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Patton Oswalt on Bertcast's Podcast with host Bert Kreischer

Last Played: February 15, 2021
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Patton Oswalt makes a guest appearance on Bertcast's Podcast with host Bert Kreischer to discuss other comics they love, Patton's start in comedy, and making every crowd your crowd.
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about you is because you have such great. I mean, I remember reading. Was it were Wolfson lollipops? Yes. Yeah, yeah. Lollipops. Remember reading that? And I visualized a scene in my head all the time, all the time. And I don't even know if how accurate this is about a kid sitting behind the booth at a movie theater, reading his book to himself, just reading. And I read that, and I visualized it so well that I went Goddammit. Patton is in a peril. In 1935 he would have been a just a novelist living in France. Like Like it's You're such a great fucking writer. Thanks, man. I mean, thank you. I mean, again, being a great writer, I'm like a legit fucking fan. Like I I have everything like, thank you. Um, yeah. I mean, it comes from I read ah, lot, and there are certain and I read everything I don't I'm not like I'm going to read science fiction horror. I always get the you know it's no. It's an amazing way to learn how to write, read sports writing. Every year I get the America's best sports writing compilation sports writing has some of the best phraseology and some of the best. Like there's certain words that popped differently in your head. You know, I mean, like, great comedy words or words like pants or hat. I don't know what it is, but that just they're they're they're stronger and they land harder, you know? So I mean, you know that it's just an instinctual thing that you learn over the years. So, um yeah, but you and Burr have such a YouTube specifically have such a stop in the back of the club and hit another comic. Stanhope has the same thing. Where you go, Goddammit man is the It's the It's the the quickness, the quickness of getting to the point with so few of words that are so colorful. Yeah, well, people like Ber um have that thing where you'll watch them and then you'll subject or you're very quietly. The comedians will repeat back the punch line just to hear what it sounds like coming out of your skull. Just go. It's almost like, Hey, let let me play that guitar for a second, okay? Yeah, All right. I got it. Like you just want to hear how that feels, because it's so fucking exactly what it is. Yeah, And I remember, like, people like him. Brian Regan, Paul F. Tompkins. There, those wordsmiths Where when they say something, you just kind of go Let me just say that Oh, shit, That was good. Like you feel how good it feels like coming out of your head. Oh, that feels good. Uh, that is that is inspired to that That has said so perfectly. That is exactly I've done that. I've done that with staying hope I've done. I've done that with you. I've done that with It's amazing. That is other comics. Just It's like, Yeah, I wanna I wanna try that guitar, God damn it, You're so like. Well, Stanhope especially, is so aware of it like there are moments. There are certain punch lines of his where you all hear him smacking his lips as he says that he's so happy that he's gonna about to say this phrase like, Oh, here comes the really juicy by the stake here we get like there's actually, um ah, moment like that. And I was very, very proud of myself. A little bit of a brag in the new special. I have a phrase, um, you don't want some ropey fitness or climbing all over you. I use the phrase ropey fitness orc. Describe those guys that work out too much where it's like you're too healthy analysis on attractive anymore. Like now you just look creepy. And that was one of my stand home. Almost from like I cannot wait to say when that when that phrase came to me and then I did it one that at the Improv and Dana Gould came up. He was like he just went ropey fitness or like he was so happy at those three words together. Dana Gould's another one of those guys that just has those perfect lip smacking Little like It's right there. Dana Gould. It's It's funny, man. There you get. I think we can all appreciate the like the Dana Gould's When I Love when he gets to a point where he does something and then has to explain why he did that to the audience and why it's comedic value was underappreciated, and you and you're just sitting in the back going, you you just broke down something I do on stage and I didn't know why I did it. I just knew it got laughs. And then you broke down the theory of it, right? And and you're 100% correct. Everything you just said, you absolutely nailed. And it's indisputable what you just said. You're right. And like that will be in my head from that one. What was it when you when you first started when you first started? Was that when the split with the all and kind of bro? Now, But I say bro comics, that's what they are. We are now more. But like the all and the Mawr can't be seen them or like, clubby scene. Was that when that Waas know When I started, it was weird. I started, and I'm actually fortunate that I did. I started in 1988. I went. But my first time on stage was the same night as Chappelle's first time on stage was July 18th 19. Idiot, He was 14 years old And was that in D. C at Garvin's comedy club in Washington, D. C. And he was 14 years old and went on stage, and it looked it felt like he'd been doing it for 30 years. He just was Bam! It was just amazing. Um, but I started just as the boom was starting to end. So there was still this ghostly feeling of There's a million comedy clubs, and even a mediocre comedian could make 50 to 100 grand a year. As as Andy Killer used to say, If you could say good evening, ladies and gentlemen, for a time in the early eighties, you could make 100 grand a year like they just needed warm bodies. They didn't give a shit. So I saw people that have gotten kind of lazy and leaned on the same 45 minutes. And what over spent because in their minds, like I'll be making, you know, five grand a week forever. And then suddenly every club is gone, and I'm watching older comedians getting houses repossessed, cars towed. So I learned very early. A Every day's a rainy day in this business, just for whatever you make, pretend like you've made half of that and put the other half away. And then I also saw the frustration of starting comedy when so much was already, um, taken as a given like Well, when you do comedy, you have to do this. You have to do this. You have to dress this way. You got to talk this way. And then when it all collapsed and I saw all these people just kind of set adrift, and then I moved to San Francisco in 92. That was when I saw the beginnings off the so called all Seen, which were comedians. They just wanted to do it even if they had to have day jobs like they just wanted to be on stage doing their own thing. And that kind of built that scene up from there and and weirdly enough, even though, if you're calling it like the bro comics of the club Comics. But those guys, the so called bro comic still came out of same motivation of I want to do this no matter what. So to me, like the Largo scene Or, um uh, you know that the community of comedy, to me is no different than skank fest or anything else, which is, let's build our own thing, find our own crowd, and I anything. It doesn't matter if I agree with it with with them politically or subject matter. What? That doesn't matter. I love the fact that creative people are like, fuck it, I'll just do it myself. That always makes me excited because it means the industry is really vital, you know? Yeah, it's amazing you did that. You you I mean, I I saw you was both I never saw you was one of the other, but because I would watch you do material that would kill in any room and where whatever the fuck you wanted to wear clothes weren't important to you. And again, I remember it was a, um that that there was a thing of like, Well, that just wasn't my crowd. And I think it was Louise de Que said to me any make any crowd, your crowd, that's your job. It doesn't matter who you're in front of. You make any crowd your crowd. So I always just kind of kept that in mind. But, you know, again in the mid eighties, comedy was very profitable, but it was dead because it was a very profitable, narrow, um, cookie cutter thing that people just expected to get the same product every time Now comedy is a little more precarious, but it's never been more alive. You know, it's very, very hard to make a living as a comedian, but the people that are doing it are so feisty and committed and, you know, yes, sometimes they read each other's throats, and sometimes there's a huge battles. But that's what happens when really creative, opinionated people get together. There weren't any massive battles going on during the comedy boom because everyone just went. You go in there, you talk about airline food and dogs and cats, and then there you make your paycheck, you go home. Now it's this really amazing. Uh, you know, sometimes the battlefield, but it's never not fast.
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