Jim Jefferies on Comedy, Life Lessons, and the Magic of Filling Out Customs Forms | Transcription

Transcription for the video titled "Jim Jefferies on Comedy, Life Lessons, and the Magic of Filling Out Customs Forms".


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Intro (00:00)

Hello boys and girls, ladies and germs. This is Tim Ferriss. Welcome to another episode of the Tim Ferriss Show where it's my job to interview people who are the best at what they do or certainly world-class performers and my guest today is Sydney Native. We're going to talk about Sydney. Jim Jeffries, Jim is one of the most popular and respected comedians of his generation, entertaining audiences, including yours truly, around the globe with his provocative belief challenging and thought-provoking comedy. I would underscore the thought-provoking. He created and starred in the sitcom Legit in the Comedy Central late night show, The Jim Jeffries Show. Jim was honored as stand-up comedian of the year at the Just for Last Festival in summer 2019. At the end of 2019, he embarked on his new tour, Oblivious, during all around Europe and North America. He is currently working with NBC on a multi-camera pilot, which he will star in from writer producer Suzanne Martin, Sean Hayes, and Todd Milliners, Hazy Mills, and Universal TV. His new podcast, I don't know about that, debuts on Tuesday, May 5th. You should check it out. And his ninth, count them nine. That's incredible. Stand-up special will be released later this year on Netflix. You can find him on all the socials at Jim Jeffries. That's J-E-F-F-E-R-I-E-S and JimJeffries.com. Jim, welcome to the show. Thanks for having me, Tim. Tim Farris, it's a very good Australian name. I'm sure you get that a lot, right? I do. I do, actually. You know, like the guitar is from any success. You obviously know that, right? That's exactly right. Yeah. I have a Tim Farris story. Let's hear it.

Career Journey And Experiences

A Kylie MinogueTim Feriss Story (01:46)

I was performing at the Enmore Theatre in Sydney, and Tim Farris came backstage at my gig, and I was like, a kid from Australia, very excited to meet the guitarist from In Access. And I think he wrote most of the songs as well, you know? And when I saw him, he just had like his finger had fallen off. Like, it'd been like, I think it was a boating accident or something. His finger had been ripped off. And I was like, wow. So he goes, yeah, that's the end of In Access. I can't really play guitar anymore because I can't play the chords because I don't have this finger anymore. And I went, that's a shame. And so, you know, I said to him, I said, so it turns out your finger was more vital than Michael Hutchins, because, you know, in Access, I think, are three new singers, and they kept going. But you lose Tim Farris's finger, and they can't play anymore. Well, that is the first separate Tim Farris anecdote that has ever happened in 400 plus episodes. So I'm thrilled. You know, I've had that name pop up before the comparison, but I've never heard an actual story. So that's... He's a very nice man. It was the Farris brothers. They all went to the... There was my school, and then there was the school next to us, and we had a rivalry with him. And our school was like, ah, we beat you in rugby. And they're like, we had In Access. And we were like, ah, you win. Yeah, that's it. Like the most famous person that come from my school, I think, is me. You know what I mean? Like, we haven't got a great track record. So hello to all the people at Sennive's High in Sydney. That's where I went. But yeah, we had me, I think, a couple of people who got like bronze in the Olympics, and some relief pitcher for the Angels back in the 90s. Well, let's talk about Sydney. I have actually spent a fair amount of time there. I rented an apartment with a friend in Wollum Aloo.

Ode to Sydney (03:32)

And wow, that's a bit of money. It's where the Prime Minister lives. Well, you know, it was his idea. Although I will tell you the drawback, and you can probably tell me what these birds are. You have the most beautiful white birds that make the most god-awful sounds. Oh, Australian women. Yeah, yeah, yeah. I know what you're talking about. Good looking, but the accent's fucking horrendous. Yeah, you know, I've met them in me day. Oh, yeah, I'm enjoying that. Keep doing it. Oh, yeah, that feels good. Yeah, no, no, the worst, worst accent for sex in the world is the Australian female. But what bird are you talking about? There's some protected bird. I want to say maybe it's a macaw. It's this white bird that has this plume on its head and it's so it's it's it's a galah. That's a cockatoo, cockatoo, cockatoo. Yeah, a cockatoo, okay, I'll tell you, my father has okay, my father's like what he's like this guy that he's one with animals for whatever reason. And he has this like a veranda. He opens up the doors and each day these two rainbow lorikites come and visit my father and they fly in the window and they just sit on his shoulders. Now cockatoos look very exotic here in America, but they're everywhere in Australia. They're not endangered at all. They're all my dad thinks they're a pest, right? And he goes, there's a cockatoo that bothers those two rainbow lorikites. And my father keeps a slingshot and some rocks by the side of his chair. And he shoots the cockatoos and they come over. And my friend, my American friend who co-hosts my podcast with me, Forrest was there and he goes, he goes, does it kill him? He goes, oh no, it just gives him a bit of a scare. You know, if you hit one of them in the eye, you know, why were you in Sydney for so long? Were you just backpacking? Oh, I was there because my one of my best friends is actually Kiwi was living in Sydney at the time and he invited me to head over and separately the Australian edition of my first book was launching in Sydney. And they wanted me to show up for a handful of media gigs and this that and the other thing. And so I combined everything together and stayed for two, two and a half weeks. It probably only took me two, two and a half minutes to get my pale scalp annihilated by your ozone-free sun. Yeah, people don't know that there's two holes in the ozone layer and one's over. I think the north, the north pole, I think, or it might be the other holes over Australia and Australia, when you watch like, okay, so when you watch the weather here in America, it'll go and the temperature's going to be this, the humidity's going to be this and there's some winds coming in from over here. But you never get the daily UV rating. We're in Australia and they go, "And it's 100% UV today."

So, uh, friend. When you're not shooting birds (06:17)

And there's like 100% is like normal thing. So it's like, you don't even really think about skin cancer that much in America. Like, you know it happens and you have to be wary of it. And if you have a mole, you get it checked and I tell you stuff. But skin cancer, if it's not number one, it's very close to the number one cancer in Australia. And so we had a slogan when I was a kid called "Slip, Slop, Slap." And it was "Slip on a shirt, slap on sunscreen and slap on a hat." And that's how you, what you have to do if you want to go outdoors. And now the kids today in Australia, if you're at school, they have a policy called "No Hat, No Play." You can't go out of the classroom if you're not wearing a hat and the hat will have like one of those things down the back. So it covers your neck as well. It's a good look. Well, if you go to Bondi, maybe not Bondi. I'm not sure where the best surfing beaches are. But if you go to some of these beaches, I was astonished because I saw all the surfers look like they were getting ready for an Antarctic expedition. I mean, they had the ear flaps, the neck flaps. They had enough zinc on their face to make them look like snowmen. Oh yeah, we always had like fluorescent zinc on our noses as kids in the 80s. And now they still just put the white stuff. But that was how you sort of showed how your personality, whether you had pink or green or fluoro yellow or whatever like that. But I like to look at like Bondi Beach and just watch the British people who have never seen sun just like, and you know they've been there for a week going, go on there, lay out, enjoy yourself. They're all just getting burnt the fuck. Yeah, that's what I love watching the British get burnt in Australia. Well, I suppose Bondi, if I remember correctly, because my friend used to be a lifeguard, actually, and he was saying you could just sit at a cafe and you could watch, I suppose on one hand, the Brits just get turned into rotisserie chicken. And then you could see tourists from, he said in particular from China just get swept out to sea because they prepared for the currents. Yeah, yeah, yeah, yeah. I mind you when I was a kid, that happened to me a few times when you swim out a bit far and then you start drifting off, and you're like, Oh, fuck, I'm going to die. I did that thing where I waved. And then like, someone has to come out the little boat and come and get you and you're like, sorry about that. I'll swim a bit far, you know, so I this day, I don't go far out in the ocean. Yeah. When did you feel confident in comedy as your direction? Actually, before we get to that, let's bookmark that question. I just want to say something before I forget, and not to get all sentimental this early on our first date, but I owe you a debt of gratitude because your comedy has helped me get through some really dark periods. And that might sound funny because your comedy itself can be dark at points, but putting that aside, I've really enjoyed your comedy over the years.

A Tim Ferriss tribute (08:58)

And it's been not just entertaining, but really helpful to me at points. So thank you for that.

First Comedy Was a Disastrous Experience (09:13)

No problem. That's very sweet thing of you to say. And so to comedy and direction, when did you, when did you feel confident that that was your? I wanted to be a comedian from the age of about 13, 14, you know, and then I did it two times, three times when I was 17. And one time I did it, and it went really well. And the, and was the comedy store in Sydney. And you have to go down there, and they put your name in a hat and they pull your name out. And I had five minutes, and it was just all about being in school or whatever. I can't even remember what I talked about. And then they said, Oh, you're not 18. I, and I was like, no, and they go, you have to come back with a parent. And so I hadn't told my parents. And my parents as well, I hadn't even told them that I went into the city. Like I wasn't allowed to go into the city. You know, I lived out in the suburbs, and I told them I went to a mates house or something. So I traveled into the city. And so, so next time my dad had to come with me, I remember it was like bucketing down with rain, and I went out there and I got back on and the only other people in the audience, because it was raining with the other comedians waiting to go on. And there was the full range of people who were getting good at it, people who were never going to get good at it, and people who were there first go and people have been trying for years. And anyway, I got, I couldn't have had a worse gig. I couldn't have died worse than that. And I got in the car with me dad afterwards, and my dad said, he goes, Oh, you're a good kid. And you got a lot of good qualities, but this isn't for you. And my heart sank. And then I went and did it one more time just to see, because that first time went so well. And then I did it again, and I died again. And I went, all right, this isn't for me. And then I didn't go up again until I was 20. 20. I didn't do it. Yeah, I waited another three years. I just think it was more than that, but I was in college, and I used to run me own comedy night. And I remember there was a, there was, I was in Perth when I started doing that. So a lot of people think I'm from Perth because of this, because I really started doing comedy in Perth. But I, I, the, the way that a lot of people get stage time is what you do is you find of, and you put your own shows on, your book, your own comedians, and that way you can emcee and you can get better by, you know, because I couldn't get gigs. So I thought I'll run my own gig. And there was, there was this area in Perth called Claremont, and Claremont had a serial killer at the time, the clowns. Had the Clare, had the Claremont killer, right? So what happened? I don't think they ever caught him. I don't know, but maybe they did catch him. I don't know. But when I was there, the guy called the Claremont killer. And what happened was with the Claremont killer, all the, all the bars that were normally, this was a big party area of Perth. They were all, no one was going out because all the girls who got killed, the last thing that happened for them, they left the nightclub and got into a taxi, or went looking for a taxi. And then they were never seen again. So that, that nightlife there just died. So there was all these like bars that were just empty. And so I went into one like, Oh, can I have a gig? And they were just happy to have anyone in the building. And I used to get like 15 people, me mates to come along to these shows. And it was like a really popular bar. But on a Friday night, I could have a gig there because of the killer. So, you know, silver lining. That's what happened there.

Becoming an Opera Singer & Doing Adult Sit-Comedy (12:39)

And when you, if we go back to 17, you tried it three times, maybe this isn't for me, what in your head was plan B or the alternative? Well, there's a weird thing that sort of, I think there's a, you know, for people who really know about me, and that's not many people, but there's, there's a bit of a myth about me being an opera singer, which is, is vaguely true. Right. What happened was when I was 17, I was in a school musical, and then I was doing all right. And then someone said, Oh, you should get some singing lessons and blah, blah, blah. And so I got some sing lessons with this guy called Richard Gill, who has since passed. And he was one of the main conductors for the Sydney Opera. And he, he, he got me, he got me apart in the chorus of, of Wagner's the Flying Dutchman. And I had to sing in German. I was like 17. And I just saying, I just, I just bought a CD of this, this opera, and I just mimicked it, you know, and I, I wasn't that greater singer. But after that, I, I, I got into Whopper, which is the West Australian Academy of Performing Arts. And I studied musical theater, and then I studied opera in the next year. And so, so I was a professional opera singer for a few weeks of my life, but it was never, it was never a full by thing. But I did this course. It was the same course that Hugh Jackman did. And it was like, it was a full scholarship ride. And I remember because I didn't have the marks in school to get into anything academic in university. And I don't believe I had the marks to actually get into this course, but they never checked for my high school certificate. And I just went in and did a dance and singing audition and stuff. And I always still wanted to be a comic. But because I thought the comedy wouldn't work out, I still wanted to be an entertainer and a performer. So I thought, ah, this is another thing I can do. And it was also, I think for my mother at that stage, that was something that she was far happier to brag about that I was studying music in a prestigious college or something like that. But on maybe my second year into the course, there was a comedian called Gary Who, who was like, this guy would be on Australian TV. I'm still, I still not Gary. This day is very nice man. And he'd come over to do a gig in Perth. And I was his opening act. And we had, we had a few drinks afterwards. We got along. I think he liked me more as a person than he liked me as a comic. But he said, he said, do you want to come and do these, these mining town gigs? And I thought, I thought, ah, that's too good an opportunity. So I quit university. And I went out to like places like Cal Gully and these little gold mining towns. And I performed in these bars just to like, Australian cowboys pretty much like guys in cowboy hats, they live out in the land and they work in the mines and all that. So I was like, these towns had so many men working out there and so few women that in the bars in these towns, the bartender would be a female and they'd ship them in. And they'd call them skimpies and a skimpy and she would just be topless. Now, this wasn't, this wasn't a strip bar. This was just a normal bar. All the bars have topless bartenders in all these little country towns. And the reason for that is if you take away the topless girl behind the bar, it's a gay bar. It's just, it's just men. So, so they had to go, no, no, no, we're not gay because they all dressed like cowboys just on the thing. And I'm not gay. There's a pair of tits over there. So we're all right. You know. And so I did these gigs and I thought, I hadn't told my parents that I'd quit university. I thought, you know, I thought, I'll just keep doing this until I can be a full-time comic. And then I think it's basically the storyline of the movie punchline that Tom Hanks character who said, he said, I'm going to be a doctor. I'm going to be a doctor. And then he said he'd tell his parents once he's a professional coming. But then I just quit uni. I went back to Sydney to my parents and said, I'm going to give a stand-up comedy a go. And then I think I moved to England.

Coming out to the UK (16:56)

I moved to England then. I know the day I moved to England because I was packing my suitcase and about 10 o'clock at night. And I was all excited. It was going to be my first time traveling overseas. I'd never been, I know, I'd tell a lie. I'd been to America once when I was 14. But it was my first time traveling overseas by myself without family members. And I was going on a big adventure by myself. I was getting on a plane and I was packing me bags and the twin towers fell down. And that's how I can remember the date that I left for Britain the next day. Now you leaving to Britain, I had read trying to do homework for this conversation. You'd commented somewhere that there were lots of funny comics in Australia. Some people funnier than you, but you had more ambition than some of them. And you ended up going to the UK. You ended up then going to the US. Is that a misquote? I mean, you can't believe everything. I think that's true, but it may be more ambition is the wrong way to say it. I think I was in a place in my life where I was young enough and had less connections that I could get up and do that. I didn't have a girlfriend. I didn't have kids. And I started pretty early in life at comedy. And a lot of people don't start till they're 30 or they're late 20s or whatever like that. And then they have roots. And I didn't have anything holding me back. So there were comics in Australia who were better than me. But I feel like maybe they couldn't get up and go. But also, when I say ambition, there's a difficult thing with Australian comedy because doing live work in Australia is very difficult because you don't have the population to sell tickets. People watch comedy in Australia, but they only go out and see the big acts when they come to town. So the comedy clubs for the most part are empty. And Melbourne has one comedy club. Sydney, I think has two. Perth has one. This isn't enough to sustain an industry, a ground roots industry anyway. And so everybody's sort of like, when you've made in Australia, you're the breakfast radio guy, if you can get that job. And that job in Australia pays really, really well. And so everyone's trying to get those jobs. So I think a lot of people who were good comics maybe had, because no one was really full-time, maybe had a good day job. I didn't have a good day job. I was selling mobile phones during the day when I was a comic in Australia. So I fucking wasn't worried about leaving that at all. I was one of the worst employees a company had ever had. And I worked for a place called Stratfield Car Radios. And I was just, if there was a way to get out of working, I had found it. There was stairwells that I hid under. And I did things that seemed like to get out of work that were more work than actually doing work. I had to sell car stereos and mobile phones. And it was, I still to this day, if I was to sell a car stereo, I wouldn't know, I don't know how much amplifiers you need to run a subwoofer. And I sold them for years. And I have no idea why was it college work for this guy. And I used to just point at things and guess and go, "Look at the size of it and go that'd do it." One time, one time I totaled a guy's white van, just totaled it in a stereo fitting, which is very, what happened was this guy, this white van driver, a guy that works with plumber or whatever the fuck he was. And he came in and he goes, "Ah, I want some speakers and a CD player." And I was like, "All right." And I knew it was with good CD players, which I got him like a Sony CD player. And I said, "Ah, this has enough amps in it that you can run some 6.9 speakers." And I go, "You just put them in the back here. That's a good size speaker, a 6.9. And that'll be good." And then he goes, "Oh, I can only get it today." And all the fidders were full. And so I said, "Ah, I went down. There was a 16-year-old apprentice working down there." And I said, "Mate, this is an easy job. Just put the stereo in there." And then I don't know how to fucking do it. I said, "And you run the wires along this door panel down here." And then just whack those speakers in the side there, just into the side wall. And that'll work, right? Now, you're meant to take the panels off, cut the holes and put the speakers in, put the panels back on. But this young fella just got the saw out and he just started cutting and it got a bit stiff. Anyway, he cut out one of the support beams that support the roof of the car. And the roof of the car just slanted down about 45 degrees, just sunk into the thing. And this guy came back to get his car and I just went, "Okay, well, the good news is the stereo sounds great." And then just, I was never felt more terrified of my life that having to walk this bloke down just to show him that we demolished his car in about an hour and a half. The company had insurance for such occasions. I'm sure we just bought him a new van. There was no way to fix it. You can't put a new support. It's not a panel-beating job. We basically cut the roof off his car. So I assume he got a new van out of it. So he probably did pretty good. There was a couple of things like that. I saw a bloke get knocked out changing over. I saw a guy, the new BMWs, and the European cars had different coloured wires and stuff like that. And he was trying to test the fucking the land and the positive and the negative and the earth and all that type of stuff. And he's got his test out and he's laying in the front seat of the car and he touched the wrong wire and was the wife of the airbag. And the airbag exploded into his head and he was knocked out and there was just fucking white dust in a bag. Anyway, look, I'm not saying anything. It's too bad. That company's gone bust now. They don't exist anymore. So they can't get angry at me for saying anything. Probably because of fucking me. How did you make the decision to go to the UK?

Moving on from the Uk (23:28)

Why the UK is opposed to somewhere else? Is that a usual lily pad for a lot of promising talent for Australia? The UK has more comedy clubs per capita than anywhere in the world. Far beating America. And also it's just a great place to do comedy because it's so compact. And I remember I, before I moved here to America, I used to bitch and moan about, "Oh, I've got to drive to Manchester. 200 mile drive." And I used to be like, "Oh, better get a hotel room and stay the night and let those know." In America, I'm on planes and flying and driving. There's an old saying that Americans think 100 years is old and British people think 100 miles is far. And I think that sorta sums it up. But also, if you're under 27 and you're from the Commonwealth and the people from Canada can do this as well, I think it's one year now, but back then you can get a two year work visa where you're allowed to go out and work. Now, you're only meant to do menial jobs. You're meant to be bartenders and whatever. You're not allowed to further your career. So if you're working any bar in London, it's filled with Australian and New Zealand bartenders. And so I had to do comedy on the sly, cashing hand until one of the management companies would give me a work permit. But I never became a British citizen or anything. I stayed there for 10 years and my visas would only ever last until my gigs ran out. No one booked you more than three months in advance. So every three months I went into a panic like, "All right, I guess it's all over now. This is the end of the career. You're going back to Australia and then I got another one and then I got another one." And I just kept on staying. I had a girlfriend there for a bit that I thought I'd marry and thank fuck that didn't work out. I look back on it now, but she's a nice enough girl, but that never happened. And I just kept going. And so what would happen is there was very few American comics in Britain. I feel like it's different now. I feel like the world of comedy is a lot more close. It was much more segregated where everyone was. But all the Canadians and Australians and New Zealanders all hung out together. And we all lived in these houses with eight comics. It was probably, I would argue, the happiest time in my life. I think that would be the happy.

Why Jack thinks UK comedy is less competitive (25:54)

And I was broke as fuck, but the rise is always better than the peak, man. Well, let's talk about that for a second. So what was it about the rise that you think or is that situation that contributed to feeling happy during that period of time? It was the optimism and also you were in it with a group of people who you all started out with. And you were all supporting each other. And the British scene in my mind is less competitive than the American scene. And I attribute that to in America, you play a comedy club and the comedy clubs decide who's getting paid what. And so there's a real you're worth this much, you're worth this much, you're worth this much. And so you'll have a headline who might be being paid $10,000 for that show. And you'll have a support act who's literally getting $40. That's still going on. And so there is a little bit of when you're the person earning the $10,000, like, "Don't worry, guys, I'll get the drinks." There's a bit of that. But you go down to, I don't know what it is now, but you go down to the comedy store in London in the early 2000s, 200 pounds a gig for everybody. And you might do two shows there a night, 200 pounds, I'd say like 300 American bucks or they're abouts. And that was a good income that you could live off. And each comic was getting the same price. So you didn't feel like, "Well, why are they getting this?" And I'm not getting this. And if you got famous, you got out of the comedy clubs and you went and did theaters. You never were famous and in comedy clubs. And so over, the comedy clubs might just have your name written out the front, but they don't have posters around the club going, "Next week, David's Bay, next week, Kevin Nealon," or whatever, you know what I mean? They don't have that. So people just went to comedy because they wanted to go see comedy. And the club might have a reputation for having the best acts or what have you. And another club might be have a reputation for having worse acts or maybe they pay less or whatever. But so the fact that no one was getting paid more than anybody else and we're all in the same boat. It didn't breed jealousy or competitiveness like it does over here. And also in America, there seems to be Britain, there's so few TV opportunities. You might go on a panel show or something like that, but comics getting offered sitcom deals isn't really a thing because there's not that many sitcoms. There's just not enough channels to do that. And in America, it's like, that guy got a development doing what? Where the fuck did this person get it? So that I think breeds more jealousy and maybe less kindred spirits than the British one. I think I still have more friends in comedy in the UK than I do in England and in America. But I can't say that when I moved to America, I was already sort of established and I was older and I sort of just keep to myself to be honest. I like when I'm not doing comedy, it's just not think about comedy. And when I was younger, all I did was think about comedy and what do I do? And joke, joke, joke, joke, joke. And now I just sort of try not to watch anybody and try to keep to me self and try to be a good dad and all that type of stuff. And I think that just comes with age. When did you first feel in say the UK that you were successful? And that's relative, right?

Hitting success milestones in comedy (29:29)

So it could have been a small win. It could have been a big win. But when did you feel holy shit? Like, I think I'm on my way. This could be a thing. Well, there's several different stages to that. Now the first stage is I didn't have a day job anymore. So I stopped working in the bars and I was working in pubs and stuff when I first got there, I stopped working in bars and then comedy was my full time job. And that was maybe the best feeling I've had of anything ever. I think that was the best one was when this is my job. And you got to when you got to the airport and you had to write down occupation in the form and I got to write stand up comedian that felt I still I still fucking get a little buzz out of doing that, man. I still stand up comedian. And then the next sort of step, what happened was in Britain, in my opinion, if you weren't doing the Edinburgh Festival, you weren't really trying. And the Edinburgh Festival, unlike Montreal or some of the other ones around the world where you're invited to these festivals, you're not invited to Edinburgh. You just decide if you want to do it. And then you go up there and do it. And if people show up, well, that's good for you, but it's a real it's a real litmus test on whether people like you or not, because you went from being in the clubs to you're getting reviewed by 15 or 20 publications. Now, some of these publications are just pissy little student rags that are around for the three weeks of the festival. And some of them are the Scotsman and the telegraph and big, you know, independent and proper newspapers. And so you'd go up to Edinburgh. And so I did one Edinburgh Festival and in a 50-seater. And I saw I averaged 30 tickets a night. And I thought that's pretty good. And then the next year I went up and I had a 120-seater and I sold that out. And then afterwards, so then my management put me into little community centers around the UK to just do solo shows, you know, and little 200-seat community theaters in these small little villages, little towns and villages in between the towns, you know. What happened was, so I was about to my first tour and then, you know, 2006 and I got punched in the head and this is before things went viral or this before really YouTube is what YouTube was. And then this thing was on everywhere, me getting punched in the head. You mentioned Manchester earlier, it was Manchester Communist. It was a Manchester County store. And so this little tour I was meant to be doing sold out. And, you know, I've always said that, you know, a lot of people go, oh, that was lucky, but it was, but you still have to be able to back it up, you know, because a lot of opportunities happen to a lot of people. It's whether you're ready to pounce on it, you know. And so that was sort of a bigger moment, you know, and then going off every time you got to a new festival. And, you know, I remember feeling really big the first time someone paid for an aeroplane ticket for me. I thought, that's something. I'm traveling and I went and did some gigs in Asia and then I went to Montreal and I was like, and it was just sitting in an economy, but I remember thinking, fuck, and I'm seeing the world for free. And that seemed like a big deal to me because my growing up, my parents, my parents saw the world and they, you know, for two years they traveled and I was always sort of envious of that and thought, I'll never be able to do that. I'll never, you know, and then when I got to do it and stay in nice hotels, that type of stuff, that felt like a real, real achievement, you know. And then everything since then hasn't really felt like anything, to be honest. Nothing American success or anything's just sort of felt like, now I'm of the opinion that it'll all go away one day, it'll all end, or it won't be what it is now or, and you got to be happy without it, you know, if you're not happy with it, you won't be happy without it. So that's why I'm saying the rise was better than the thing now. It's like, oh, when's this going to end? And then when you when you when you're younger, you're like, the sky's the limit. And now it's like, I don't need to go up any higher. I've seen enough. I've seen enough of this guy.

The other side of success (33:46)

What keeps you going these days, right? I would agree that the sort of chasing the summit is in a lot of ways more fun than getting up there and being like, Jesus Christ, okay, now what? Well, now it's more about less about success and more about making good work, you know, doing like like, it's also it's also things now. It's like, so I'm doing a multi-cam sitcom now. And if you asked me even a year ago, if I'd ever do a multi-cam sitcom, I'd think no one would ever put me in a multi-cam sitcom. And then when I got asked that some of the fan base were calling me a sellout and all that type of stuff because I'm doing a multi-cam and it's like, you know what, fuck you, man. It's like, I watched Seinfeld. I watched Friends. I watched Cheers. I watch all these things. I love those shows. There's a room about these shows that, oh, but they have a laugh track. They don't have a laugh track. It's a fucking studio audience. People are actually laughing. That's real laughter, you know, but it seemed to be a bit cheap or something. But, you know, I think now is challenging myself is what you want to do, you know. So I'm not a good actor. Sometimes I get better at it the more I do it, you know what I mean? I'd like to get good at acting. I think that would be a thing that would be, you know, I would never have the audacity to call myself an actor. I say, stand up comedian slash actor and I always think I should take that bit off the actor bit. That's not a real thing. But, you know, because I know real actors. I've got some friends who are proper actors and they're a complete class difference from what I can do. Every job like in legit, I played myself, you know, I'm going to play myself in this sitcom. It's like, it's like, I'm not really an actor as such as someone who just reads the lines as myself. Well, let's talk about, you mentioned getting better at acting, let's talk about comedy for a second and flashback to Edinburgh.

The Edinburgh Festival (35:48)

So for people who want a picture, Edinburgh is this extremely picturesque town. It's beautiful city. It's beautiful. You've got the coffee shops where JK Rowling wrote the Sorcerer's Apprentice. Oh, I didn't know that. Is she from Edinburgh? There you go. She wrote a number of the books there. I think at the elephant room and then like, beautiful fudge kind of looks like Hogwarts. You can see all these buildings. What happens just since I don't know anything about the festival, if it's not invite only, what happens if too many comics show up? Or is it just so intimidating that that doesn't happen? And do you just kind of walk into town like with a stick and a satchel over your shoulder? There's just unlimited rooms. There's just unlimited rooms. They go to the universe, they use every single classroom. They'll find any like they'll find a closet and go, this is a four seat room. Half of these rooms are complete nut of fire hazards. They shouldn't be allowed. And it's in the middle of summer and people are sweltering. There's people fainting in your audience and other things. And then there's the biggest rooms are thousand seats, which is my Q and Haul, but then they do things like they put tents up. So there's a lot of like, there's a lot of sort of park areas and they just whack tents up everywhere and people performing these tents. And what happens is that these venues will start operating at nine in the morning and they'll be running at four in the morning. And each hour is someone's act. And so you know when like my first show, I got like a 11 o'clock pm spot, which isn't a great spot. You want that sort of six to nine sort of area. And then like as you get more popular, they go, oh, you've got the eight o'clock spot. You're like, whoo, the eight o'clock spot. You know what I mean? So that like I heard something 2000 shows are up at the festival. It's not just stand up comedy. Stand up comedy for whatever reason is the bit that people it's known for, but it's an arts festival. So there's a lot of like, there's a lot of cool things. Like during the day, there's a lot of shows that you can see that you can take your kids to, something some puppetry or some type of clowning type thing or a lot of stand up comics who are more family friendly. They might do their adult show at night and they'll do a kid show during the day, you know, which is a cool thing. And look, I never could. I was always hung over and sleep until five p.m. and then I'd crawl out and do my show. I used to gain like 20 pounds at that festival, you know, and then work it all out. I'd just beer weight, just horrible fat, you know. Anyway, better. It's, it's, for me, it's a, it's a magical place. It more than any other festival, because it was just, it was just everybody up there was creative and there was people that wanted to do their things and people, comics were, were experimenting that they couldn't do in comedy clubs. There was things that I was doing that I did, I did a story that was 30, 40 minutes long, 40 minutes long about taking my friend with muscular dystrophy to a brothel. And the thing about that is I'd never done a set in a comedy club that was more than 20 minutes. So I, I couldn't have done that routine if not for the Edinburgh Festival, even if I wanted to, you know, there was, but the thing is, I think the average loss is 5,000 pounds. It's your own money and the promoters are making money and there's posters everywhere, right? And then you got to pay for the posters, then you got to pay for people to fly for you all day or you got to fly for yourself. And so if you break even on that festival, if you come out like going, yeah, zero, that's you really crushed it. You really crushed it. And so it's a gamble, but the thing is you get reviewers, you get media. So there's things like, what's her name, Fleabag? You know, Phoebe, Phoebe Waller, Phoebe Waller. She just wrote the last James Bond movie. She had a team. She, she, she won an Emmy for, she won an Emmy for it. Yeah, she won an Emmy for a TV show, Fleabag. Okay. I'll try to find her. We'll put it in the show notes. Anyway, like, like her show, Phoebe Waller Bridge, is that the one? Phoebe Waller Bridge, right? So her show was just a show at the Edinburgh Festival that some BBC executives saw. And maybe she's making her do a TV show. And then all of a sudden, yeah, you got a TV show, then she's got an American TV. And now she's fucking right in James Bond. And that magic doesn't happen out of a comedy club. It just doesn't. And so, so, you know, like the Edinburgh Festival gave us Stephen Fry and Hugh Laurie, you know, they'd won, one of the first awards and all these great sketch groups that, you know, I don't think Monty Python ever did it, but maybe they did. I don't know. Well, I mean, huge Python guy.

Influences And Comedic Process

Paul and Monty Python (40:50)

You are. Yeah, I had, I had John Cleese came over to my house for dinner and I was just fanboying out the whole time. And it was the fucking best man. It was the, I'm friends of these daughter. And they were going to come and see one of my shows. They were going to come and see one of my shows. And then because of, this is the early stages of quarantine before everyone was quarantined, but we were canceling live things. It was like first week and so my show was canceled. And he was going to come and I said, Oh, we'll just come over for dinner. And then I just was like fucking John Cleese is in me house when that was, that was one of the great thrills of my life. If for people who don't have, and this is true, I think of a lot of younger people who might be listening to this from the US, if they don't have exposure to Monty Python, where would you suggest they start? Well, it's very easy at the moment because I think Netflix has all of it. Yeah. Netflix has all of it. I think the easiest, the most palatable thing to the case, the best movie is the life of Brian. But maybe if you just want to have something that's like easy palatable, and I think they think it's their worst film, I'd watch the meaning of life first, because it's small, small sketches and it's easy to watch. I'm not a big Holy Grail or Jabberwocky fan. I like, I like the life of Brian, but the flying circus show is as good as anything and all of those are on Netflix and they're ready to watch. They're all the sketches are good. They're all good. It's just like the classic ones like the dead parrot and all type of stuff. They're not even the best ones. They're just the most easy to quote, I think. They're not even the best ones. Well, let's talk about your brothel visit with your friend with muscular dystrophy.

Basing his series Legit on a 100% true brothel visit (42:25)

Sure. All right. So Enbura Festival, it's a big opportunity. How do you work on that material? What did you do to get that ready? That's a big set. Well, that routine pretty much has the story. You have stories that are partly true and stories that you embellish and stories that you add on things. But that story's very, very close to 100% true, very close. What happened there was I had my friend, his brother, wanted to get a blowjob. We sorted it out. And then the story happened. And then I remember when that happened, I was actually at the Melbourne Comedy Festival, which I've only done once. I went into the bar, the comedian's bar in Melbourne. I literally walked in. I saw a couple of friends of mine and I said, "Have I got a story for you?" And I remember I started telling it. By the time I was halfway through the story, there was maybe 11 people standing around in this bar and people saying, "Turn the music down." And I was talking about this brothel visit. And I remember thinking, "Wow, this is keeping comedians' attention." And I think I probably told that story like in pubs and to friends for about a year and before it just became a just a standard bit of a comedy for me. And then from that, the TV show legit is from my FX TV show, which was completely based on that story. And that was just the pilot episode was taking someone to a brothel with muscular dystrophy to a brothel. And then when we did the show afterwards, we did another 26 episodes. And the thing that was weird was then you have a character with muscular dystrophy that you have to write into each episode. And I thought, "I got only really need this guy for one." But then that became the sweetness of the show. That became the sweet thing. But it was hard. Sometimes you'd write a funny scene or something would funny would happen in your life. And you'd think, "Oh, I've got to put that in the show." And then you go, "And I have to work in a garden and we'll change." And I apologize. I'm not a comic. So I don't even know the proper vocabulary.

Where Jimmy gets the material for his more intricate routines (44:49)

We have some mutual friends like Whitney Cummings and Brian Callan and these guys will have much more pointed questions. But for lack of a better way to ask, how do you workshop some of your more? I was going to say intricate, but just longer pieces, for instance. I know you've get asked about this all the time. But if we look at the gun control or gun-related pieces that you've done, those are long theatrical pieces. Well, I have an interesting story on how I wrote gun control. That routine, I think that probably is the routine I'm most proud about. I think it's the most sort of thought-provoking or original or whatever thing that I did was that gun control routine that I think is most memorable. And sadly, the routine always gets new legs after there's a shooting or something like that. So it's not the way you want to get known. But that routine, now I have to stipulate when I say this, okay, with Americans, I understand that many of you like guns and I'm not anti-you. I don't think you're wrong. I do think you're wrong. But I grew up in a society without guns and I have had a different life experience from you. And so this is just my point of view. It doesn't mean that my point of view is right and your point of view is wrong. It's just this is my way of thinking on the matter. So I have a guy and I'm happy to call this man a friend who does not agree with me in any way. And this guy is a more Republican than I'm more moderate. I think people think I'm a big lefty, but I'm a bit more moderate than I think people would realize. And it's John Ratzenberg from Cheers. Oh, no kidding. Cliff Clavin from Cheers. And Cliff Clavin was on my TV show Legit. And I was with him when Sandy Hook happened and we were on set and he said to me, "Oh, Jimmy, if only these teachers had guns, we wouldn't have these problems." And I went, "You're fucking kidding. You want teachers to have guns and other?" And we argued and debated for a few days on this matter. You know, it was never mean or nasty or anything like that. It was just, you know, I couldn't believe that Americans thought this way about guns. I don't worry. Before that, I already, I always knew you liked guns. But when I heard these arguments and I was saying to other people, "This guy at work, you wouldn't believe what he said. It's fucking crazy." And then I started finding out that other people who were friends of mine agreed with him as well. And then I thought, "Oh, man, maybe I'm not in the minority, but this is a very common belief they all have." And so then you start thinking, "Maybe I'm wrong or maybe I'm whatever." And so I just wanted to give not a scientific or a statistic-based argument on the guns. I just wanted to give a, my point of view, and just looking at it rationally type of argument. You know? So that routine was written through arguments with other people. It was just, well, conversations with other people. It wasn't written by, it wasn't written by me going, "Oh, and I wonder what the statistic is on this." And I wonder what that is and reading and researching. It was me just arguing with friends until I got all my arguments down. And I was like, "All right, this is what I'm coming in with. This is what I'm coming in with." And very often, stand up comedy is just you having a one-sided argument. And no, I'm being able to respond, which is a wonderful thing. They all respond in the end. They all write something at the end on the internet and try to get you. Well, they come up to you. But and in that moment on stage, your argument is gospel and no one can say any different. Doesn't mean it's right. Doesn't mean it's right. And as you're having these arguments, are you refining all this in your head, just catching it in a net or do you have a little black book you pull out of your pocket?

How Jimmy works on full sets without notes (48:38)

Something comes up? How do you capture it? I don't write jokes down. And I really should because I lose track of punch lines and stuff like that. And other lines can seep in. You can get, I should write things down, but I never fucking write things down. I do most of me writing on stage. You have a kernel of a thought and you wait until you're doing a gig where you're really cooking and the audience really likes you and you think, I can get away with anything right now. And then you do your bit. And if it doesn't work, you go straight back into a bit that you know really well. It's very solid. And so that's how I do it on stage. And a lot of people in LA, they'll invite you to do a gig and they'll say, hey, come down to my room and try out. It's a good place to try out new stuff. And it's like, are you fucking out of your mind? I'm going to come down do 10 minutes and try out new stuff in LA where someone important might be. I wedge the joke in Kansas in my two hour show in the middle of, you know, when you're doing two hours in stage, I try to work in two new minutes each time, three new minutes. And then that three minutes becomes five minutes. And then at the end of a year, you've got a new show. That's why I always find it weird that you expect it to have a new tour written when really these tours are, if you see me a year and a half apart, it'll be a new show. But if you see me, even if it's a different tour and it's a month apart, it's not going to be that much different because everything's just evolving and moving and turning. And then the specials come out once the special comes out, you never say those jokes again. And when you try out those new two or three minutes, if it really works or it partially works, do you just make a mental note? Do you go back and watch the video or listen to tape? Yeah, I don't tape for me that I normally, I'm normally so focused on those two, three minutes that I know that, you know, I know what I'm going to do. But the two or three minutes, sometimes that works better than the stuff that's killer, even though it's not as good a joke, because for whatever reason, the audience can see that you're excited by that joke and they can see the sparkle behind your eye. And there's that little bit of magic that happens because you're so excited and you can't fake that and you can't act excited about a joke you've told a hundred times. You can perform it well, you can perform it really well, you can put everything into it and make it great. But you can never have that magic where you're grinning through it because you're like, "Ah, this is so good." You know what I mean? So, because doing a new bit of stand up, that's the most enjoyable bit of the whole show for the performer, at least it is for me.

Life of Bryan. (51:36)

Life of Brian, so let's come back to that, if you don't mind. What is it about Life of Brian that makes it so good in your mind? Well, it's the perfect movie. The thing about it is there's plenty of quotable sort of sketches in there and stuff like that. It's mocking religion, which I love, but it's also not mocking religion in a direct way. It's like the Christians can get upset and go, "This is sacrilegion, all the type of stuff." No, they don't tease Jesus at all. You know what I mean? They have the beginning, the meek, they will inherit this and they'll inherit that. But they don't really get into Jesus. We're talking about Brian. If you want to say that this is about Jesus, that's your fucking problem. There's a lot of people going around acting like they were prophets who got crucified back in the day. If you want to say that we can't talk about them, that seems a bit ridiculous. It's a lovely little loophole where you can poke fun at people and still... Also, that stuff about what did the Romans ever do for us, the aqueduct of this, that it's very, very funny. Are there any other comics who were really formative for you or people you have formative or people you've looked at and just said to yourself, "I don't know how they do what they do."

Formative comedians. (52:43)

I guess those are two separate things, I suppose. George Carlin, when I started watching him, I thought that he was pretty amazing. I get a little bit, "Carlin, there's a joke here and there and I've got to watch myself because I'd loved to have been that man." He seems like the perfect comedian to me. I would say there was a guy called Anthony Morgan as well when I was growing up in Australia who was very influential on me growing up. I don't know what he does these days and I haven't seen him since. But he was a big deal for me and Eddie Murphy's delirious was a pivotal moment in my childhood. It was the first time I saw someone who wasn't Australian doing stand-up comedy. Got to understand in Australia we only had four TV channels. We had no comedy specials. I didn't know Richard Pryor was a comedian. I thought he was an actor. We had no stand-up specials. We had no HBO that didn't exist. We didn't even have American TV. I couldn't see who was doing well on Carson. That didn't exist. Those clips never got to us. We had our own late night shows with our own comics on them. You'd see them for a few minutes and that was all you really saw of them. Then delirious was the first cinematic release stand-up special. It was in the video store. I remember watching it and I couldn't get over that this guy was doing stand-up comedy for an hour. That blew my mind. I thought this stand-up comedy was only in a medium of five minutes. That's what everyone did. Then you couldn't watch someone afterwards. I remember I wasn't good-looking. I wasn't good at sports. I wasn't anything that was deemed to be cool. I couldn't play in a guitar. And just to see someone who was doing something that I believed I had the innate talent to be able to do, Andy was cool. I never sent him a comedy before that, before it had been Murphy for me. We're goofy. We're goofy people. I still to this day don't particularly care if my mother always used to go. They're laughing at you, not with you. I just didn't care as long as I was getting the laughs because I still knew I was doing it to get laughs. It didn't matter to me where they came from. Just to see someone who was cool and he was like, "Let's be honest. I wear a fucking leather jacket on all my specials because fucking Eddie Murphy wore those leather jumps. There's one of my specials I wear without a t-shirt. I just wanted to just once have a leather. I've never done that in my personal life or anything. Just before I walked out on stage, I went, "Fuck it. I'm taking the t-shirt off." I'm going to be like, "Any Murphy, just wear a leather jacket on the best skin. I fucking that jacket stinks to this day."

Future Plans And Current Projects

Will LA be Jim's home in 10 years? (55:59)

Do you think you'll still be in LA or is LA home based for you in 10 years time? LA is home and LA is home and I don't believe that I've got a kid and I would like to have another child sometimes. I think when you have children, I think that's your moving's done. I think maybe I could retire in Hawaii or something like that depending if my kid fucking goes off and works in New York or whatever. What's the point of me staying in LA? Maybe I could go after Santa Barbara and buy a place and go for fucking walks or whatever the fuck people do when they're old. You could be in a lot worse places than LA. There's nothing wrong with it. I really get a bit home proud of LA and I don't like when people bag on it. When people just go, "Oh, LA. Oh, you must hate it there." They're like, "Oh, the traffic, the traffic, where I live doesn't have traffic because your place is shit." LA's got traffic because people want to fucking live here. That's why there's traffic because people want to be here. It's good. The food's good and the women are pretty and shit. What would you want to fucking? The restaurants are nice. There's other places that are nice as well, but there's just what my argument is there's nothing wrong with LA. Well, LA is also, I mean, this took me a while to figure out. Obviously, there are many people who spent more time there, but I lived in Northern California for almost 20 years and spent a lot of time in Southern California. LA, to me, strikes me like as if it's a dozen different cities all within the umbrella of LA. You can really pick your pocket depending on where you want to be, and the personality is very different. I agree with that as well. When I moved to LA, all I knew of LA was two things. There was the Hollywood, which was the Ritzy looking lights and I'd tell her stuff. Then there was Compton. There are only two things that I would see on TV. I used to believe I couldn't walk the streets in LA because a bladder or a crip would come and shoot me. You know what I mean? There'd be a drive-by. I was like, "Is fucking..." or I'd been Beverly Hills, and I would just be girls with long legs with dogs in handbags, and I thought that was all there was. It turns out there's also the valley.

The key to longevity in comedy. (58:38)

What do you think, and I won't keep you too much longer, but we're definitely going to talk about the podcast, but what has helped you to have longevity in comedy? It seems like you have some longevity. I think it's producing a lot of specials. I think bringing out the specials constantly sort of keep you going. The specials never do a special, and then it's like, "Wow, you're more popular now." It just keeps your fanbase going. I think you've got to give a product. You've got to keep touring. You keep your eye off the ball. I'm not a big believer in that I'm in competition with anybody else. I just think if I just keep on producing good quality stuff, I'll always have a fan base, whether it be small or large or whatever. There'll be somebody somewhere that wants to pay to watch me tell jokes. As I said, if it all ends tomorrow, and I just become like an old fellow who sits around and goes showing my kid pictures like, "Oh, one time I played the tennis arena in Melbourne." I think I'm all right with that too. I don't know. I don't know the secret to being a successful comic. I really couldn't tell you. If I could tell you, I'd go manage comedians and stop doing it myself.

Current career aspirations. (01:00:02)

When you think back to the filling in of the customs form with stand-up comedian and the high that that gave you, when you first did it, not that it would be the same magnitude of high, it could be, but what gives you that type of high now or in the last handful of years or what are you hoping to do that would give you that type of that type of hit? I think if I was in a dramatic movie, that would be something that right now, I can't foresee ever happening. That would be one thing that would surprise me if that happened. That's not on the horizon. No one's ever asked if I'm interested or anything like that. So if that happened, that would be something that would shock me if that happened. I don't suspect that will happen, but if that happened, it would shock me. It might sound corny. The thing I get the most joy out of is probably being a dad.

Proudest moment of Jims life (01:01:00)

I really like being a dad. I think I'm more proud of when I do that well than when I do comedy well. How do you know when you're being a good dad? That's the thing, man. That's the thing. You don't know. I know my son really loves me, and that's cool. I know that. Then you do things where just little things. You teach some kids to ride a bike, and you're like, "Yeah, I did it." As a parent, I don't know how to... My son's having problems doing his shoelaces, and I feel like I've let him down a bit there. He's getting a bit old. He's getting a bit old, and he should be able to do it. I drop the ball on that one. Is he 18, 19? I mean, how's he? No, he's seven. He's seven. Okay, I'm just checking. He's seven, but I've read that he should have been able to do it by the time he was six, and he's so close at it. He gives it a go. Then I go, because I keep buying him fucking shoes with Velcro on him. I feel like that's lazy parenting where I've stuffed up a little bit. You take them on a good holiday, or you work hard, and you get them into a good school, and you do all those type of things. I feel like, "All right, because otherwise, what's all this four if you're not going to give the next generation a better life than you had?" Yeah. Yeah, thinking about kids for the first time early for me in the last 18 months or so. I have a newfound interest in talking to people who are parents, but I don't want to be labor that. I don't want to turn this into a therapy session too quickly. Let's talk about the new podcast. I don't know about that. Sure. Why this show? Well, I think, and no offense to you, I think there's enough shows where people are interviewing people. I agree with that. You talk about what they're definitely is this far too many comedians, interviewing comedians. It seems like a very weird thing now that we all go on each other's podcast, and we talk about how we get started and how to write a joke and all type of stuff. And then I thought, there was like, "How do things work?" or the more you know, and all those type of podcasts where they talk about stuff. Those are the ones that I was interested in, where I started listening to less comedy podcasts and more podcasts where I could learn something. And then those crime ones, everyone likes those so much because they have something they learn about. Now, this also goes back to my father is a very difficult man to argue with, because if you prove him wrong, and like he'll say, "Oh, this happened, that happened, and you're bloody this and that and blah, blah, blah, blah."

Synopsis of Jims new podcast (01:03:51)

And then you go, "Well, that's not actually true, you know, because in 1948 the government did blah, blah, blah, blah." You say that, and you give him facts, and then my father just goes, "Well, I don't know about that." That's not conceding. That's just going, "Oh, maybe you're right, I doubt it." You know what I mean? So I thought, well, what the podcast is is what will happen is each podcast will have a specialist on somebody who knows a lot about a subject, whether they've written a book or they've done a TED talk on it or whatever the fuck. And they'll come on and I won't know who they are or what they do. And then they have to say that their topic of expertise. And then I will say everything that I think I know about that thing, right? Because you remember before the internet, when you had a guy in a bar who you used to think was the smartest person ever, and then the internet came out and you could just Google things and turned out he was completely full of shit, right? I'm going to be that guy, right? And then at the end, the guy, the person the specialist will tell me what I got right, what I got wrong, what misinformation I had, what is a common bit of misinformation and the thing. And then we'll all learn together about this specialist topics and we'll keep it funny and we'll keep it light. And then at the end of the thing, you'll know about a topic. I love it. What are some of the topics on the slate? Well, I see, I don't know. I don't know. That's right. So what if you recorded so far just if you can give people a sort of a preview or maybe you don't want to? I think I can, I think I can queen name a couple Alex. Yeah, we did, we did the war on drugs and we've done earthquakes. We've done like four or five of these, but that's a couple. We did earthquakes and the war on drugs. And now I know shit loads about earthquakes and the war on drugs. I know a lot of stuff now. But before I didn't know much. Oh, I love the format. I mean, I do agree with you. I think there's a overabundance of interview style formats and who knows I may end up looking at the photos reminiscing on the old days and I'd be okay with that too. At some point, if I, if I, if I, if you're one of the bigger ones team, I think you'll be just fine. Yeah, I think it'll be fine. But you know, there might be a time to take all the other behind the shed and put them, put them to rest. But, well, I love your comedy. I think you're a smart guy. It's very, very thought provoking as I mentioned at the very beginning.

Closing Remarks

Parting thoughts (01:06:42)

The new podcast is I don't know about that, which is debuting Tuesday, May 5th. And I'm sure people can find more about it on JimJeffries.com. You can be found on Twitter, Instagram at Jim Jeffries. Is there anything else you'd like to share or anywhere else that people can? No, man. No, no, no. Just subscribe to the new podcast. I have all my gigs are canceled. I have no shows to promote, but hopefully after this quarantine is all over, I'll be coming to a city near you. Thanks for having me, Tim. Oh, my pleasure. And I will, for everybody listening, link to, I don't know about that, link to some of the episodes we mentioned, the Manchester head punching incident, a couple of the clips and bits, as well as TV shows, everything in the show notes as usual at Tim.blog/podcast. And Jim, thank you so much for the time. I really appreciate it. I appreciate it, mate. Thank you. Bye-bye. And to everybody listening, until next time, thanks for tuning in.

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