March 24, 2025 • 46 mins
Stand-up comedian and child of divorce Gianmarco Soresi joins Emily and Haley to discuss his fear of narrow sidewalks, mastering the art of the handstand, and when it is appropriate to take a bow. Emily uses this opportunity to mention Zach Woods for the millionth time; Haley attempts to lure Gianmarco back into playwriting, and we discuss all of Gianmarco's failures. So turn on the A/C, stage a marriage proposal, and get me a f*cking coffee as you enjoy Chapter 20 of 'How To Make It With Emily & Haley.'
Watch this interview on YouTube: @HowToMakeItPodcast
Follow us on Instagram: @HowToMakeItPodcast
Watch this interview on YouTube: @HowToMakeItPodcast
Follow us on Instagram: @HowToMakeItPodcast
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Hi, I'm Emily and I'm Haley. After meeting online, we
became international best friends who bonded over how hard it
is to find success in the entertainment industry.
Speaker 2 (00:11):
Join us and our celebrity co authors as they help
us write the book on how to make it.
Speaker 1 (00:18):
And more importantly, uncover what making it even means.
Speaker 2 (00:23):
May that made us sound so much more serious than
we actually are?
Speaker 3 (00:27):
Should we switch roles on this time? Okay, see that's
the intro.
Speaker 4 (00:45):
Hi.
Speaker 5 (00:46):
My name is jo Marcos Seresi, and I wanted to
be a legendary actor when I grew up.
Speaker 1 (00:55):
Made it was that the first thing, the first thing.
Speaker 5 (00:59):
Well I think, I think honestly the first thing that
was the first like crystallized thing. But for me when
I was when I was like very young, I would
we would dance in the living room like my dad
would put on disco and my mom did this too,
but but divorced, and we would just like.
Speaker 1 (01:20):
Your parents are divorced, shut.
Speaker 4 (01:22):
The fuck up, and.
Speaker 5 (01:25):
We would we would like dance in the living room.
And I remember asking, I said to them, we need
to get our living room on a stage so people
can see this. So there was some very there is
some like very primal genetic urge in me that it's
not just enough to do the thing that I enjoy,
(01:48):
it needs to be witnessed by people. It is worthy
of being witnessed by people. And the rest of my
life has been figuring out a skill that that will
get people to do that.
Speaker 1 (02:00):
So self away, you could have gone with cult leader
or just like serial killer that usually gets a lot of.
Speaker 5 (02:08):
But that requires so much interpersonal There's there's there's a
wanting to it's just I want people to see me.
And in a lot of ways, like I always describe
it as I failed into stand up comedy, but I
also think like, in a way it is fulfilling what
(02:29):
it is I wanted in that more raw state because
I move around on stage, I am dancing in my
own in my own way, and I've just found a
version of that that I enjoy that other people, at
least for now, are willing to see. And so sometimes
I look at it and I go, no, you just
returned to kind of a more primal artistic desire.
Speaker 1 (02:54):
Yeah. I was just talking to someone about this as
remembering the why because I was at Warner Brothers for
you getting like food thrown at me and being like,
this is the dream, and then being like, wait, why
did I want to work in entertainment in the first place.
Speaker 5 (03:09):
Sure, yeah, sure, I think a lot of acting stuff.
I haven't worked a lot of TV and film like
in the grand scheme of things. But sometimes I do
it and I go, I don't know, this kind of sucks.
This is very boring. You're waiting around a lot. I
like the final product, but nothing compares to just I.
You know, yesterday, I barely got in to the venue
(03:32):
in time, and I just go on stage and I
get to I get to dance.
Speaker 1 (03:36):
You should do what Haley does. She's an intimacy coordinator,
so not as boring, hon as.
Speaker 2 (03:41):
You know what, though, I start to tap out with
it and I forget how magical it is to be
on a set. And then I took my daughter to
set a few weeks ago because I was working on
a film with the lovely medal Impet from Riverdale, and
I just want to name drop because she's such a
wonderful human. And she told me to bring my daughter
(04:02):
into meet her because my daughter is obsessed with her,
and my daughter was just amazed by this world. And
you forget when you're in it, when when you're in
the big shifts of it and you knackered and it's
not as magical as you remember. And then she she
was just absolutely amazed by all and I forgot. I
forgot how amazing it is to work in this.
Speaker 5 (04:24):
Sure, But then go tell her to go get some
coffee and say that is wrong, and we'll see how
amazed I.
Speaker 1 (04:31):
Always when when I was at Warner Brothers, I always
knew there was nowhere physically i'd else i'd rather be,
But I knew mentally I was going to jump off
the water tower at any moment. So it's like trying
to yeah.
Speaker 4 (04:48):
Well, I just did it.
Speaker 5 (04:49):
I think I just I just did a multi caam.
It was my first time I've ever done a multiicam,
which not to be condescending, but I guess to listeners,
that's where there's a live studio audience, and I thought
it would be cool. I thought it would be like
a more theatrical experience, because you go there's an audience,
you're performing for them, you get feedback. But it really was. Honestly,
(05:11):
it felt more jilted than regular TV because because it's
more because of the writing honestly, because it really is
written in a way where every every two lines it
has a punchline that's kind of soft and the audience
is juiced up and they're told to laugh, and basically
(05:32):
would be like if we're having this conversation and every
two sentences we had to pause for laughter, and not
just that but in fact react so like I'd say
something wacky and we'd all have to be like and like,
I mean, you do that every every two or three sentences.
And it just felt I really think when I loved acting,
(05:55):
I became a I really enjoyed the Daniel Da Lewis.
I wanted to feel it. I wanted it to feel organic.
I wanted to feel in the moment of it. And
so much of TV and film and the requirements of
these takes or it's only these two lines, it just
slices up the organic experience in a way that it
loses some of the magic that I love, Whereas with
(06:19):
live entertainment or stand up in particular, it's just it's
just it's pure. It's so pure me just speaking and
living in the moment and not having to stop and start,
and I just I ultimately go, this is I'd love it.
Speaker 1 (06:37):
The only time I've seen it work like theater was
anytime I was on a Chuck Lory stage because well
everyone were they were already either ten or five seasons,
and like it was like three and a half hours
start to finish filming the whole because they just have
had the same people on their team. But I've seen
other ones where we're like seven hours in and.
Speaker 3 (07:00):
It is just like, must be exhausting, yeah.
Speaker 1 (07:04):
And everyone's tired, and then they throw the audience a
cold piece of pizza and they're like everyone like, yeah,
does everyone still want to be here? And everyone's like no, sure.
Speaker 5 (07:15):
It just breaks your brain though, in terms of like
I remember so again the scene I did. It was
just one scene on this show, and I haven't acted
in a long time, so I was just I was just.
Speaker 4 (07:26):
Trying to try to feel it again.
Speaker 5 (07:29):
And I had like one part that was kind of
a joke, one line that was like the laugh line
or the laugh reaction, and they are juiced up to
give you this huge everyone on the team, the director,
everyone is like, we're gonna laugh so hard, and and
I remember I had this moment and I got this
(07:49):
huge laugh and I really had to wrestle immediately because
in my brain I.
Speaker 4 (07:54):
Was like, oh, fuck yeah, I killed that shit, and they're.
Speaker 5 (07:56):
Like, no, no, this is all fake. And it reminded me.
I wrote a play once and it was me and
another woman, and you know, I played myself and I
was telling jokes. And I remember at a table read once,
I told a joke in the scene and my scene
partner just laughed so hard and I felt so good,
(08:17):
and then I looked down at the script again and
I was like, oh right, I gave her a parenthetical
that said she laughs so hard and it's like you,
it's so easy to lose sight of the feedback loop
of comedy. Comedy is so fine tune based on response
(08:38):
that in that sitcom world, you go, oh, this is
why multiicams can start to suck. Everyone is told to laugh,
and it becomes a non organic art form. It becomes
I hate to use the word fascist, but it's kind
of like a you.
Speaker 4 (08:56):
Must laugh now.
Speaker 5 (08:57):
And if that's if that's the direction, you don't make
good art because it's not organic. It doesn't change based
on what's around you. And that's what happens with a
lot of stand up comedians too. When they get too popular,
is their fans just laugh and laugh and laugh, and
they start losing track of what is an actual response
to how the work is. It becomes more about like
(09:19):
what the audience thinks they should do, or they love
you too much, and you lose sight of what making
good comedy is.
Speaker 2 (09:26):
How do you keep yourself in check?
Speaker 4 (09:29):
I listen, I don't well.
Speaker 5 (09:32):
The other argument, I think the counter to it is that,
like when I'm in a tough room, or if if
if the circumstances are just bad, let's say it's a
bachelor party or something, A lot of times I almost
get mad at myself because I'm like, the jokes that
I find so reliable are the ones that I wrote
(09:53):
in the first five years, and I'm like, oh my god,
you fucking loser going back to these jokes. But the
thing is those jokes were born out of working just
shitty room after shitty room where no one knew me,
and not just that no one's paying attention. There's distractions.
The spread of people is so varied you have to
find a lower common denominator. But that wasn't necessarily better comedy.
(10:20):
I think comedy is very tricky in that sense where
it's like, sometimes if you have people's attention, you can
do something more creative, or you can go on a
bigger journey, or you can do a darker twist. So
I think the way I try to stabilize myself is
I sometimes do shows where no one in the audience
(10:41):
knows who I am, And sometimes I have jokes that
I go, oh, I thought that joke was great.
Speaker 4 (10:48):
Was it just my fans?
Speaker 5 (10:50):
And then I go, oh, maybe it is good. It's
just darker than the regular person is.
Speaker 4 (10:55):
It's hard.
Speaker 5 (10:56):
You have to grapple with it constantly. But this is
why I think it's really a fool's errand for people
who become huge on the Internet and then start stand
up comedy after that, it's it's not gonna You're not
going to become a great comedian a great stand up
(11:17):
comedian that way, it would be very hard. Or when
Eddie Murphy gets paid seventy million by Netflix to make
a new special, I go, good fucking luck, because you
can't even go in a room where people don't know
who you are and are excited to see you. And
that's the beauty and the frustration of comedy.
Speaker 1 (11:37):
Yeah, I'm going to try to so bad at segues,
but I'm going to try and grab on to one
of the.
Speaker 3 (11:43):
One of the things things.
Speaker 2 (11:46):
I was going to do.
Speaker 1 (11:46):
Emily, my segue is not that great. We move into
a sex section where we tell you two random facts
we found out about you on the Internet. Okay, and
you mentioned the internet, so I'm.
Speaker 4 (11:59):
Going wow, speaking in.
Speaker 1 (12:05):
Well surprise winning interviewee or so. I've been holding onto
this fact for so long, and I haven't brought it
up because I wanted to get it recorded. Also, as
a longtime listener of our show, John Marco, you'll know
that we've been trying. We've been trying to get Zach
(12:25):
Woods on through Shenanigan's left and right, just me posting
videos of me screaming about Zack Woods. And then I
saw that he follows you on Instagram, which technically means
he's watched my cations. I need to know why, how, who?
Speaker 4 (12:44):
Where?
Speaker 1 (12:44):
What is his social Security number? How did this happen?
Can you please tell me everything?
Speaker 5 (12:52):
I mean, listen, I I would also like Zach Woods
on my podcast, and I have I have let him
know that of Instagram. He just you know, inter that's crazy.
He just liked a couple of videos and I don't
know if I wrote him or he wrote me, but
he something other. He just said, if you're you're he said.
He said, I'm not a fan of the jokes, but
(13:14):
the captions really bring out something. Yeah, any chance, whoever
writes them has a podcast, and could I go on it?
You know me, I'm I'm a selfish bitch. I said, no,
don't worry about him.
Speaker 4 (13:25):
They don't. They don't have a podcast.
Speaker 1 (13:26):
He has viewed our Instagram story, so he's just a tease.
I guess I don't.
Speaker 5 (13:32):
Know he's online. He's probably very busy, but I don't
think it's outside the realm of possibility that you could
someday get him.
Speaker 1 (13:41):
I wasn't asking how we could get him. I was
asking why he follows you because I'm a because I
make because you're funny.
Speaker 2 (13:50):
He's a very funny man. Am.
Speaker 1 (13:52):
I didn't know if you were going to say, oh,
he's right here, or like we're roommates, or like, yeah.
Speaker 4 (13:57):
Zach is opening for me and blooming.
Speaker 1 (13:59):
To me my accountant. I don't know. Stranger things have happened.
All right, Well, there you have it. So Hailey, would
you like to move on.
Speaker 2 (14:08):
I would love to. I read a tweet of yours
from twenty twenty three. Oh yeah, yeah, the fourth of
August twenty three. You said, you said you think doing
the Edinburgh Fringe Festival sounds like a fucking nightmare.
Speaker 4 (14:27):
M I stand by that.
Speaker 3 (14:30):
She's not, you know, yeah, go ahead, please explain.
Speaker 5 (14:35):
Well, I did the New York Fringe Festival in twenty fourteen.
I'm pretty sure the festival's dead and it's been dead.
Speaker 4 (14:44):
But it was tough.
Speaker 5 (14:45):
It was really hard just selling out. I mean, it
was that play that made me become a stand up comedian.
Speaker 4 (14:51):
It was so hard.
Speaker 5 (14:53):
Yeah, it made me so hard I said never, never again.
I just think it's like, listen, it sounds it sounds
thrilling if you're doing well, or if I want to
go do the fringe for a week. I just think
like that is a young person's game, and when you're young,
(15:13):
it's hard to know how to write a good fucking show.
So it's like, I I think it sounds cool, I'd
go there for a week, but let me tell you,
I went to Edinburgh. The idea of that being crowded.
Those sidewalks are so fucking tight that unlike in New
York you cannot walk past. You are walking as slow
(15:35):
as the slowest person on that sidewalk. It it's it's
it's so I I just can't imagine what it's like
to be in Edinburgh when it's packed, when it's busy,
competing with every show under the sun. And I just
think the potential for having a two pm slot in
(15:55):
who the fuck knows where. There can only be so
many baby rained years out there in the world, and
I God bless anyone who does it, but per my tweet,
it sounds like a fucking nightmare.
Speaker 1 (16:09):
So it's a zoning issue for you.
Speaker 5 (16:11):
It's a zoning issue, and I got do you do it?
Speaker 4 (16:16):
Hailey? Is that? Like I used to?
Speaker 2 (16:18):
Don't? I'm too old now, man, I can't. It's exhausting.
The whole three weeks just kills you, and you spend
the whole year recovering to do it all again. You
could do a week, You could.
Speaker 4 (16:30):
Do a week. I could do a week.
Speaker 5 (16:32):
I'm listen, I'm looking into it. I'm trying to do
a week. But even then, like, I don't know how
my sales are going to do when there's a thousand
theater shows that day. So even then, it's like, listen,
I'm if I have the flyer, I'm gonna I'm gonna
be that's gonna be tough. That's gonna be tough.
Speaker 1 (16:54):
Helly, you gotta work your connects. Yeah, I'm assuming you.
Speaker 5 (16:57):
Have, because I did Monkey Barrel when I was there.
We're looking into it. We're looking at the Monkey Monkey
Barrel for a week.
Speaker 2 (17:06):
It's great.
Speaker 4 (17:08):
Yeah, yeah, nice and small.
Speaker 1 (17:10):
I swear to god, if you get to see Haley
in person again before I do, I am going to
be so said.
Speaker 2 (17:15):
Oh my god, if you came to Edinburgh, man, that's it.
Speaker 4 (17:19):
How far are you? How far away as leads from Edinburgh?
Speaker 2 (17:21):
Do you go there, Cathleen, No, no, I just go
for the fringe.
Speaker 4 (17:25):
Sure, I'd love to go. I want to go.
Speaker 5 (17:28):
I would love to go and just see all the
theater and blah bah bah. I wish I had gone
this past year. See Natalie Palomides. I really wanted to
see that show so bad. See stamp Town Sea Brightannic.
Speaker 2 (17:41):
But just imagine those tiny little those tiny little streets,
but with people just flyering in your face whilst you
can't escape. It's not great if you're clostrophobic.
Speaker 5 (17:53):
Yeah, I can only do it if I'm going there
and I'm like, oh, I'm it's a little run, it's
sold out, I'm booked for a couple of guest things.
Speaker 1 (18:02):
I so like the posh version.
Speaker 5 (18:04):
Yeah, but you know how it is like once you've
been on the road for so long, I mean been
on the road for what three years now, and you
know your standards, your standards go up and occasionally have
gigs where the standards it's beneath, it's below and you
deal with it. But for a month, no, a month
where where the club doesn't have my sashimi in the
(18:27):
green room, I don't know if I can do it anymore.
Speaker 1 (18:30):
Haley went on the road with me for one day
and I introduced her to sleeping with air conditioning. In
her life has never been the same since.
Speaker 2 (18:36):
I know, who the fuck you think your Emily, I
what did you think?
Speaker 4 (18:41):
What was it like? Was it like, oh my god,
it was cold?
Speaker 1 (18:45):
Okay, wait hold on, wait we're getting and Haley's like
getting into bed, I'm like, I'm gonna turn down the
air and she was like, you're tell me if I'm
remembering this incorrectly. She's like You're fucking crazy.
Speaker 3 (18:57):
This is so stupid.
Speaker 1 (18:58):
This is so stupid. And then we're in bed and
she's like, I'm gonna set my alarm for like an
hour before you and I was like, great, I wake up.
She is like dead asleep, has not woken up.
Speaker 3 (19:10):
You got up.
Speaker 1 (19:11):
I woke you up. You were like like a different shade.
And you were like, oh my god, that's the greatest
sleep I've ever had in my life. And then you
said you went off of it for like for two weeks.
You ran off that energy. Is that incorrect.
Speaker 2 (19:24):
We don't tend to have a condition in here, Emily,
so the fact that you even had a hotel with
a conditioning was insane.
Speaker 5 (19:31):
I mean, it's gonna be I agree, I've done I've
been Europe before, and it is. It is brutal. It
is brutal for the American sensibility, and I think it's bad.
I don't think it's good that we're used to it.
I think there's an argument that, like I think, I
think that having a c really prevents us from having
to confront the realities of climate change in a way
that we've been able to not deal with it. And
(19:54):
they talk about how they designed certain buildings in New
York with like glass, everything's glass, and it makes it worse,
Like it's not good.
Speaker 4 (20:03):
It's not good.
Speaker 1 (20:04):
You should do Joe Marco that Disneyland. They have fake
snow during the winter in California, like the Bubbles. You
should be like, we're not confronting climate change if we're
producing fake snow.
Speaker 5 (20:15):
I agree, I agree, You'll see, you'll see what will
happen with the world.
Speaker 2 (20:20):
Anyway, Oh, that went to a doca place and I
thought it was getting to.
Speaker 1 (20:34):
There's no smooth way to move into my question. I
wanted to ask, because you do a ton of crowd work,
and that is like improv to an extreme, because you're
also not speaking to people that you know also know
how to do improv or anything or going to be cordial.
And I'm wondering, how did you either stumble into it,
(20:57):
decide you're going to do it, and then is it
something that like you're talking about when you were a
kid and wanting to be on stage, is it something
that you did as a kid, Like, looking back in hindsight.
Speaker 5 (21:08):
I think I lean into crowd work partially because you're
incentivized with social media to produce a lot of content,
and I what happened is with COVID that's where I
really started kind of my social media push of posting jokes,
and I a hit a point where I was like
running out of jokes. I had a big backlog, but
(21:31):
eventually you hit a wall and then b I had
enough shows where even if it was just one or
two audience members, but if they knew the punchlines to
some of the.
Speaker 4 (21:41):
Jokes, I hate it. I feel so much shame and
I feel terrible.
Speaker 5 (21:49):
And sometimes they like it, but like if I see
them whispering to their friend the punchline or they're.
Speaker 4 (21:54):
Mouthing it along with me, oho.
Speaker 5 (21:56):
And it was really that that was my fracture point
of like I need to keep uping out content. I
don't want to keep putting out all these jokes and
doing on stage. And I lean into crowd work now.
I never thought I'd be good at CrowdWork. And I listen,
if you're to put a gun in my head, I
tell you, like, I think I'm fine at CrowdWork. They're
theater kids. They want to share. I have a lot
(22:18):
of people who are willing to share. I still feel
anxious breaking into crowd work. There's still so many crowd
work bits that go nowhere, and in my head, I'm like,
everyone knows I just failed this conversation. But I like
it because I get bored. I just don't like doing
the same thing over and over and over again. And
(22:42):
that's another realization why theater was just not for me,
because I like the chaos of it. I like, maybe
it's add maybe it's just that's what I like to do.
So I really I had to learn how to get better.
Speaker 4 (22:58):
At crowd work.
Speaker 5 (22:59):
And then there's moments that I'll ask a follow up
question it doesn't lead anywhere, and I go, man, I'm
the fucking worst crowd work comedian in the world. I
know some comedians who they'll go do a full crowd
work hour. I would never do a full crowd work hour.
I go, if it works, I keep going. If it doesn't,
(23:20):
I'm like, go back to material immediately. So I like it.
It keeps me on my toes. It can be it
can be burdened some that, like if I'm just trying
to work on material and I go a whole weekend
and I'm like, I didn't get any crowd work clips
this weekend. I go, oh, am I gonna run out
(23:41):
if the social media thing going to collapse, and that
burden is annoying.
Speaker 4 (23:46):
But it's fun. It's fun. It's fun for the most part.
Speaker 1 (23:51):
Weirdest one that you've that sticks out in your head
that you've.
Speaker 5 (23:55):
Had, Let's see, what are the I mean, there's like
Heckler stuff, but I feel like that's not necessarily unique.
There's always been Heckers, and the comedian has always done
their best to kind of make fun of them as
they're being escorted out of the venue if it gets
to that point. I think my favorite Carver ones are
(24:15):
when it goes way longer than you ever thought it
could be like, and you know these are ones that
you captioned. There was one about the guy talking about
he discovered his dad wasn't his real dad, and as
they're telling the narrative. As a comedian, I'm always like,
when is it going to run out of laughs? When
am I not going to think of a good next question?
(24:37):
Or I'll ask a question and it will just kind
of kill the momentum. And it's just like that kind
of video. You just keep going and going and going,
and it's so delightful to be like, Wow, we went
through the whole story and kept the momentum, and there
was discoveries and you find out, oh my god, one
of your siblings doesn't know it's not your dad. And
(25:00):
you find out you and your cousin are actually brothers.
Who knows, but it's that's any of those moments where
someone finds, you know, their mom left their family for
a polygamist cult, and it just keeps going and going.
That's the thrill. I imagine again to use a metaphor
of something I've never done. But when surfers talk about
(25:21):
like being in the halfpipe and it's just like that
glide state, or like, you know, I'm working on a
handstand forever and sometimes you click into a handstand and
you're upside down. You're like, oh my god, I feel
like I could just I could just hold this forever.
Speaker 4 (25:38):
You're like, wow, it's just we're grooving. So that's what
I like. That's the best feeling.
Speaker 2 (25:46):
Yeah, did you do musical theater at college?
Speaker 5 (25:50):
I went to college for musical theater. That's all I
did in college. I did not read a book. I
just looked at scores and songs. But I was a
big musical theater boy for no go on, no, no,
you please.
Speaker 2 (26:05):
No, it's just gonna. I was just gonna say, because
it's that feeling of holding a song right through to
the end and holding the audience. Is that similar to
hold that yeah?
Speaker 5 (26:14):
Yeah, or like holding especially holding, like where you just
get in the pocket of a high note and you're like,
oh my god, I'm right there. And uh that's why
I stopped, because I couldn't. I was not hitting that
note often enough to keep me hooked and worth all
the anxiety.
Speaker 2 (26:32):
No, I get it, I get it. I'm going to
go on to go onto my question via via theater.
So I was reading about your play less than fifty percent?
How did that go? Why aren't you doing more playwriting?
Speaker 4 (26:47):
Come on, well, listen.
Speaker 5 (26:50):
That play is why I became a stand up comedian
because people people like. Most of the positive feedback was
about very well by talking to the audience, and then
I'd say, well, what do you think of the scenes,
And They're like, the part where you talk to the
audience was so good, yeah, And I was like, oh, okay, okay, no.
I think honestly, it was when I was doing my
own play I did it started at the Fringe. Then
(27:13):
it went to this thing called Fringe Encres, which was bullshit,
and then we did a month. We did a month
of eight shows a week and would be a big step,
and I just found myself so filled with dread at
having to do this ninety minute exact show and I
(27:34):
hated I and the parts that didn't work never worked,
and I couldn't change them because we had tech and
and so like. The first half was really strong, and
the second half it got extremely meta, and I think
we there were some cool things in there, but it
didn't like fully click. It was a little confusing. What
(27:55):
I wanted to do was crazy.
Speaker 4 (27:58):
But I just got bored.
Speaker 5 (28:01):
I got bored. So if I ever did a play, honestly,
i'd write it for someone else to do. I get
bored doing the same thing. And I was proud of
that play. The moment that we tried to achieve, which
might be too fantastical to achieve in theater, was at
the end, the idea is you think the woman I'm
(28:22):
acting with is my ex girlfriend who I'm doing a
play with because we're both actors, And at the end
it's revealed it's not actually her, but she's in the audience,
and we had an actor who we hired. Poor actor
had to sit in the audience every show, and I
would basically my revelation from the play was I do
(28:45):
want to marry you, and I would propose to them
in the audience and they would leave, maybe two or
three times. Do I feel like we really tricked the
audience into thinking they were at a special, rare, weird
theatrical event and they were witnessing a man being rejected
(29:07):
in his proposal. And my favorite was my little brother,
who's much younger than me and I don't think ever
met my ex, believed it and he got out his
phone to start filming me proposed to this actor thinking
it was my ex and listen, if I could have,
(29:29):
if I could have, if it worked every time, it
would have been so cool. It was cool in theory,
but that's the kind of theater. I think that revealed
what I didn't like about theater. I wanted something that
felt fucking special and unique and in the moment, and
you can't do that if you're doing Sunset Boulevard eight
(29:51):
shows every week. It is a package. It is different,
and and you know, I wanted to not have bows
like hate bows because I feel like it not in
all cases. If it's a fun show, go ahead and bow.
But like the idea of like you just saw a
death of a salesman and Willie Lohman killed himself at
(30:14):
the end and then he comes out and he's like,
thanks guys.
Speaker 4 (30:17):
I hated that awful. And I begged.
Speaker 5 (30:19):
I told my director, you know, like a like an
annoying twenty four me and not not my director. My
director was great, but me an annoying twenty four year
old twenty five year old. I want to make art.
I was like, I don't want any boos. I want
to walk off stage and the lights come up and
the audience feels bad. And my directors and my producer said, please,
(30:40):
that cannot be the goal of the theater piece to
make the audience feel bad. And I said, that's it
should that's what good art should do. They should all
feel bad. And they're like okay, but then no one's
gonna come and I was and then I was like, ah, shit,
that's it.
Speaker 4 (30:54):
That is tough.
Speaker 5 (30:56):
That's a tough problem. But that's what I wanted. That's
what I wanted. And again, even talking at it now,
I'm like, yeah, this is this was doing. That is
what made me realize, oh, I don't actually want to
do this thing that I thought I did not exactly.
Speaker 2 (31:12):
I still think you should write a musical day.
Speaker 4 (31:16):
As sure. I think.
Speaker 5 (31:18):
I think when people just try to write lyrics like
out of the Blue at a later place in life,
they get appropriately very roasted for it. I'm not particularly poetic.
If I wrote a musical, if I wrote lyrics, it
would be very like a William Finn Bill Finn, my
favorite composer, where like it's very talky. It would have
(31:39):
to be very talky, cause if you don't, if you
don't deal in poetry and you try, you will write
some of the cringiest shit ever known to man, and
you won't even understand why it's cringey. You'll just be like,
gotta understand, this is what poetry is, and people be like, no,
this is the worst thing I've ever heard.
Speaker 2 (32:00):
Don't do that. I was at work this week and
I was sorting out. I was choreographing a simulated sex
scene between one quite a high profile male British actor
(32:22):
and a scene partner, and there was this smell in
the room. There was this smell and it started to
become quite like, it's just like, where is it coming from?
I felt like it was following me, It was in here,
it was there. We were all commenting on the smell,
where's that coming from? And then I left the room
(32:43):
and I could still smell it. And it turns out
so obviously I've embarrassed myself with these wonderful people, because basically,
I got two puppies a few weeks ago, and I'd
left my hoodie on top of the on top of
my sofa, and one of the puppies had obviously taken
(33:06):
a little shit in the hood of the hoodie, so
in the hood area, and then it had been concealed
and had gone hard in the hood. Not this hoodie,
but I'm just showing you sure.
Speaker 4 (33:22):
I was like, oh god, it was a white hoodie too,
Jesus Christ.
Speaker 2 (33:25):
I think it was concealed. So this odor that was
following me around was actually healy shit. And then and
then we got onto set and I thought, I either
pretend that this hasn't happened, or I just make it
a thing. So I just explained the story and it
was all cool. But I was thinking to myself, like,
why the fuck do I do this to myself? Like?
What is my life? Why do I do this?
Speaker 3 (33:47):
Like?
Speaker 2 (33:47):
Have you had an instant where you've been at work
and you've nothing to do with pooh, nothing to do
with any like carrying pool round? But have you had
an instance where you're at work doing your job and
you're going, what the hell am I doing? Why am
I here with?
Speaker 5 (34:05):
I definitely feel like I realized when I was acting
increasingly just how pathetic the life of trying to get
work as an actor was. And I was never like
I was never succeeding greatly in acting.
Speaker 4 (34:20):
You know.
Speaker 5 (34:20):
I did a little TV here and there, a little
bit of commercials, but definitely like at twenty six, I
was like, oh no, don't.
Speaker 4 (34:27):
I don't see what the future where it holds. And
you'd have your manager. My manager said all the time,
when you're in your thirties, you're gonna work like Gangbusters,
and you were like, that's that's a crazy gamble. And
I remember I had an audition for Oranges the New Black,
and the part was small, but it was fun. It
(34:47):
was the lead singer of an all white roots cover band,
so it was like it was very it was it
was perfect for like an awkward humor, and I got
my hats, I bought a little bit of a wardrobe.
I went to the audition.
Speaker 5 (35:06):
I knew these cast directors before, and I just like,
I felt like I did well with it. And as
I was leaving, my manager at the time called and said, hey, sorry,
the audition was canceled. And I was like, oh, oh
that's so. No, it wasn't, No, it wasn't. I just
did it. And they said, oh, they must have just
(35:29):
figured out. I guess they found an actual all white
roots cover band and so they're just going to book
that guy. And it was as I was leaving the
building for this audition and I thought, like, man, you're
telling me that a of all they had an offer out,
(35:51):
they wasted my time. That it wasn't a lot to memorize,
but to memorize to practice. I bought a hat for it.
So I'm operating at a loss. I've the day I
was excited. I saw them, and literally I couldn't even
have gotten it if I wanted to. And yeah, they might,
they might have liked me, and then they'll call me
(36:12):
back for another role at a different time, maybe, but
not necessarily. And I think that's where I really felt like,
this is a waste of my life. Whether or not
I had enough talent or didn't have enough talent, or
if I was better looking or different looking, I could
(36:33):
work more. I don't know, but the reality is is
like where I'm at in life, with my resume, with
my degree, this is a waste of my existence, and
it's a gamble and I'm not willing to wait till
I'm thirty. And thank god because I did not get
a lot of roles when I was in my thirties
all of a sudden, and I wanted that traditional path.
(36:55):
It wasn't being granted to me, and I wish I
had been, you know, try to make my own shit.
Just from an earlier age. I trusted the system, and
the system failed me. And you can always look at
things and I like, I feel like I certainly was
at an era where people were talking about diversity and
(37:16):
casting a lot more, and there were certainly many other
white actors I would say who got who basically felt like,
what the fuck I'm not getting work?
Speaker 4 (37:27):
And they would get mad.
Speaker 5 (37:28):
They would get mad at like this thing as opposed
to I think the realistic way of looking at it
of going like, hey, we work in a marketplace, and if,
for example, they want to make commercials more diverse than
they used to, put aside feelings of is this the
right thing to do?
Speaker 4 (37:49):
Blah blah blah, you go.
Speaker 5 (37:52):
It is, I'm getting less auditions, Do something else, figure
out a different thing, make your own commercials, become a
stand up a median, figures something else out.
Speaker 4 (38:02):
It's not being handed to you.
Speaker 5 (38:04):
And you know, and I want to put it aside
from like, I think it's totally fair to go, hey, yeah,
you know what it was handed to you in the
past in a way that was not fair, and now
you're getting a taste of what it was like for
other people that But again, put that aside, look at
yourself as an individual and go what kind of life
do I want? Oh, I'm not getting auditions for commercials
or theater. Could it be that I should be better?
(38:26):
Could it be blah blah blah?
Speaker 4 (38:27):
Who cares?
Speaker 5 (38:28):
It's not working out this path? And I know so
many people that just said it's not working out. Maybe
and maybe it was that maybe they just weren't hot enough,
or maybe people weren't into people with big noses. That
year or maybe they were too tall, or maybe they
were too short. But the bottom line is, what are
(38:48):
you just going to be mad that this select group
of casting directors in this select market, in this particular
period in time doesn't want you. Is that the life
you want to live? I wanted to make, I wanted
to create, so I shifted, and I wish I shifted
even earlier, But I shifted at twenty six twenty seven
(39:09):
and did a field where I had more autonomy or
who knows. I think you can argue, I would always
say to those people, because they're still out there complaining.
But I picked a life where I got autonomy, where
I could control my destiny, and ultimately I felt fortunate,
a life that I love the thing that I do.
When I think about what I got to do last night,
(39:29):
it was a pain in the ass. I don't know
where the fuck I was in Ohio. I do get
tired of flying, But the moment I walked on stage,
I said, oh yeah, I did an hour forty minute
set because I love it.
Speaker 1 (39:50):
That leads into literally what my next question was, which
what is your definition of making it?
Speaker 5 (39:58):
I think the hard truth is I am making it
in terms of amount of time I get to spend
doing what I love creatively, and I think that's it
can be hard to wrestle with because there's a lot
of aspects that are exhausting, and Emily is more familiar
(40:23):
than most people in this world of like the things
that I'm trying to there's always ways I could have
it be better. Before before I worked with Emily, before
I worked with a lot of people, I was captioning
my own jokes on my TikTok on the TikTok app
and it was excruciating, and it was during COVID and
(40:45):
I had the time. But I think, like everything about
my life now, it's more like, oh, this could be easier,
or this I could have more time, or maybe I
do want to be more separate from social media, mixed
with the fact that I think you have to be
engaged to be good at it. There's so much of
(41:05):
being a stand up comic today, especially almost every working
stand up comedian today is also a business person, and
unfortunately we lose a lot of I think great artists
who are not business people. And I think you can
criticize the nature of capitalism and social media with what
it does you lose great artists because they don't want
(41:29):
to engage in social media. But that's always been the case.
There's always great people you lose because they can't survive
in the atmosphere. Sometimes a bit of art is about
like a survival of the fittest. Art is tied to
survival of the fittest in that you have to be
able to sustain yourself to make the art, and right
now you have to be so business minded to make
(41:53):
art and survive as an artist in this world. And
part of my dream of making it, to get back
to the original question, is to be able to concern
myself a little bit less with those those necessities of survival,
so I can focus more on the art form itself.
I think I've abandoned the idea of, oh, there's a
(42:17):
point where I make it. I have a good touring life.
At least one of my two shows tonight will be
sold out, The next two tomorrow probably be sold out.
That's a lot of comedy I get to do.
Speaker 4 (42:31):
Yeah.
Speaker 5 (42:31):
Could I do bigger rooms? Could I make even more money?
Could I have come here today in a limo or
a private jet and had a little more space to work?
Speaker 2 (42:40):
Yeah?
Speaker 4 (42:40):
Do I hope?
Speaker 5 (42:41):
That's partly what happens. Yeah, but in terms of like,
art is always going to be tough if you want
to make great art, and I am making it, and
that's scary because I go, oh, there's some parts of
my life I'm not happy with.
Speaker 2 (42:55):
It making it, and like having bits of your life
that aren't particularly how you want. Isn't the same thing?
Is it? It exists in different realms.
Speaker 5 (43:04):
And per your point of bringing your kid to set,
it's like you are on set, you're doing the thing,
And the truth is it's not this magical world all
the time. It's just is there enough magic to make
you want to keep going back? And for me there's
enough magic when I'm on stage that I go, Okay, fine.
Speaker 2 (43:25):
What would your chapter title be called? To some up
your journey so far? Your career journey? What would it be?
Speaker 1 (43:31):
Keeping in mind most of them are bleak and sarcastic,
so don't feel like you have to be inspirational at all.
I don't think we've had an inspirational one. Maybe Donnie's,
but he's his own breed.
Speaker 5 (43:44):
God, it's some version of we would have the word
failing in it because I feel like, and you know,
someone could talk to me and go like, oh, well,
you're framing it the wrong way. But I feel like
I failed at musical theater, I failed at acting is
not good enough. So it's I'm sorry to formulate it
(44:04):
with it, but it's it's something about failing. It's something
about understanding what it is you're good at. So failing
into that's what I want. I want to failing into.
It's not greatness. It's not failing into success. Brillstein, who's
a manager that my girlfriend like admires. He had a
(44:24):
book called Where Did I Go?
Speaker 4 (44:27):
Right?
Speaker 5 (44:27):
I think that's the title of it or something, But
it is like it's like he doesn't even know how
he got to where he got, So fuck I want
to go. Maybe I just want to go failing failing
into being.
Speaker 1 (44:38):
Okay, that's great like that, that's right on par perfect
with every everyone we've had. That's great that one.
Speaker 5 (44:50):
And then I put I put an assay and go for.
Speaker 1 (44:53):
Now, we've had for now, we've we've had dot dot
dot at least for now, we've had hashtag twenty twenty five,
so that like, if it's twenty twenty five and this
is not still the case, like, don't hold me. Yeah,
that's a good one.
Speaker 2 (45:07):
Yeah, really good, really good.
Speaker 4 (45:10):
Well, thank you for having me.
Speaker 3 (45:12):
Thank you, thank you, Del Marco.
Speaker 4 (45:14):
Thank you, guys. Take care.
Speaker 1 (45:17):
How to Make It is recorded from a closet in
New Jersey and a basement in Leeds, United Kingdom. It's
produced by Emily Capello and Haley Muralidarn. For full length
videos of our episodes, subscribe to our YouTube channel at
how to Make It Podcast. For more adventures with Emily
and Haley, follow us on Instagram at how to Make
(45:40):
It Podcast, where you'll find clips from today's episode, many
episode clips, and more random nonsense. Like and subscribe to
our podcast on Apple Podcasts, Spotify, or wherever other fine
podcasts are found.
Hi, I'm Emily and I'm Haley. After meeting online, we
became international best friends who bonded over how hard it
is to find success in the entertainment industry.
Speaker 2 (00:11):
Join us and our celebrity co authors as they help
us write the book on how to make it.
Speaker 1 (00:18):
And more importantly, uncover what making it even means.
Speaker 2 (00:23):
May that made us sound so much more serious than
we actually are?
Speaker 3 (00:27):
Should we switch roles on this time? Okay, see that's
the intro.
Speaker 4 (00:45):
Hi.
Speaker 5 (00:46):
My name is jo Marcos Seresi, and I wanted to
be a legendary actor when I grew up.
Speaker 1 (00:55):
Made it was that the first thing, the first thing.
Speaker 5 (00:59):
Well I think, I think honestly the first thing that
was the first like crystallized thing. But for me when
I was when I was like very young, I would
we would dance in the living room like my dad
would put on disco and my mom did this too,
but but divorced, and we would just like.
Speaker 1 (01:20):
Your parents are divorced, shut.
Speaker 4 (01:22):
The fuck up, and.
Speaker 5 (01:25):
We would we would like dance in the living room.
And I remember asking, I said to them, we need
to get our living room on a stage so people
can see this. So there was some very there is
some like very primal genetic urge in me that it's
not just enough to do the thing that I enjoy,
(01:48):
it needs to be witnessed by people. It is worthy
of being witnessed by people. And the rest of my
life has been figuring out a skill that that will
get people to do that.
Speaker 1 (02:00):
So self away, you could have gone with cult leader
or just like serial killer that usually gets a lot of.
Speaker 5 (02:08):
But that requires so much interpersonal There's there's there's a
wanting to it's just I want people to see me.
And in a lot of ways, like I always describe
it as I failed into stand up comedy, but I
also think like, in a way it is fulfilling what
(02:29):
it is I wanted in that more raw state because
I move around on stage, I am dancing in my
own in my own way, and I've just found a
version of that that I enjoy that other people, at
least for now, are willing to see. And so sometimes
I look at it and I go, no, you just
returned to kind of a more primal artistic desire.
Speaker 1 (02:54):
Yeah. I was just talking to someone about this as
remembering the why because I was at Warner Brothers for
you getting like food thrown at me and being like,
this is the dream, and then being like, wait, why
did I want to work in entertainment in the first place.
Speaker 5 (03:09):
Sure, yeah, sure, I think a lot of acting stuff.
I haven't worked a lot of TV and film like
in the grand scheme of things. But sometimes I do
it and I go, I don't know, this kind of sucks.
This is very boring. You're waiting around a lot. I
like the final product, but nothing compares to just I.
You know, yesterday, I barely got in to the venue
(03:32):
in time, and I just go on stage and I
get to I get to dance.
Speaker 1 (03:36):
You should do what Haley does. She's an intimacy coordinator,
so not as boring, hon as.
Speaker 2 (03:41):
You know what, though, I start to tap out with
it and I forget how magical it is to be
on a set. And then I took my daughter to
set a few weeks ago because I was working on
a film with the lovely medal Impet from Riverdale, and
I just want to name drop because she's such a
wonderful human. And she told me to bring my daughter
(04:02):
into meet her because my daughter is obsessed with her,
and my daughter was just amazed by this world. And
you forget when you're in it, when when you're in
the big shifts of it and you knackered and it's
not as magical as you remember. And then she she
was just absolutely amazed by all and I forgot. I
forgot how amazing it is to work in this.
Speaker 5 (04:24):
Sure, But then go tell her to go get some
coffee and say that is wrong, and we'll see how
amazed I.
Speaker 1 (04:31):
Always when when I was at Warner Brothers, I always
knew there was nowhere physically i'd else i'd rather be,
But I knew mentally I was going to jump off
the water tower at any moment. So it's like trying
to yeah.
Speaker 4 (04:48):
Well, I just did it.
Speaker 5 (04:49):
I think I just I just did a multi caam.
It was my first time I've ever done a multiicam,
which not to be condescending, but I guess to listeners,
that's where there's a live studio audience, and I thought
it would be cool. I thought it would be like
a more theatrical experience, because you go there's an audience,
you're performing for them, you get feedback. But it really was. Honestly,
(05:11):
it felt more jilted than regular TV because because it's
more because of the writing honestly, because it really is
written in a way where every every two lines it
has a punchline that's kind of soft and the audience
is juiced up and they're told to laugh, and basically
(05:32):
would be like if we're having this conversation and every
two sentences we had to pause for laughter, and not
just that but in fact react so like I'd say
something wacky and we'd all have to be like and like,
I mean, you do that every every two or three sentences.
And it just felt I really think when I loved acting,
(05:55):
I became a I really enjoyed the Daniel Da Lewis.
I wanted to feel it. I wanted it to feel organic.
I wanted to feel in the moment of it. And
so much of TV and film and the requirements of
these takes or it's only these two lines, it just
slices up the organic experience in a way that it
loses some of the magic that I love, Whereas with
(06:19):
live entertainment or stand up in particular, it's just it's
just it's pure. It's so pure me just speaking and
living in the moment and not having to stop and start,
and I just I ultimately go, this is I'd love it.
Speaker 1 (06:37):
The only time I've seen it work like theater was
anytime I was on a Chuck Lory stage because well
everyone were they were already either ten or five seasons,
and like it was like three and a half hours
start to finish filming the whole because they just have
had the same people on their team. But I've seen
other ones where we're like seven hours in and.
Speaker 3 (07:00):
It is just like, must be exhausting, yeah.
Speaker 1 (07:04):
And everyone's tired, and then they throw the audience a
cold piece of pizza and they're like everyone like, yeah,
does everyone still want to be here? And everyone's like no, sure.
Speaker 5 (07:15):
It just breaks your brain though, in terms of like
I remember so again the scene I did. It was
just one scene on this show, and I haven't acted
in a long time, so I was just I was just.
Speaker 4 (07:26):
Trying to try to feel it again.
Speaker 5 (07:29):
And I had like one part that was kind of
a joke, one line that was like the laugh line
or the laugh reaction, and they are juiced up to
give you this huge everyone on the team, the director,
everyone is like, we're gonna laugh so hard, and and
I remember I had this moment and I got this
(07:49):
huge laugh and I really had to wrestle immediately because
in my brain I.
Speaker 4 (07:54):
Was like, oh, fuck yeah, I killed that shit, and they're.
Speaker 5 (07:56):
Like, no, no, this is all fake. And it reminded me.
I wrote a play once and it was me and
another woman, and you know, I played myself and I
was telling jokes. And I remember at a table read once,
I told a joke in the scene and my scene
partner just laughed so hard and I felt so good,
(08:17):
and then I looked down at the script again and
I was like, oh right, I gave her a parenthetical
that said she laughs so hard and it's like you,
it's so easy to lose sight of the feedback loop
of comedy. Comedy is so fine tune based on response
(08:38):
that in that sitcom world, you go, oh, this is
why multiicams can start to suck. Everyone is told to laugh,
and it becomes a non organic art form. It becomes
I hate to use the word fascist, but it's kind
of like a you.
Speaker 4 (08:56):
Must laugh now.
Speaker 5 (08:57):
And if that's if that's the direction, you don't make
good art because it's not organic. It doesn't change based
on what's around you. And that's what happens with a
lot of stand up comedians too. When they get too popular,
is their fans just laugh and laugh and laugh, and
they start losing track of what is an actual response
to how the work is. It becomes more about like
(09:19):
what the audience thinks they should do, or they love
you too much, and you lose sight of what making
good comedy is.
Speaker 2 (09:26):
How do you keep yourself in check?
Speaker 4 (09:29):
I listen, I don't well.
Speaker 5 (09:32):
The other argument, I think the counter to it is that,
like when I'm in a tough room, or if if
if the circumstances are just bad, let's say it's a
bachelor party or something, A lot of times I almost
get mad at myself because I'm like, the jokes that
I find so reliable are the ones that I wrote
(09:53):
in the first five years, and I'm like, oh my god,
you fucking loser going back to these jokes. But the
thing is those jokes were born out of working just
shitty room after shitty room where no one knew me,
and not just that no one's paying attention. There's distractions.
The spread of people is so varied you have to
find a lower common denominator. But that wasn't necessarily better comedy.
(10:20):
I think comedy is very tricky in that sense where
it's like, sometimes if you have people's attention, you can
do something more creative, or you can go on a
bigger journey, or you can do a darker twist. So
I think the way I try to stabilize myself is
I sometimes do shows where no one in the audience
(10:41):
knows who I am, And sometimes I have jokes that
I go, oh, I thought that joke was great.
Speaker 4 (10:48):
Was it just my fans?
Speaker 5 (10:50):
And then I go, oh, maybe it is good. It's
just darker than the regular person is.
Speaker 4 (10:55):
It's hard.
Speaker 5 (10:56):
You have to grapple with it constantly. But this is
why I think it's really a fool's errand for people
who become huge on the Internet and then start stand
up comedy after that, it's it's not gonna You're not
going to become a great comedian a great stand up
(11:17):
comedian that way, it would be very hard. Or when
Eddie Murphy gets paid seventy million by Netflix to make
a new special, I go, good fucking luck, because you
can't even go in a room where people don't know
who you are and are excited to see you. And
that's the beauty and the frustration of comedy.
Speaker 1 (11:37):
Yeah, I'm going to try to so bad at segues,
but I'm going to try and grab on to one
of the.
Speaker 3 (11:43):
One of the things things.
Speaker 2 (11:46):
I was going to do.
Speaker 1 (11:46):
Emily, my segue is not that great. We move into
a sex section where we tell you two random facts
we found out about you on the Internet. Okay, and
you mentioned the internet, so I'm.
Speaker 4 (11:59):
Going wow, speaking in.
Speaker 1 (12:05):
Well surprise winning interviewee or so. I've been holding onto
this fact for so long, and I haven't brought it
up because I wanted to get it recorded. Also, as
a longtime listener of our show, John Marco, you'll know
that we've been trying. We've been trying to get Zach
(12:25):
Woods on through Shenanigan's left and right, just me posting
videos of me screaming about Zack Woods. And then I
saw that he follows you on Instagram, which technically means
he's watched my cations. I need to know why, how, who?
Speaker 4 (12:44):
Where?
Speaker 1 (12:44):
What is his social Security number? How did this happen?
Can you please tell me everything?
Speaker 5 (12:52):
I mean, listen, I I would also like Zach Woods
on my podcast, and I have I have let him
know that of Instagram. He just you know, inter that's crazy.
He just liked a couple of videos and I don't
know if I wrote him or he wrote me, but
he something other. He just said, if you're you're he said.
He said, I'm not a fan of the jokes, but
(13:14):
the captions really bring out something. Yeah, any chance, whoever
writes them has a podcast, and could I go on it?
You know me, I'm I'm a selfish bitch. I said, no,
don't worry about him.
Speaker 4 (13:25):
They don't. They don't have a podcast.
Speaker 1 (13:26):
He has viewed our Instagram story, so he's just a tease.
I guess I don't.
Speaker 5 (13:32):
Know he's online. He's probably very busy, but I don't
think it's outside the realm of possibility that you could
someday get him.
Speaker 1 (13:41):
I wasn't asking how we could get him. I was
asking why he follows you because I'm a because I
make because you're funny.
Speaker 2 (13:50):
He's a very funny man. Am.
Speaker 1 (13:52):
I didn't know if you were going to say, oh,
he's right here, or like we're roommates, or like, yeah.
Speaker 4 (13:57):
Zach is opening for me and blooming.
Speaker 1 (13:59):
To me my accountant. I don't know. Stranger things have happened.
All right, Well, there you have it. So Hailey, would
you like to move on.
Speaker 2 (14:08):
I would love to. I read a tweet of yours
from twenty twenty three. Oh yeah, yeah, the fourth of
August twenty three. You said, you said you think doing
the Edinburgh Fringe Festival sounds like a fucking nightmare.
Speaker 4 (14:27):
M I stand by that.
Speaker 3 (14:30):
She's not, you know, yeah, go ahead, please explain.
Speaker 5 (14:35):
Well, I did the New York Fringe Festival in twenty fourteen.
I'm pretty sure the festival's dead and it's been dead.
Speaker 4 (14:44):
But it was tough.
Speaker 5 (14:45):
It was really hard just selling out. I mean, it
was that play that made me become a stand up comedian.
Speaker 4 (14:51):
It was so hard.
Speaker 5 (14:53):
Yeah, it made me so hard I said never, never again.
I just think it's like, listen, it sounds it sounds
thrilling if you're doing well, or if I want to
go do the fringe for a week. I just think
like that is a young person's game, and when you're young,
(15:13):
it's hard to know how to write a good fucking show.
So it's like, I I think it sounds cool, I'd
go there for a week, but let me tell you,
I went to Edinburgh. The idea of that being crowded.
Those sidewalks are so fucking tight that unlike in New
York you cannot walk past. You are walking as slow
(15:35):
as the slowest person on that sidewalk. It it's it's
it's so I I just can't imagine what it's like
to be in Edinburgh when it's packed, when it's busy,
competing with every show under the sun. And I just
think the potential for having a two pm slot in
(15:55):
who the fuck knows where. There can only be so
many baby rained years out there in the world, and
I God bless anyone who does it, but per my tweet,
it sounds like a fucking nightmare.
Speaker 1 (16:09):
So it's a zoning issue for you.
Speaker 5 (16:11):
It's a zoning issue, and I got do you do it?
Speaker 4 (16:16):
Hailey? Is that? Like I used to?
Speaker 2 (16:18):
Don't? I'm too old now, man, I can't. It's exhausting.
The whole three weeks just kills you, and you spend
the whole year recovering to do it all again. You
could do a week, You could.
Speaker 4 (16:30):
Do a week. I could do a week.
Speaker 5 (16:32):
I'm listen, I'm looking into it. I'm trying to do
a week. But even then, like, I don't know how
my sales are going to do when there's a thousand
theater shows that day. So even then, it's like, listen,
I'm if I have the flyer, I'm gonna I'm gonna
be that's gonna be tough. That's gonna be tough.
Speaker 1 (16:54):
Helly, you gotta work your connects. Yeah, I'm assuming you.
Speaker 5 (16:57):
Have, because I did Monkey Barrel when I was there.
We're looking into it. We're looking at the Monkey Monkey
Barrel for a week.
Speaker 2 (17:06):
It's great.
Speaker 4 (17:08):
Yeah, yeah, nice and small.
Speaker 1 (17:10):
I swear to god, if you get to see Haley
in person again before I do, I am going to
be so said.
Speaker 2 (17:15):
Oh my god, if you came to Edinburgh, man, that's it.
Speaker 4 (17:19):
How far are you? How far away as leads from Edinburgh?
Speaker 2 (17:21):
Do you go there, Cathleen, No, no, I just go
for the fringe.
Speaker 4 (17:25):
Sure, I'd love to go. I want to go.
Speaker 5 (17:28):
I would love to go and just see all the
theater and blah bah bah. I wish I had gone
this past year. See Natalie Palomides. I really wanted to
see that show so bad. See stamp Town Sea Brightannic.
Speaker 2 (17:41):
But just imagine those tiny little those tiny little streets,
but with people just flyering in your face whilst you
can't escape. It's not great if you're clostrophobic.
Speaker 5 (17:53):
Yeah, I can only do it if I'm going there
and I'm like, oh, I'm it's a little run, it's
sold out, I'm booked for a couple of guest things.
Speaker 1 (18:02):
I so like the posh version.
Speaker 5 (18:04):
Yeah, but you know how it is like once you've
been on the road for so long, I mean been
on the road for what three years now, and you
know your standards, your standards go up and occasionally have
gigs where the standards it's beneath, it's below and you
deal with it. But for a month, no, a month
where where the club doesn't have my sashimi in the
(18:27):
green room, I don't know if I can do it anymore.
Speaker 1 (18:30):
Haley went on the road with me for one day
and I introduced her to sleeping with air conditioning. In
her life has never been the same since.
Speaker 2 (18:36):
I know, who the fuck you think your Emily, I
what did you think?
Speaker 4 (18:41):
What was it like? Was it like, oh my god,
it was cold?
Speaker 1 (18:45):
Okay, wait hold on, wait we're getting and Haley's like
getting into bed, I'm like, I'm gonna turn down the
air and she was like, you're tell me if I'm
remembering this incorrectly. She's like You're fucking crazy.
Speaker 3 (18:57):
This is so stupid.
Speaker 1 (18:58):
This is so stupid. And then we're in bed and
she's like, I'm gonna set my alarm for like an
hour before you and I was like, great, I wake up.
She is like dead asleep, has not woken up.
Speaker 3 (19:10):
You got up.
Speaker 1 (19:11):
I woke you up. You were like like a different shade.
And you were like, oh my god, that's the greatest
sleep I've ever had in my life. And then you
said you went off of it for like for two weeks.
You ran off that energy. Is that incorrect.
Speaker 2 (19:24):
We don't tend to have a condition in here, Emily,
so the fact that you even had a hotel with
a conditioning was insane.
Speaker 5 (19:31):
I mean, it's gonna be I agree, I've done I've
been Europe before, and it is. It is brutal. It
is brutal for the American sensibility, and I think it's bad.
I don't think it's good that we're used to it.
I think there's an argument that, like I think, I
think that having a c really prevents us from having
to confront the realities of climate change in a way
that we've been able to not deal with it. And
(19:54):
they talk about how they designed certain buildings in New
York with like glass, everything's glass, and it makes it worse,
Like it's not good.
Speaker 4 (20:03):
It's not good.
Speaker 1 (20:04):
You should do Joe Marco that Disneyland. They have fake
snow during the winter in California, like the Bubbles. You
should be like, we're not confronting climate change if we're
producing fake snow.
Speaker 5 (20:15):
I agree, I agree, You'll see, you'll see what will
happen with the world.
Speaker 2 (20:20):
Anyway, Oh, that went to a doca place and I
thought it was getting to.
Speaker 1 (20:34):
There's no smooth way to move into my question. I
wanted to ask, because you do a ton of crowd work,
and that is like improv to an extreme, because you're
also not speaking to people that you know also know
how to do improv or anything or going to be cordial.
And I'm wondering, how did you either stumble into it,
(20:57):
decide you're going to do it, and then is it
something that like you're talking about when you were a
kid and wanting to be on stage, is it something
that you did as a kid, Like, looking back in hindsight.
Speaker 5 (21:08):
I think I lean into crowd work partially because you're
incentivized with social media to produce a lot of content,
and I what happened is with COVID that's where I
really started kind of my social media push of posting jokes,
and I a hit a point where I was like
running out of jokes. I had a big backlog, but
(21:31):
eventually you hit a wall and then b I had
enough shows where even if it was just one or
two audience members, but if they knew the punchlines to
some of the.
Speaker 4 (21:41):
Jokes, I hate it. I feel so much shame and
I feel terrible.
Speaker 5 (21:49):
And sometimes they like it, but like if I see
them whispering to their friend the punchline or they're.
Speaker 4 (21:54):
Mouthing it along with me, oho.
Speaker 5 (21:56):
And it was really that that was my fracture point
of like I need to keep uping out content. I
don't want to keep putting out all these jokes and
doing on stage. And I lean into crowd work now.
I never thought I'd be good at CrowdWork. And I listen,
if you're to put a gun in my head, I
tell you, like, I think I'm fine at CrowdWork. They're
theater kids. They want to share. I have a lot
(22:18):
of people who are willing to share. I still feel
anxious breaking into crowd work. There's still so many crowd
work bits that go nowhere, and in my head, I'm like,
everyone knows I just failed this conversation. But I like
it because I get bored. I just don't like doing
the same thing over and over and over again. And
(22:42):
that's another realization why theater was just not for me,
because I like the chaos of it. I like, maybe
it's add maybe it's just that's what I like to do.
So I really I had to learn how to get better.
Speaker 4 (22:58):
At crowd work.
Speaker 5 (22:59):
And then there's moments that I'll ask a follow up
question it doesn't lead anywhere, and I go, man, I'm
the fucking worst crowd work comedian in the world. I
know some comedians who they'll go do a full crowd
work hour. I would never do a full crowd work hour.
I go, if it works, I keep going. If it doesn't,
(23:20):
I'm like, go back to material immediately. So I like it.
It keeps me on my toes. It can be it
can be burdened some that, like if I'm just trying
to work on material and I go a whole weekend
and I'm like, I didn't get any crowd work clips
this weekend. I go, oh, am I gonna run out
(23:41):
if the social media thing going to collapse, and that
burden is annoying.
Speaker 4 (23:46):
But it's fun. It's fun. It's fun for the most part.
Speaker 1 (23:51):
Weirdest one that you've that sticks out in your head
that you've.
Speaker 5 (23:55):
Had, Let's see, what are the I mean, there's like
Heckler stuff, but I feel like that's not necessarily unique.
There's always been Heckers, and the comedian has always done
their best to kind of make fun of them as
they're being escorted out of the venue if it gets
to that point. I think my favorite Carver ones are
(24:15):
when it goes way longer than you ever thought it
could be like, and you know these are ones that
you captioned. There was one about the guy talking about
he discovered his dad wasn't his real dad, and as
they're telling the narrative. As a comedian, I'm always like,
when is it going to run out of laughs? When
am I not going to think of a good next question?
(24:37):
Or I'll ask a question and it will just kind
of kill the momentum. And it's just like that kind
of video. You just keep going and going and going,
and it's so delightful to be like, Wow, we went
through the whole story and kept the momentum, and there
was discoveries and you find out, oh my god, one
of your siblings doesn't know it's not your dad. And
(25:00):
you find out you and your cousin are actually brothers.
Who knows, but it's that's any of those moments where
someone finds, you know, their mom left their family for
a polygamist cult, and it just keeps going and going.
That's the thrill. I imagine again to use a metaphor
of something I've never done. But when surfers talk about
(25:21):
like being in the halfpipe and it's just like that
glide state, or like, you know, I'm working on a
handstand forever and sometimes you click into a handstand and
you're upside down. You're like, oh my god, I feel
like I could just I could just hold this forever.
Speaker 4 (25:38):
You're like, wow, it's just we're grooving. So that's what
I like. That's the best feeling.
Speaker 2 (25:46):
Yeah, did you do musical theater at college?
Speaker 5 (25:50):
I went to college for musical theater. That's all I
did in college. I did not read a book. I
just looked at scores and songs. But I was a
big musical theater boy for no go on, no, no,
you please.
Speaker 2 (26:05):
No, it's just gonna. I was just gonna say, because
it's that feeling of holding a song right through to
the end and holding the audience. Is that similar to
hold that yeah?
Speaker 5 (26:14):
Yeah, or like holding especially holding, like where you just
get in the pocket of a high note and you're like,
oh my god, I'm right there. And uh that's why
I stopped, because I couldn't. I was not hitting that
note often enough to keep me hooked and worth all
the anxiety.
Speaker 2 (26:32):
No, I get it, I get it. I'm going to
go on to go onto my question via via theater.
So I was reading about your play less than fifty percent?
How did that go? Why aren't you doing more playwriting?
Speaker 4 (26:47):
Come on, well, listen.
Speaker 5 (26:50):
That play is why I became a stand up comedian
because people people like. Most of the positive feedback was
about very well by talking to the audience, and then
I'd say, well, what do you think of the scenes,
And They're like, the part where you talk to the
audience was so good, yeah, And I was like, oh, okay, okay, no.
I think honestly, it was when I was doing my
own play I did it started at the Fringe. Then
(27:13):
it went to this thing called Fringe Encres, which was bullshit,
and then we did a month. We did a month
of eight shows a week and would be a big step,
and I just found myself so filled with dread at
having to do this ninety minute exact show and I
(27:34):
hated I and the parts that didn't work never worked,
and I couldn't change them because we had tech and
and so like. The first half was really strong, and
the second half it got extremely meta, and I think
we there were some cool things in there, but it
didn't like fully click. It was a little confusing. What
(27:55):
I wanted to do was crazy.
Speaker 4 (27:58):
But I just got bored.
Speaker 5 (28:01):
I got bored. So if I ever did a play, honestly,
i'd write it for someone else to do. I get
bored doing the same thing. And I was proud of
that play. The moment that we tried to achieve, which
might be too fantastical to achieve in theater, was at
the end, the idea is you think the woman I'm
(28:22):
acting with is my ex girlfriend who I'm doing a
play with because we're both actors, And at the end
it's revealed it's not actually her, but she's in the audience,
and we had an actor who we hired. Poor actor
had to sit in the audience every show, and I
would basically my revelation from the play was I do
(28:45):
want to marry you, and I would propose to them
in the audience and they would leave, maybe two or
three times. Do I feel like we really tricked the
audience into thinking they were at a special, rare, weird
theatrical event and they were witnessing a man being rejected
(29:07):
in his proposal. And my favorite was my little brother,
who's much younger than me and I don't think ever
met my ex, believed it and he got out his
phone to start filming me proposed to this actor thinking
it was my ex and listen, if I could have,
(29:29):
if I could have, if it worked every time, it
would have been so cool. It was cool in theory,
but that's the kind of theater. I think that revealed
what I didn't like about theater. I wanted something that
felt fucking special and unique and in the moment, and
you can't do that if you're doing Sunset Boulevard eight
(29:51):
shows every week. It is a package. It is different,
and and you know, I wanted to not have bows
like hate bows because I feel like it not in
all cases. If it's a fun show, go ahead and bow.
But like the idea of like you just saw a
death of a salesman and Willie Lohman killed himself at
(30:14):
the end and then he comes out and he's like,
thanks guys.
Speaker 4 (30:17):
I hated that awful. And I begged.
Speaker 5 (30:19):
I told my director, you know, like a like an
annoying twenty four me and not not my director. My
director was great, but me an annoying twenty four year
old twenty five year old. I want to make art.
I was like, I don't want any boos. I want
to walk off stage and the lights come up and
the audience feels bad. And my directors and my producer said, please,
(30:40):
that cannot be the goal of the theater piece to
make the audience feel bad. And I said, that's it
should that's what good art should do. They should all
feel bad. And they're like okay, but then no one's
gonna come and I was and then I was like, ah, shit,
that's it.
Speaker 4 (30:54):
That is tough.
Speaker 5 (30:56):
That's a tough problem. But that's what I wanted. That's
what I wanted. And again, even talking at it now,
I'm like, yeah, this is this was doing. That is
what made me realize, oh, I don't actually want to
do this thing that I thought I did not exactly.
Speaker 2 (31:12):
I still think you should write a musical day.
Speaker 4 (31:16):
As sure. I think.
Speaker 5 (31:18):
I think when people just try to write lyrics like
out of the Blue at a later place in life,
they get appropriately very roasted for it. I'm not particularly poetic.
If I wrote a musical, if I wrote lyrics, it
would be very like a William Finn Bill Finn, my
favorite composer, where like it's very talky. It would have
(31:39):
to be very talky, cause if you don't, if you
don't deal in poetry and you try, you will write
some of the cringiest shit ever known to man, and
you won't even understand why it's cringey. You'll just be like,
gotta understand, this is what poetry is, and people be like, no,
this is the worst thing I've ever heard.
Speaker 2 (32:00):
Don't do that. I was at work this week and
I was sorting out. I was choreographing a simulated sex
scene between one quite a high profile male British actor
(32:22):
and a scene partner, and there was this smell in
the room. There was this smell and it started to
become quite like, it's just like, where is it coming from?
I felt like it was following me, It was in here,
it was there. We were all commenting on the smell,
where's that coming from? And then I left the room
(32:43):
and I could still smell it. And it turns out
so obviously I've embarrassed myself with these wonderful people, because basically,
I got two puppies a few weeks ago, and I'd
left my hoodie on top of the on top of
my sofa, and one of the puppies had obviously taken
(33:06):
a little shit in the hood of the hoodie, so
in the hood area, and then it had been concealed
and had gone hard in the hood. Not this hoodie,
but I'm just showing you sure.
Speaker 4 (33:22):
I was like, oh god, it was a white hoodie too,
Jesus Christ.
Speaker 2 (33:25):
I think it was concealed. So this odor that was
following me around was actually healy shit. And then and
then we got onto set and I thought, I either
pretend that this hasn't happened, or I just make it
a thing. So I just explained the story and it
was all cool. But I was thinking to myself, like,
why the fuck do I do this to myself? Like?
What is my life? Why do I do this?
Speaker 3 (33:47):
Like?
Speaker 2 (33:47):
Have you had an instant where you've been at work
and you've nothing to do with pooh, nothing to do
with any like carrying pool round? But have you had
an instance where you're at work doing your job and
you're going, what the hell am I doing? Why am
I here with?
Speaker 5 (34:05):
I definitely feel like I realized when I was acting
increasingly just how pathetic the life of trying to get
work as an actor was. And I was never like
I was never succeeding greatly in acting.
Speaker 4 (34:20):
You know.
Speaker 5 (34:20):
I did a little TV here and there, a little
bit of commercials, but definitely like at twenty six, I
was like, oh no, don't.
Speaker 4 (34:27):
I don't see what the future where it holds. And
you'd have your manager. My manager said all the time,
when you're in your thirties, you're gonna work like Gangbusters,
and you were like, that's that's a crazy gamble. And
I remember I had an audition for Oranges the New Black,
and the part was small, but it was fun. It
(34:47):
was the lead singer of an all white roots cover band,
so it was like it was very it was it
was perfect for like an awkward humor, and I got
my hats, I bought a little bit of a wardrobe.
I went to the audition.
Speaker 5 (35:06):
I knew these cast directors before, and I just like,
I felt like I did well with it. And as
I was leaving, my manager at the time called and said, hey, sorry,
the audition was canceled. And I was like, oh, oh
that's so. No, it wasn't, No, it wasn't. I just
did it. And they said, oh, they must have just
(35:29):
figured out. I guess they found an actual all white
roots cover band and so they're just going to book
that guy. And it was as I was leaving the
building for this audition and I thought, like, man, you're
telling me that a of all they had an offer out,
(35:51):
they wasted my time. That it wasn't a lot to memorize,
but to memorize to practice. I bought a hat for it.
So I'm operating at a loss. I've the day I
was excited. I saw them, and literally I couldn't even
have gotten it if I wanted to. And yeah, they might,
they might have liked me, and then they'll call me
(36:12):
back for another role at a different time, maybe, but
not necessarily. And I think that's where I really felt like,
this is a waste of my life. Whether or not
I had enough talent or didn't have enough talent, or
if I was better looking or different looking, I could
(36:33):
work more. I don't know, but the reality is is
like where I'm at in life, with my resume, with
my degree, this is a waste of my existence, and
it's a gamble and I'm not willing to wait till
I'm thirty. And thank god because I did not get
a lot of roles when I was in my thirties
all of a sudden, and I wanted that traditional path.
(36:55):
It wasn't being granted to me, and I wish I
had been, you know, try to make my own shit.
Just from an earlier age. I trusted the system, and
the system failed me. And you can always look at
things and I like, I feel like I certainly was
at an era where people were talking about diversity and
(37:16):
casting a lot more, and there were certainly many other
white actors I would say who got who basically felt like,
what the fuck I'm not getting work?
Speaker 4 (37:27):
And they would get mad.
Speaker 5 (37:28):
They would get mad at like this thing as opposed
to I think the realistic way of looking at it
of going like, hey, we work in a marketplace, and if,
for example, they want to make commercials more diverse than
they used to, put aside feelings of is this the
right thing to do?
Speaker 4 (37:49):
Blah blah blah, you go.
Speaker 5 (37:52):
It is, I'm getting less auditions, Do something else, figure
out a different thing, make your own commercials, become a
stand up a median, figures something else out.
Speaker 4 (38:02):
It's not being handed to you.
Speaker 5 (38:04):
And you know, and I want to put it aside
from like, I think it's totally fair to go, hey, yeah,
you know what it was handed to you in the
past in a way that was not fair, and now
you're getting a taste of what it was like for
other people that But again, put that aside, look at
yourself as an individual and go what kind of life
do I want? Oh, I'm not getting auditions for commercials
or theater. Could it be that I should be better?
(38:26):
Could it be blah blah blah?
Speaker 4 (38:27):
Who cares?
Speaker 5 (38:28):
It's not working out this path? And I know so
many people that just said it's not working out. Maybe
and maybe it was that maybe they just weren't hot enough,
or maybe people weren't into people with big noses. That
year or maybe they were too tall, or maybe they
were too short. But the bottom line is, what are
(38:48):
you just going to be mad that this select group
of casting directors in this select market, in this particular
period in time doesn't want you. Is that the life
you want to live? I wanted to make, I wanted
to create, so I shifted, and I wish I shifted
even earlier, But I shifted at twenty six twenty seven
(39:09):
and did a field where I had more autonomy or
who knows. I think you can argue, I would always
say to those people, because they're still out there complaining.
But I picked a life where I got autonomy, where
I could control my destiny, and ultimately I felt fortunate,
a life that I love the thing that I do.
When I think about what I got to do last night,
(39:29):
it was a pain in the ass. I don't know
where the fuck I was in Ohio. I do get
tired of flying, But the moment I walked on stage,
I said, oh yeah, I did an hour forty minute
set because I love it.
Speaker 1 (39:50):
That leads into literally what my next question was, which
what is your definition of making it?
Speaker 5 (39:58):
I think the hard truth is I am making it
in terms of amount of time I get to spend
doing what I love creatively, and I think that's it
can be hard to wrestle with because there's a lot
of aspects that are exhausting, and Emily is more familiar
(40:23):
than most people in this world of like the things
that I'm trying to there's always ways I could have
it be better. Before before I worked with Emily, before
I worked with a lot of people, I was captioning
my own jokes on my TikTok on the TikTok app
and it was excruciating, and it was during COVID and
(40:45):
I had the time. But I think, like everything about
my life now, it's more like, oh, this could be easier,
or this I could have more time, or maybe I
do want to be more separate from social media, mixed
with the fact that I think you have to be
engaged to be good at it. There's so much of
(41:05):
being a stand up comic today, especially almost every working
stand up comedian today is also a business person, and
unfortunately we lose a lot of I think great artists
who are not business people. And I think you can
criticize the nature of capitalism and social media with what
it does you lose great artists because they don't want
(41:29):
to engage in social media. But that's always been the case.
There's always great people you lose because they can't survive
in the atmosphere. Sometimes a bit of art is about
like a survival of the fittest. Art is tied to
survival of the fittest in that you have to be
able to sustain yourself to make the art, and right
now you have to be so business minded to make
(41:53):
art and survive as an artist in this world. And
part of my dream of making it, to get back
to the original question, is to be able to concern
myself a little bit less with those those necessities of survival,
so I can focus more on the art form itself.
I think I've abandoned the idea of, oh, there's a
(42:17):
point where I make it. I have a good touring life.
At least one of my two shows tonight will be
sold out, The next two tomorrow probably be sold out.
That's a lot of comedy I get to do.
Speaker 4 (42:31):
Yeah.
Speaker 5 (42:31):
Could I do bigger rooms? Could I make even more money?
Could I have come here today in a limo or
a private jet and had a little more space to work?
Speaker 2 (42:40):
Yeah?
Speaker 4 (42:40):
Do I hope?
Speaker 5 (42:41):
That's partly what happens. Yeah, but in terms of like,
art is always going to be tough if you want
to make great art, and I am making it, and
that's scary because I go, oh, there's some parts of
my life I'm not happy with.
Speaker 2 (42:55):
It making it, and like having bits of your life
that aren't particularly how you want. Isn't the same thing?
Is it? It exists in different realms.
Speaker 5 (43:04):
And per your point of bringing your kid to set,
it's like you are on set, you're doing the thing,
And the truth is it's not this magical world all
the time. It's just is there enough magic to make
you want to keep going back? And for me there's
enough magic when I'm on stage that I go, Okay, fine.
Speaker 2 (43:25):
What would your chapter title be called? To some up
your journey so far? Your career journey? What would it be?
Speaker 1 (43:31):
Keeping in mind most of them are bleak and sarcastic,
so don't feel like you have to be inspirational at all.
I don't think we've had an inspirational one. Maybe Donnie's,
but he's his own breed.
Speaker 5 (43:44):
God, it's some version of we would have the word
failing in it because I feel like, and you know,
someone could talk to me and go like, oh, well,
you're framing it the wrong way. But I feel like
I failed at musical theater, I failed at acting is
not good enough. So it's I'm sorry to formulate it
(44:04):
with it, but it's it's something about failing. It's something
about understanding what it is you're good at. So failing
into that's what I want. I want to failing into.
It's not greatness. It's not failing into success. Brillstein, who's
a manager that my girlfriend like admires. He had a
(44:24):
book called Where Did I Go?
Speaker 4 (44:27):
Right?
Speaker 5 (44:27):
I think that's the title of it or something, But
it is like it's like he doesn't even know how
he got to where he got, So fuck I want
to go. Maybe I just want to go failing failing
into being.
Speaker 1 (44:38):
Okay, that's great like that, that's right on par perfect
with every everyone we've had. That's great that one.
Speaker 5 (44:50):
And then I put I put an assay and go for.
Speaker 1 (44:53):
Now, we've had for now, we've we've had dot dot
dot at least for now, we've had hashtag twenty twenty five,
so that like, if it's twenty twenty five and this
is not still the case, like, don't hold me. Yeah,
that's a good one.
Speaker 2 (45:07):
Yeah, really good, really good.
Speaker 4 (45:10):
Well, thank you for having me.
Speaker 3 (45:12):
Thank you, thank you, Del Marco.
Speaker 4 (45:14):
Thank you, guys. Take care.
Speaker 1 (45:17):
How to Make It is recorded from a closet in
New Jersey and a basement in Leeds, United Kingdom. It's
produced by Emily Capello and Haley Muralidarn. For full length
videos of our episodes, subscribe to our YouTube channel at
how to Make It Podcast. For more adventures with Emily
and Haley, follow us on Instagram at how to Make
(45:40):
It Podcast, where you'll find clips from today's episode, many
episode clips, and more random nonsense. Like and subscribe to
our podcast on Apple Podcasts, Spotify, or wherever other fine
podcasts are found.
Popular Podcasts
Las Culturistas with Matt Rogers and Bowen Yang
Ding dong! Join your culture consultants, Matt Rogers and Bowen Yang, on an unforgettable journey into the beating heart of CULTURE. Alongside sizzling special guests, they GET INTO the hottest pop-culture moments of the day and the formative cultural experiences that turned them into Culturistas. Produced by the Big Money Players Network and iHeartRadio.
Dateline NBC
Current and classic episodes, featuring compelling true-crime mysteries, powerful documentaries and in-depth investigations. Follow now to get the latest episodes of Dateline NBC completely free, or subscribe to Dateline Premium for ad-free listening and exclusive bonus content: DatelinePremium.com
The Charlie Kirk Show
Charlie is America's hardest working grassroots activist who has your inside scoop on the biggest news of the day and what's really going on behind the headlines. The founder of Turning Point USA and one of social media's most engaged personalities, Charlie is on the front lines of America’s culture war, mobilizing hundreds of thousands of students on over 3,500 college and high school campuses across the country, bringing you your daily dose of clarity in a sea of chaos all from his signature no-holds-barred, unapologetically conservative, freedom-loving point of view. You can also watch Charlie Kirk on Salem News Channel