19:32.000 --> 02:19:34.040
Cliff Spenger: Give them the space. Give them the space.

1025
02:19:34.049 --> 02:19:43.949
Jerry Corley: Right, and it's like, when I say a joke, you know, I'm imagining, you know, my flight just got canceled. Yeah. I mean, man, it's like the third time this week.

1026
02:19:44.079 --> 02:19:48.429
Jerry Corley: Right? I mean, it's like it's getting bad, right? It's getting bad.

1027
02:19:48.619 --> 02:20:01.309
Jerry Corley: It's me responding to what I hear them saying. Like, they're sharing my frustration. So, it's like, that changes the rhythm of how you're performing. It's not just a flat joke where we just sort of recite the joke.

1028
02:20:01.309 --> 02:20:16.489
Jerry Corley: You know, one gal I'm working with, she's getting better and better at this. She used to, you know, she used to sort of, like, kind of recite the jokes. And I go, give me a different take on that. And then she'd say it exactly the same way.

1029
02:20:16.679 --> 02:20:28.309
Jerry Corley: I go, give me a different… what do you mean, a different take? But she's sort of, like, has a rhythm, and it comes out the same way all the time, and a lot of times, she'd drop off the end of her phrase. If you drop off the end of your phrase.

1030
02:20:28.639 --> 02:20:30.869
Jerry Corley: What is the audience gonna do with their laugh?

1031
02:20:31.580 --> 02:20:32.220
Cliff Spenger: Drop it off.

1032
02:20:32.220 --> 02:20:35.630
Jerry Corley: drop it off, right? And so it's like…

1033
02:20:35.630 --> 02:20:36.880
Cliff Spenger: They never you. They never…

1034
02:20:36.880 --> 02:20:38.349
Jerry Corley: Play, play that…

1035
02:20:38.350 --> 02:20:40.109
Cliff Spenger: Back to what I was saying, yeah.

1036
02:20:40.110 --> 02:20:43.229
Jerry Corley: Yeah, play that, play that emotion through the punchline.

1037
02:20:44.780 --> 02:20:45.530
Jerry Corley: Go ahead, Cliff.

1038
02:20:45.530 --> 02:20:49.780
Cliff Spenger: You know, they're so tuned in to… they're so tuned in to you.

1039
02:20:50.120 --> 02:21:00.260
Cliff Spenger: So, so you are leading them, so you're like the model. That's what I'm saying. And so, you know, you have to have a little bit more chutzpah to kind of lay it out there on the table for them.

1040
02:21:00.620 --> 02:21:02.080
Jerry Corley: Yeah. Regardless.

1041
02:21:02.080 --> 02:21:07.650
Cliff Spenger: of how they're responding. Sometimes they just don't… they don't respond. You still have to bring your A-game.

1042
02:21:07.650 --> 02:21:19.760
Jerry Corley: That's right, that's right. You know, one of the things that I got, one of the things I got, like, accolades on from Bud Friedman was when I was first appearing at the improv.

1043
02:21:19.940 --> 02:21:34.299
Jerry Corley: I was the, like, the 1.30 guy. That's when the club used to play to go until 2 o'clock, right, in the morning. Or the 12.30 guy. You know, I was one of the guys that was always, because I was the younger one, I was the one going on late. And so,

1044
02:21:34.530 --> 02:21:46.519
Jerry Corley: And so the club would not be as full as it is at 8 o'clock, and it was at, you know, 1.30 in the morning, or 12.30, or 12.45. And it was like, but I would play that like the room was full.

1045
02:21:46.940 --> 02:21:57.399
Jerry Corley: And, Bud came up to me and said, Mr. Corley, I said, the one thing I noticed about you is you play… you play the room like it's full, whether there's 5 people in the room or 500.

1046
02:21:57.600 --> 02:22:01.800
Jerry Corley: And I go, well, that's impossible, bud, because this room only sits 280.

1047
02:22:01.990 --> 02:22:08.080
Jerry Corley: But he was like, no, but he said, what I'm trying to say is.

1048
02:22:08.180 --> 02:22:09.970
Jerry Corley: You're good for the house.

1049
02:22:10.510 --> 02:22:25.430
Jerry Corley: Because everybody knows that it doesn't matter if they're here late, it makes them want to stay, because you're treating it like still a… it's like a show. Like, there's some comedians that get up and blame the audience, the people that stayed, for how light the crowd is.

1050
02:22:27.130 --> 02:22:28.719
Cliff Spenger: The crowd muddles those people.

1051
02:22:28.720 --> 02:22:32.130
Jerry Corley: Like, like, they're here! Why would you get mad at them? You know?

1052
02:22:32.130 --> 02:22:32.690
Cliff Spenger: Yeah.

1053
02:22:33.080 --> 02:22:42.829
Jerry Corley: Yeah, so play, play it through. You're right, play it all the way through. Alright, so let's, let me get back to… yes, Jack, do you have another thing to take? Another take on that?

1054
02:22:43.920 --> 02:22:47.379
Jack Rain: Yeah, my flight got canceled.

1055
02:22:47.790 --> 02:22:50.440
Jack Rain: What, was it caught with underage models?

1056
02:22:57.200 --> 02:23:01.700
Jerry Corley: Who got canceled because they were called with underage models?

1057
02:23:01.700 --> 02:23:02.610
Jack Rain: the flight.

1058
02:23:03.570 --> 02:23:06.309
Jerry Corley: Yeah, but who does that relate to right now?

1059
02:23:06.310 --> 02:23:07.909
Jack Rain: I think I was just trying…

1060
02:23:07.910 --> 02:23:11.729
Jerry Corley: Is there a parallel idea? Who are we making fun of? Who are we making fun of?

1061
02:23:11.730 --> 02:23:14.999
Jack Rain: I was gonna go with Trump, and it's like, oh, Trump, Trump, Trump, Trump.

1062
02:23:15.000 --> 02:23:17.989
Janet Rapala: No, the model was a LEGO.

1063
02:23:18.330 --> 02:23:22.310
Jerry Corley: But you see, if something happened.

1064
02:23:23.300 --> 02:23:30.310
Jerry Corley: Like, remember, if you watched the Conan thing, it was something recent that went viral where Chalamet, tell me things.

1065
02:23:30.310 --> 02:23:31.380
Jack Rain: He's telling me what's making…

1066
02:23:31.380 --> 02:23:33.179
Jerry Corley: The fun of ballet and opera.

1067
02:23:33.180 --> 02:23:37.009
Jack Rain: Yeah, the flight was canceled because they didn't allow the ballet on board.

1068
02:23:37.210 --> 02:23:55.260
Jerry Corley: Right? So, yeah, so he was just able to bring that up, and people made, it was so… that meme was popular enough that people got it, right? And he still had to eat… he had to eat shit, because he was embarrassed about what he said. He was like, oh, he realized the hole he dug, right, when he said that.

1069
02:23:55.350 --> 02:23:58.619
Jerry Corley: So, yeah, last thing we need is culture.

1070
02:23:58.940 --> 02:24:09.210
Jerry Corley: You know, in our society, Chalamet, what a sh… Chalamet, that's what… that's… why his name is spelled that… why his name is pronounced that way, Shallow.

1071
02:24:09.350 --> 02:24:13.650
Jerry Corley: Right? Because that's shallow thinking, like, the cultural…

1072
02:24:13.650 --> 02:24:14.480
Jack Rain: Yeah, I love it.

1073
02:24:14.480 --> 02:24:19.780
Jerry Corley: From, from opera and ballet is, is, is, you know.

1074
02:24:20.020 --> 02:24:34.889
Jerry Corley: is valuable, but he's, you know, he only thinks, like, his stuff is valuable. Now let's take a look at, let's take a look at a little Taylor Tomlinson. Now we've got the self-aware anxiety, right? So imagine these words on the page.

1075
02:24:35.860 --> 02:24:41.360
Jerry Corley: And how it can play through by applying it towards an emotional point of view.

1076
02:25:07.930 --> 02:25:09.739
Jerry Corley: Now, you see what she did there?

1077
02:25:09.980 --> 02:25:10.880
Jerry Corley: Check.

1078
02:25:11.560 --> 02:25:13.749
Jack Rain: Your video was not playing.

1079
02:25:13.750 --> 02:25:14.820
Janet Rapala: It didn't play.

1080
02:25:14.820 --> 02:25:17.709
Jerry Corley: Oh, shit. Wow, weird. Okay.

1081
02:25:17.710 --> 02:25:18.700
Jack Rain: screen sharing.

1082
02:25:18.700 --> 02:25:21.929
Jerry Corley: So you just saw me making a weird face.

1083
02:25:22.340 --> 02:25:24.060
Jack Rain: It's like…

1084
02:25:24.610 --> 02:25:27.699
Jack Rain: -Oh, say goodbye, Jerry!

1085
02:25:27.700 --> 02:25:28.780
Jerry Corley: Yeah, this is, like…

1086
02:25:28.780 --> 02:25:31.680
Jack Rain: This is Sue.

1087
02:25:31.680 --> 02:25:36.589
Jerry Corley: I gotta adapt to these new, the new settings for Zoom.

1088
02:25:36.590 --> 02:25:38.850
Janet Rapala: The Zoom upgrade was a fail.

1089
02:25:39.290 --> 02:25:47.250
Jerry Corley: Yeah, I think this upgrade was kind of a… they're gonna… got some bugs they need to work out. Probably AI developed it. Alright, now that's showing correct.

1090
02:25:47.250 --> 02:25:47.780
Jack Rain: Yes.

1091
02:25:47.780 --> 02:25:49.809
Jerry Corley: Yes, alright, there we go. Alright, so…

1092
02:25:51.850 --> 02:26:05.210
Jerry Corley: Watch what… see if you can identify what she does with the joke, how she makes the joke work, the written, the mechanics of the joke, but listen to how her emotion plays through. Now, she's not fully cynical.

1093
02:26:05.640 --> 02:26:16.419
Jerry Corley: And fully sarcastic, but she's definitely, got that playing through, but she's also… remains… it's a comedic sarcasm.

1094
02:26:16.920 --> 02:26:21.049
Audio shared by Jerry Corley: Encouraged to abstain from drugs and alcohol and sex and enjoyment.

1095
02:26:21.400 --> 02:26:29.320
Audio shared by Jerry Corley: I grew up very religious, you know, so I was encouraged to abstain from drugs and alcohol and sex and enjoyment, and

1096
02:26:29.730 --> 02:26:41.380
Audio shared by Jerry Corley: Yeah, being abstinent is when you wait until marriage to have sex. They used to tell us the safest sex is no sex, which is a lot like saying the safest travel is books.

1097
02:26:44.010 --> 02:26:50.010
Audio shared by Jerry Corley: When I have a daughter, I'm gonna make sure she's abstinent in high school, and probably before that, while we're at it, because…

1098
02:26:54.150 --> 02:26:56.840
Jerry Corley: So what's the strategy she used?

1099
02:26:57.160 --> 02:26:58.430
Jerry Corley: Mechanically.

1100
02:26:58.560 --> 02:26:59.720
Jerry Corley: Mechanically.

1101
02:27:02.670 --> 02:27:03.999
Jack Rain: A little analogy.

1102
02:27:04.000 --> 02:27:05.420
Jerry Corley: Yes, good, good.

1103
02:27:05.420 --> 02:27:07.809
Janet Rapala: I did a 3-way build-up, but she had, like, 4 things.

1104
02:27:07.810 --> 02:27:20.510
Jerry Corley: Four, yeah, good, nice, nice, yeah, because I was like, wow, that's too many. All you have to do is set that pattern and shatter it. But, like, sex, you know, like, dancing and music and sex and enjoyment.

1105
02:27:21.940 --> 02:27:30.279
Jerry Corley: Right? And then, she was like, but there was, like, abstinence, like, is the only way to go. You know, you've got to be abstinent.

1106
02:27:30.280 --> 02:27:31.589
Jack Rain: That's not the same.

1107
02:27:32.050 --> 02:27:38.430
Jack Rain: The whole… the joke about the books, it kind of threw me off.

1108
02:27:38.920 --> 02:27:41.810
Jack Rain: So, I was just trying to connect with that, like, what?

1109
02:27:41.810 --> 02:27:47.630
Jerry Corley: The safest way to have sex is no sex. The safest way to travel is books.

1110
02:27:47.630 --> 02:27:49.589
Janet Rapala: Yeah, reading is fundamental.

1111
02:27:49.590 --> 02:27:53.539
Jerry Corley: Yeah, reading, meaning you read about going to places, an adventure.

1112
02:27:53.540 --> 02:27:55.129
Jack Rain: That's what I thought, okay.

1113
02:27:55.500 --> 02:28:01.820
Jerry Corley: So that's… that's… that's a different, so what's that… that's the… that's the angle. She's using analogy.

1114
02:28:02.770 --> 02:28:13.029
Jerry Corley: But she's got a lot of anxiety about her being raised, being religious when she was raised. So it's like, so if, like, you know, if, like…

1115
02:28:13.570 --> 02:28:20.959
Jerry Corley: What… how would you take… Because that's a concept that everybody can relate to.

1116
02:28:21.520 --> 02:28:23.620
Jerry Corley: And everybody has an opinion on.

1117
02:28:25.210 --> 02:28:29.979
Jerry Corley: Cause I think Safe Sex is basically doing it before her parents come home.

1118
02:28:30.160 --> 02:28:33.540
Jerry Corley: Like, what was… what is your take

1119
02:28:34.080 --> 02:28:40.760
Jerry Corley: on safe sex, and what were you taught, and what is your… now, so that's how you build the joke. Like.

1120
02:28:41.120 --> 02:28:45.689
Jerry Corley: what is my take on it? How were you taught, and what is your take on what you were taught?

1121
02:28:46.350 --> 02:28:51.540
Jack Rain: Well, safe sex to me is, you know, just have a good bank account, you can have fun in there.

1122
02:28:53.670 --> 02:28:56.330
Jack Rain: Safe, physically, actual safe.

1123
02:28:56.510 --> 02:29:02.689
Jack Rain: sex, having sex in a safe, safe sex.

1124
02:29:10.160 --> 02:29:12.260
Jack Rain: There's some… safe sex, there's…

1125
02:29:12.260 --> 02:29:13.230
Jerry Corley: There is something there.

1126
02:29:13.230 --> 02:29:14.399
Jack Rain: There is something there!

1127
02:29:14.400 --> 02:29:23.089
Jerry Corley: Yeah, there is something there. It's like, so how can you get us to that… how can you let the audience know you're gonna do… you're doing the play on the safe? Lena, you have your hand up.

1128
02:29:23.630 --> 02:29:29.069
LINA: Yeah, safe sex is basically not ruining the race, like my mom used to say.

1129
02:29:30.520 --> 02:29:31.200
LINA: You know?

1130
02:29:31.870 --> 02:29:38.049
LINA: Like, if you're gonna have kids out of wedlock, like, make sure it's with a Jewish white man. So I did, when I was 19.

1131
02:29:38.110 --> 02:29:40.220
Jerry Corley: It's weird, because she's German and Colombian.

1132
02:29:40.220 --> 02:29:45.940
LINA: And now she hates me even more, because I beat her to something she wanted. But yeah, so,

1133
02:29:46.320 --> 02:29:47.650
LINA: Can that be funny?

1134
02:29:47.970 --> 02:29:49.340
Jerry Corley: Yeah, that's funny.

1135
02:29:49.340 --> 02:29:52.239
LINA: rap right now. You guys do not want to see me.

1136
02:29:54.900 --> 02:30:01.339
Jerry Corley: That's good, I like that, that's good, that's a good take, definitely. It was your mom's definition of safe sex, that's good.

1137
02:30:01.340 --> 02:30:16.009
Jerry Corley: So yeah, Jack, so what's a quick way for you to make that, if you're doing the, that's a good joke, you should write that down, Lena. Jack Rain, so what would be, like, how can you make the audience know you're talking about the safe sex?

1138
02:30:17.030 --> 02:30:17.890
Jerry Corley: With the safe.

1139
02:30:18.100 --> 02:30:24.399
Jack Rain: A good way to have safe sex is just ask The banker for the keys.

1140
02:30:27.930 --> 02:30:32.540
Janet Rapala: Trouble is, it can only happen during banking hours, and the vault is open.

1141
02:30:32.540 --> 02:30:35.629
Jerry Corley: Oh, good, yes, good, yeah, that's good, yeah, yeah.

1142
02:30:35.630 --> 02:30:38.509
Jack Rain: Well, say sex, just make sure you do it within the vault.

1143
02:30:38.510 --> 02:30:39.100
Jerry Corley: Yeah.

1144
02:30:39.220 --> 02:30:41.800
Jerry Corley: You gotta make sure you have a good combination.

1145
02:30:43.370 --> 02:30:45.449
Jack Rain: Just have a good, safe combination.

1146
02:30:45.780 --> 02:30:51.639
Jerry Corley: You gotta… the thing about safe sex is you gotta know the combination, right?

1147
02:30:51.640 --> 02:30:53.709
Jack Rain: Like, you gotta know the combination lock.

1148
02:30:53.710 --> 02:30:57.149
Jerry Corley: Yeah, he's like… There you go. Yeah, you got another combination.

1149
02:30:57.300 --> 02:30:59.410
Jerry Corley: To, to, to open her up.

1150
02:30:59.410 --> 02:31:02.619
Jack Rain: K sounding, the K… the combination lock.

1151
02:31:03.340 --> 02:31:08.809
Jerry Corley: Oh, good, okay, so good, KK. Alright, so that's.

1152
02:31:08.810 --> 02:31:11.579
Jack Rain: But we don't go with the 3rd K, not… not… no, we don't want that.

1153
02:31:12.150 --> 02:31:19.169
Jerry Corley: No, we don't… KKK. Alright, so, let's get into…

1154
02:31:19.610 --> 02:31:25.580
Jack Rain: Matthew McConaughey, before it was, alright, alright, alright, it was KKK, and they're like, no, no, no, no, other one, other one.

1155
02:31:31.660 --> 02:31:54.660
Jerry Corley: So, one of the things that, you know, one of the exercises I have, I've given you guys before is, like, take a joke you've written, that you've heard, and write it a bunch… write it, you know, as many different punchlines as you can, right? So, like, why did a chicken cross the road? And the reason you do this is to do different takes, right? And see how much… how… if you can come up with anything original.

1156
02:31:54.660 --> 02:32:19.399
Jerry Corley: Now, sort of the page to the stage is, like, written jokes are neutral, performance adds the emotional engine to it, right? Adds the emotional drive to it. In most situations, when, you write a joke, and you've… even if you tweak the joke over and over again, it's still a very rough draft. That's the, sort of, like, the rough draft of the joke. When you take it on the stage, that becomes the first draft of the joke.

1157
02:32:19.660 --> 02:32:34.509
Jerry Corley: Because the joke has to breathe and live. As Cliff was talking about, you gotta let that… let that sort of interaction you're imagining when you're on your own, what the interaction is with your audience. So, like, when, when,

1158
02:32:34.830 --> 02:32:39.540
Jerry Corley: Stephen Wright does, I brought powdered water, I don't know what to add.

1159
02:32:39.660 --> 02:32:47.840
Jerry Corley: Right? On the page is a clever idea, when he decides That it's like,

1160
02:32:47.950 --> 02:33:06.560
Jerry Corley: If he bought… IF you bought powdered water, would you know what to add? And so he's sort of like… he acts like he's… he's like, I bought powdered water. I don't know what to add, right? And so he gives it a little angle. You can play that in 5 different angles, and it still will have a… have a different take.

1161
02:33:07.590 --> 02:33:11.180
Jerry Corley: So the emotional choice

1162
02:33:11.180 --> 02:33:34.020
Jerry Corley: will decide how… as we saw with the earlier exercise, the emotional choices you made can drive whether or not… how much the laughter happens, right? So, so here's a neutral joke. We're gonna take the Mark, like, the Mark Norman joke, or, yeah, where he says, I just saw a sign that said, watch for children.

1163
02:33:34.060 --> 02:33:37.490
Jerry Corley: I… I thought, that sounds like a fair trade.

1164
02:33:38.910 --> 02:33:43.510
Jerry Corley: Al, let's do… the Bill Burr take.

1165
02:33:43.980 --> 02:33:46.700
Jerry Corley: Robin Williams' take, if you choose Robin Williams.

1166
02:33:47.110 --> 02:33:47.640
Jack Rain: Hmm.

1167
02:33:47.640 --> 02:33:53.049
Jerry Corley: And let's do, let's do a take, let's.

1168
02:33:57.200 --> 02:34:00.779
Jack Rain: So, we're…

1169
02:34:01.020 --> 02:34:12.059
Jack Rain: My father and I were driving by a sign that said, watch for children. My father said to me, just, son, know your value.

1170
02:34:12.960 --> 02:34:14.840
Jack Rain: It was a Rolex.

1171
02:34:18.320 --> 02:34:19.260
Jerry Corley: It's sick.

1172
02:34:19.840 --> 02:34:25.870
Jerry Corley: So, in this sort of case, it's like, I would be like, if I was doing a Bill Burr take.

1173
02:34:26.100 --> 02:34:36.940
Jerry Corley: On that one. Yeah, so you did your dad's take on that, that's good. If I was doing, like, a Bill Bird take, Watch for Children, I saw a sign today that said, Watch for Children. I'd be like,

1174
02:34:37.140 --> 02:34:38.510
Jerry Corley: It's like,

1175
02:34:39.120 --> 02:34:56.440
Jerry Corley: You know, I might do… Bill Burr likes to ask questions, so it'd be like, you know, you know, watch for… what's that even mean? What is… what is that… no, no, what's that even mean? And it's like, what are they offering me here? It's like, yeah, you know, what do you mean? Like, it's like, what kind of trade are we talking about?

1176
02:34:56.450 --> 02:35:00.410
Jerry Corley: You know? Because, I got a Rolex, can I get some twins?

1177
02:35:01.710 --> 02:35:06.670
Jerry Corley: You know, so that might be a take that gives it a different vibe. What about a Jezelnik?

1178
02:35:09.370 --> 02:35:11.610
Jerry Corley: I saw a sign that said, watch for children.

1179
02:35:15.100 --> 02:35:18.679
Jack Rain: Like, an orphanage joke from Jezelnik.

1180
02:35:19.900 --> 02:35:20.950
Jack Rain: something that's…

1181
02:35:25.560 --> 02:35:26.300
Jack Rain: Hmm.

1182
02:35:27.520 --> 02:35:31.110
Jack Rain: I saw a sign that said, watch for children.

1183
02:35:32.320 --> 02:35:39.489
Jack Rain: And I thought… Do they trade kids in for sundials? I don't know.

1184
02:35:40.280 --> 02:35:41.009
Jerry Corley: What would I get.

1185
02:35:41.010 --> 02:35:42.190
Jack Rain: For a sundial.

1186
02:35:42.740 --> 02:35:43.135
Jack Rain: Or.

1187
02:35:44.210 --> 02:35:47.650
Jerry Corley: Yeah, yeah, it'd be like, I might think you, like,

1188
02:35:51.670 --> 02:35:54.619
Jerry Corley: Yeah, so, like, Jezelnick would be, like,

1189
02:35:54.940 --> 02:36:02.660
Jerry Corley: I think the cynicism could carry that forward, too, right? So it'd be like, we saw a sign that said, watch for children.

1190
02:36:05.050 --> 02:36:06.320
Jerry Corley: It's a sign.

1191
02:36:06.440 --> 02:36:11.080
Jerry Corley: I saw a sign that said, watch for children. Watch for children.

1192
02:36:11.470 --> 02:36:14.100
Jerry Corley: And I was like, huh, finally!

1193
02:36:16.120 --> 02:36:17.629
Jerry Corley: A fair trade.

1194
02:36:17.890 --> 02:36:18.629
Jack Rain: I got it.

1195
02:36:18.980 --> 02:36:24.230
Jerry Corley: That kind of would be like a Jezelnick take, right? Sort of like, almost the same… Yeah, what do you got?

1196
02:36:24.230 --> 02:36:28.369
Jack Rain: Celzenek, right here. I saw a sign that said, watch for children.

1197
02:36:30.320 --> 02:36:32.940
Jack Rain: I wish I had read that before I felt the bump.

1198
02:36:36.190 --> 02:36:39.080
Jerry Corley: Yeah, that's good, that's a good take. Janet, what do you got?

1199
02:36:43.720 --> 02:36:49.739
Janet Rapala: Oh, okay, yeah. I hate children. What am I watching for? Is this America's Got Talent, or The Boys?

1200
02:36:50.720 --> 02:36:54.110
Janet Rapala: Or my other one, watch, I'd rather take aim.

1201
02:36:54.390 --> 02:37:12.779
Jerry Corley: Yeah, it's like, I hate kids. Or, yeah, I like that, I'd rather take aim. Don't we get points? Right? That's good. Nice. Yeah, watch, I'd rather take aim. That's a really good take on that one. I didn't think about that. That's a good one. That's a good cynical one. Right? Like, and you're like, I hate children.

1202
02:37:13.020 --> 02:37:25.509
Jerry Corley: Then watch. I'd rather take aim. That's good, it really comes through. That's a great… see, once we… you heard it from me, and you laughed, and you're the one that came up with the joke. That's a good one. I like it. Lena, what do you got?

1203
02:37:26.650 --> 02:37:28.080
LINA: Okay,

1204
02:37:30.010 --> 02:37:37.779
LINA: Actually, I changed my mind because I don't think this is good. Okay, so I saw a sign that said, watch for children, so…

1205
02:37:38.800 --> 02:37:48.190
LINA: I did, and then I told my son's father. But then I changed my mind, because I'm like, okay, that's not funny, if you don't know the context.

1206
02:37:50.830 --> 02:37:52.340
Jerry Corley: So, I'm sorry, say that again?

1207
02:37:54.200 --> 02:37:56.949
LINA: I saw a sign that said, watch for children.

1208
02:37:57.090 --> 02:37:58.289
LINA: So I did.

1209
02:37:58.640 --> 02:38:05.139
LINA: And then I showed it… you know what? No, never mind, Jerry, because it actually sounds really… it doesn't make sense.

1210
02:38:05.290 --> 02:38:09.620
Jerry Corley: Okay, alright, alright. I thought that you were on your way to something. I showed him a…

1211
02:38:12.020 --> 02:38:14.360
LINA: Let me, let me rewrite it in just a second.

1212
02:38:14.360 --> 02:38:17.900
Jerry Corley: Okay, alright, alright. Yeah, so you had it in your head, it was like…

1213
02:38:17.900 --> 02:38:20.509
LINA: Yes, yes, yes, yes, yes, sorry.

1214
02:38:20.510 --> 02:38:24.010
Jerry Corley: Alright, so, if he comes to you, let me know. Jack, what do you got?

1215
02:38:24.490 --> 02:38:29.680
Jack Rain: I got, I got two of them. I saw a sign that said, watch for children.

1216
02:38:30.790 --> 02:38:32.550
Jack Rain: How much for a fat one?

1217
02:38:37.630 --> 02:38:42.179
Jerry Corley: You know, it's like, what kind of what?

1218
02:38:42.180 --> 02:38:49.750
Jack Rain: What's… yeah, yeah, exactly, exactly. Was that a Fitbit or Apple Watch? .

1219
02:38:49.750 --> 02:38:52.610
Jerry Corley: And if he's a pedophile, does it take a licking?

1220
02:38:52.810 --> 02:38:54.640
Jack Rain: Oh, shit!

1221
02:38:54.640 --> 02:38:55.660
Jerry Corley: on ticking?

1222
02:38:56.410 --> 02:38:59.100
Jack Rain: And the second one is,

1223
02:38:59.370 --> 02:39:06.790
Jack Rain: There was a sign that said, watch for children, and my dad said, How much for this man-child?

1224
02:39:08.060 --> 02:39:14.370
Jerry Corley: Oh, yeah, that's good. How much for this man-child? Like, you looked at me and said, how much for this man-child? That's good.

1225
02:39:14.370 --> 02:39:14.910
Jack Rain: Yeah.

1226
02:39:14.910 --> 02:39:18.480
Jerry Corley: You know, what kind of timepiece can I get for this man-child?

1227
02:39:18.480 --> 02:39:20.299
Janet Rapala: Is he looking to barter?

1228
02:39:20.300 --> 02:39:21.759
Jerry Corley: Yeah, Casio?

1229
02:39:21.870 --> 02:39:25.080
Jerry Corley: Yeah, is he looking to barter?

1230
02:39:25.080 --> 02:39:26.369
Janet Rapala: It's a swatch watch watch.

1231
02:39:26.370 --> 02:39:32.640
Jerry Corley: It's a swatch, yeah. It's like, it's like, how much for this man-child? And the comeback would be, like.

1232
02:39:33.180 --> 02:39:37.420
Jerry Corley: That's a swatch for children.

1233
02:39:37.580 --> 02:39:50.240
Jerry Corley: That's good. That's good. That would… that would actually be a good… would have been a good campaign for Swatch back in the day. The sign, Watch for Children, and then all of a sudden it changed it to Swatch for Children, and all the kids…

1234
02:39:50.240 --> 02:39:51.180
Janet Rapala: Had to make a comeback.

1235
02:39:51.180 --> 02:39:53.109
Jerry Corley: While the kids are having… have swatches.

1236
02:39:53.110 --> 02:39:58.319
Jack Rain: I saw something that said, watch for children.

1237
02:39:58.910 --> 02:40:03.450
Jack Rain: So what do I get for the white racist kid?

1238
02:40:03.950 --> 02:40:05.070
Jack Rain: a swast?

1239
02:40:05.320 --> 02:40:07.460
Jack Rain: Oh, no, it's a swastika, got it, okay.

1240
02:40:07.460 --> 02:40:09.520
Jerry Corley: Oh, you tried, Jack, you tried.

1241
02:40:09.520 --> 02:40:11.469
Jack Rain: That's right.

1242
02:40:11.470 --> 02:40:13.939
Jerry Corley: Lena, are you ready yet? Your hands are still up.

1243
02:40:15.810 --> 02:40:19.749
Jerry Corley: Not… not yet? Okay. Cliff, where'd you go? There you go.

1244
02:40:20.260 --> 02:40:26.770
Cliff Spenger: I saw a sign that said, watch for children. It was on a box of discount condoms.

1245
02:40:27.280 --> 02:40:36.170
Jerry Corley: That's good. I like it. That's good. It was watch for children. It was like a warning label on a box of discount condoms.

1246
02:40:36.170 --> 02:40:36.880
Jack Rain: Shit.

1247
02:40:38.860 --> 02:40:46.109
Jack Rain: This is… this has to be through a different character. I saw a watch for children on Epstein Island.

1248
02:40:46.440 --> 02:40:55.789
Jerry Corley: Oh, that's good. I like… look at all these great takes. I like that, man, that condom one is so original, that's a good one.

1249
02:40:55.790 --> 02:41:09.140
Jerry Corley: That's good, and the Epstein Island one's good, too. But it's like, man, that's like, watch for children warning on a… almost like the Surgeon General warning on the… on the… on the side of discount condoms. Hysterical.

1250
02:41:10.680 --> 02:41:26.980
Jerry Corley: watch for children. Oh my god, it sounds like the Surgeon General warning on the side of a box of discount condoms. That's really funny, and it's got three descriptors in there, too. So, that's a good line, right? It's like, it's amazing how, when you take a moment to come up with the different perspectives.

1251
02:41:27.150 --> 02:41:35.650
Jerry Corley: from your emotional point of view, it's actually changing the words and getting really super creative with the payoffs.

1252
02:41:35.650 --> 02:41:38.529
Cliff Spenger: That's what takes you… that's what takes you to the jokes.

1253
02:41:38.950 --> 02:41:39.780
Jerry Corley: Hang on one second.

1254
02:41:39.780 --> 02:41:41.830
Cliff Spenger: And you'd use different… oh, sorry.

1255
02:41:42.750 --> 02:41:43.500
Jerry Corley: Hello?

1256
02:41:45.730 --> 02:41:48.640
Jack Rain: Mail order bride service, we're here to…

1257
02:41:48.640 --> 02:41:50.270
Jerry Corley: I can, after my class.

1258
02:41:50.270 --> 02:41:51.380
Cliff Spenger: 17 minutes.

1259
02:41:52.390 --> 02:41:53.380
Jerry Corley: Are you at the nurse?

1260
02:41:54.090 --> 02:41:57.039
Jerry Corley: Okay, I'll be there in 15-20 minutes.

1261
02:41:57.800 --> 02:41:58.570
Jerry Corley: Okay.

1262
02:42:00.270 --> 02:42:01.240
Jerry Corley: Love you, bye.

1263
02:42:03.140 --> 02:42:04.409
Cliff Spenger: Do you want to quit early?

1264
02:42:04.440 --> 02:42:05.210
Jerry Corley: What?

1265
02:42:05.210 --> 02:42:06.440
Janet Rapala: Children, Jerry's got to go.

1266
02:42:06.440 --> 02:42:11.939
Jerry Corley: Not for children, I got, yeah, I'll quit early, because I gotta go pick up my daughter. She's got, she's got a migraine.

1267
02:42:13.060 --> 02:42:13.920
Jack Rain: Gotcha.

1268
02:42:14.390 --> 02:42:16.060
Jerry Corley: Lena, did you have one to end up with?

1269
02:42:16.060 --> 02:42:20.970
LINA: No, no, no, I, I, I, I lowered my hand.

1270
02:42:20.970 --> 02:42:24.489
Jerry Corley: That was a perfect way to end on Watch for Children, the phone rings.

1271
02:42:24.490 --> 02:42:34.390
Jack Rain: No, the perfect ending is something for a self-deprecating joke for you, Jerry, because you're going to pick up your kids, watch your children, there's something right there.

1272
02:42:34.390 --> 02:42:36.870
Jerry Corley: much for your children's call. That's what it was.

1273
02:42:36.870 --> 02:42:39.939
Jack Rain: Yeah, yeah, yeah. Oh, yeah.

1274
02:42:39.940 --> 02:42:41.880
Jerry Corley: All right. Thanks so much, Jerry.

1275
02:42:42.220 --> 02:42:44.649
Jerry Corley: We gotta do more of these, this is, like, good, I love…

1276
02:42:45.010 --> 02:42:58.780
Jerry Corley: The takes you guys were coming up with were really kind of, like, so inspiring. They were really something. I was like, wow, look at all the different takes that were coming up. And now, did it help to see some of the comedians' points of view, and how they were approaching things.

1277
02:42:58.780 --> 02:42:59.320
Jack Rain: Yeah.

1278
02:42:59.320 --> 02:43:04.320
Jerry Corley: Get into that sort of emotion, so you can… and then your take changes a little bit.

1279
02:43:04.320 --> 02:43:14.240
Cliff Spenger: I like to only take 3 minutes, I like that, too. I was chunking bigger chunks from comedians, but just doing 3 minutes of their act is really good.

1280
02:43:14.240 --> 02:43:18.199
Jerry Corley: Yeah, that's a good idea. Yeah, good point. Alright, everybody, great class.

1281
02:43:18.660 --> 02:43:19.870
Jerry Corley: See you guys next time!

1282
02:43:20.490 --> 02:43:21.729
Jack Rain: Thank you, thank you.

1283
02:43:22.020 --> 02:43:23.210
Jerry Corley: Alright, bye-bye.