Latest / Rich Fulcher's TalkBox / Horatio Gould: Horrors of Podcasting, NEW Sketch Show & Starting Comedy Young | TalkBox Ep. 48

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Horatio Gould: Horrors of Podcasting, NEW Sketch Show & Starting Comedy Young | TalkBox Ep. 48 · Rich Fulcher's TalkBox

• 0:00
  Hey podcast listeners, our guest this week is Horatio Gould.
• 0:05
  Now, first of all, I want you to press follow and give us a five
• 0:08
  star review. If you like talk box, come on,
• 0:12
  let's do it. Thumbs up.
• 0:15
  Horatio is an amazing guest. He's got the podcast Boys Gone
• 0:20
  crazy and Finn versus History. You're going to love it.
• 0:25
  He's amazing. And let's go to it right now,
• 0:28
  OK? Horatio, what are you doing nice
• 0:51
  to. See you.
• 0:52
  Oh yeah, that's right, you asked.
• 0:55
  Me to come here. Here's the water.
• 0:57
  Oh, thank. You.
• 0:59
  Yeah, I really appreciate your coming.
• 1:02
  Down, of course. Yeah.
• 1:03
  It's a pleasure. Yeah.
• 1:04
  Oh, well, yeah, I'm a huge Mighty Boosh fan.
• 1:07
  I'm sure you get that a lot. Not as much any, no.
• 1:11
  Yeah. Sometimes I say.
• 1:13
  Now a lot more. I'm a huge talk.
• 1:14
  Box fan, you talk box. Yeah, it's the new generation.
• 1:19
  Though they haven't seen Mikey Bush, they now talk boxes for
• 1:22
  younger people like British old heads.
• 1:24
  It's all that. And then they try to get their
• 1:26
  grandkids or their sons and daughters to see the show.
• 1:30
  And yeah, my sons are now watching it.
• 1:34
  I mean it's. The it's the best.
• 1:35
  I blew my head off when I saw that.
• 1:37
  Oh, you did. Yeah, and no one.
• 1:39
  You can't make stuff like that anymore.
• 1:42
  Do you know what I mean? No, you should let go.
• 1:44
  If you make something that funny these days, you get found found
• 1:47
  in prison. That's true.
• 1:48
  That's true. Back when comedy was funny,
• 1:51
  that's where you were doing it. I should have a cigar.
• 1:57
  We're talking about this. But you just, you've just done a
• 2:01
  sketch. Yes, which we'll talk about.
• 2:04
  Yes, OK. I promise we're going to talk
• 2:06
  about it. Probably wouldn't be exist
• 2:07
  without Mighty Boosh. Really.
• 2:09
  About your performance in Mighty Boosh that that was.
• 2:11
  Are we going to get a thank you at the end credits?
• 2:13
  No. God no.
• 2:14
  No, that'd be. Weird, I thought that'd be
• 2:16
  strange. That would be awkward, right?
• 2:18
  Yeah, but so you grew up like a real comedy nerd, Can I say
• 2:25
  that? Yeah, well, I was a nerd for
• 2:27
  lots of things. Comedy.
• 2:29
  I yeah, I would say so. I was, I was very into like
• 2:32
  film. Yeah, history, film, comedy.
• 2:35
  What was your favourite film growing up?
• 2:37
  What? Was my favourite film.
• 2:39
  Escape to Witch Mountain, right? Not well.
• 2:42
  Don't. Don't ask me the question and
• 2:44
  force your own memories on mine. That's what I'm doing.
• 2:49
  I want us to bond. Yeah.
• 2:54
  Escape to Witch Mountain? No.
• 2:56
  No. What?
• 2:58
  What was a bit in the top? What was in the top?
• 3:01
  I think I I the first thing I saw in cinema was Lord of the
• 3:06
  Rings, The Return of the King. And then my mom was sat between
• 3:09
  me and a 90 year old man and she realised that one of us had
• 3:14
  pissed ourselves because I was I was only four years old and I
• 3:19
  sadly it was, I think it might have been both of us.
• 3:21
  On his popcorn. Yeah.
• 3:27
  Oh my God. Oh man.
• 3:30
  So that that's like a three hour move.
• 3:33
  Yeah, but I was, I, I'd got really, I'd seen the 1st 2 and
• 3:36
  got really into it when I was like a kid.
• 3:37
  And then finding out that one was being released while I was
• 3:41
  six years old, I couldn't believe it.
• 3:43
  I think, I think even seeing the I was six years old, but seeing
• 3:46
  the the title credits coming, I think I immediately pissed
• 3:49
  myself with excitement. I couldn't believe it.
• 3:55
  Those are the people in the films.
• 3:59
  That's what you want to do, though, right?
• 4:01
  And that's when I was like, I need to do that for someone
• 4:02
  else. Yeah.
• 4:04
  At some point I need to make something so monumental that
• 4:07
  title credit comes up and they all immediately piss themselves.
• 4:11
  That's like out of pure excitement.
• 4:13
  But that's like an epic film. Like, wasn't there like a silly
• 4:16
  little film that you saw or bend it like back home?
• 4:20
  Yeah, I Robot. Yes, I robot.
• 4:23
  Will Smith. That was a great film.
• 4:24
  You like science fiction? I do like science fiction men
• 4:27
  in. Black, did you?
• 4:27
  Like Men in Black, not as much, but yeah, no, it's good.
• 4:30
  I like Star Wars as well. I like.
• 4:33
  Stella. I do.
• 4:35
  I do. Like in Stella?
• 4:36
  Yeah, I do. I think it's there's parts that
• 4:39
  I find silly. Yeah.
• 4:41
  I think if I watch Interstellar on the plane I will cry for.
• 4:45
  Sure. There's something.
• 4:47
  Yeah, I know, I know, I know. I don't think it's only on the
• 4:51
  plane. You cry a lot more than iMac.
• 4:55
  I don't know if that's true, actually, because I think
• 4:58
  there's something about the thinness of the air up in the
• 5:01
  sky where you I cry, only really cry at films when I'm in the
• 5:05
  air. I'll watch anything in the air,
• 5:08
  like films I would never watch. But then you'll you'll be crying
• 5:11
  over an Adam Sandler film. Yeah.
• 5:13
  Oh, I saw one of the one of the best films I've ever click by
• 5:17
  Adam Sandler. Do you know that film?
• 5:18
  Click. I've never seen that.
• 5:20
  One well, that has one of the saddest moments of all time.
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  Like it. I was 8 years old when I saw
• 5:24
  that and I was bawling. Because he lost the remote.
• 5:28
  You were crying because it's so tragic.
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  Is it, did he lose the, do you remember what I'm talking about?
• 5:32
  Yeah. So the, it's a, it's an amazing
• 5:34
  story. It's basically.
• 5:36
  Kenny, you didn't tell me you saw Click.
• 5:38
  I thought I knew. No, it's a, it's a, it's a
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  wonderful film. Basically, this guy gets given a
• 5:43
  remote. Adam Sandler gets given a a
• 5:44
  remote by Dustin Hoffman and he can now control his life, pause
• 5:49
  it, He can rewind it and have another go.
• 5:51
  So then he kind of tries to build this amazing life, but
• 5:54
  then the remote starts glitching and he starts missing moments.
• 5:57
  He starts losing control and he basically like, look, he's like
• 6:00
  he becomes old and fat and his fan.
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  You don't want to see him. So it was like, don't get
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  addicted to TV. I was too young to really put on
• 6:09
  to it any sort of anything past It's a guy with the remote who
• 6:12
  controlled his life. But there's this one scene and
• 6:14
  it's raining, so it's extra sad in a car park.
• 6:18
  And then he's trying to his family are like leaving him in
• 6:20
  the hospital and he'd like he like crawls out to see them and
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  he's crying and. It's raining.
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  Yeah, it's it was raining. That was the sad of it.
• 6:29
  And yeah, that that hit me like a tonne of bricks.
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  That would be wild if he gave him the remote and all it was
• 6:35
  was the graduate because Dustin Hoffman gave it to him and it
• 6:40
  was like stuck on never mind. That was a bad idea.
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  I'm just, you know. That's a terrible idea.
• 6:46
  Just brainstorming. Yeah, there's a lot.
• 6:48
  Of Click 2, maybe, yeah, click. I don't think that Dustin
• 6:52
  Hoffman, I don't. He's not playing himself in the
• 6:53
  film. So I think OK be strange.
• 6:56
  Click bait. That would be another one.
• 6:58
  Well, that's the modern, that's the world we live in now.
• 7:01
  Yeah, that's what needs to change.
• 7:05
  Right. So and you were also into
• 7:10
  comedy, like, yeah, some people I talked to on the show, they're
• 7:14
  into like records first. Yeah.
• 7:17
  I mean, like their parents had vinyl records and you sort of
• 7:21
  listen to them, but you were like more into.
• 7:25
  I was into, yeah, books, films, Yeah, I, I was, I was always
• 7:30
  into comedy, like Life of Brian. I watch that every Christmas.
• 7:33
  I couldn't believe. I couldn't believe that.
• 7:37
  And. That they were saying this stuff
• 7:41
  they did or. I just couldn't believe that you
• 7:44
  could be funny like that in a film.
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  And it's just like every scene is like an iconic banger.
• 7:49
  It's like a it's a perfect album, basically of sketches or,
• 7:54
  you know, sewn together. And they, they just didn't
• 7:56
  really look like other people from other films.
• 7:57
  They didn't really look like other films because it was so
• 7:59
  like, yeah, you know, it was funded by George Harrison, but
• 8:02
  it just felt like no studio made their films.
• 8:04
  It looked kind of crap. And that was kind of amazing as
• 8:07
  well. Yeah.
• 8:08
  And like, none of the stars looked like Hollywood stars.
• 8:11
  They all looked kind of mangled and I was like, that's when I
• 8:16
  felt I saw myself in on the screen.
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  My mom's like that. She thinks everybody that's like
• 8:21
  on the screen should be good looking.
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  She gets literally disgusted if there's some ugly person.
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  But that's, that's mom's, you know, my mom watches a lot of
• 8:32
  like hospital dramas like the ER.
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  There's a new one coming out called The Pit.
• 8:36
  The Pit. Yeah, which everyone's watching.
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  And it's like for that kind of show, yeah, they should be all
• 8:41
  attractive. Do you know what I mean?
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  Like that's those are shows designed for people who've
• 8:46
  worked a long day. They've sat down.
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  They've been dealing with ugly people all day.
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  Yeah. You've sit down to watch TV, You
• 8:53
  should have a break from how ugly most people.
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  Are. Exactly.
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  And I think that's so certain things that it should be the
• 8:59
  pits. Getting all these awards now, is
• 9:02
  it? Yeah.
• 9:04
  What awards? Like Emmy Awards, you know,
• 9:06
  things like that, which I find interesting because usually the
• 9:10
  first series is the best and then nobody has watched it at
• 9:15
  that point. But then they start watching and
• 9:18
  then by that point they start to suck a little and then they win.
• 9:24
  I don't know what I'm saying. Oh no, no.
• 9:27
  What I'm saying is you don't win initially, but then that's when
• 9:32
  you should because that's when your best work is usually in the
• 9:36
  first couple of seasons. So.
• 9:39
  The then what's the model of the story?
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  Well, popular wins a lot of the time.
• 9:47
  Yeah, no, yeah. What about stand up were you
• 9:53
  into? I wasn't into I saw Michael
• 9:55
  McIntyre live and laughing when I was like 12 and that I'd never
• 10:01
  seen anyone do stand up. I always thought, I always
• 10:03
  assumed I'd hate stand up, that I saw that and that was really
• 10:06
  funny. Like it's hacky old school
• 10:09
  stuff. Yeah, I don't know.
• 10:11
  I just, I guess my, my parents went into stand up.
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  They're into like comedies, they're into like blackout or
• 10:16
  like stuff Monty Python, stuff like that.
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  My dad was into all that stuff but he never talked about stand
• 10:20
  up. So but I saw that.
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  I then realised that people could do that as a job.
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  I thought it was very funny. I still didn't think I would be
• 10:26
  doing something like that. I think I was more influenced by
• 10:29
  like Have I Got News For You? Because my mum used to watch
• 10:31
  that. She used to crease hard when she
• 10:33
  heard satire about current events.
• 10:37
  When when she heard a quip about the current Prime Minister, she
• 10:40
  was she would fold over a. Lot, really.
• 10:43
  And that's when I was like, I could do something like that, I
• 10:45
  feel. Would would, would you do
• 10:49
  anything in school that was kind of related to that?
• 10:51
  Like definitely. I was always, yes, from like 11
• 10:54
  years old, I was making sketches with the, my current sketch
• 10:58
  partner. We were using I'd like a laptop,
• 11:01
  an iMovie on it and we used to film with the camera on the
• 11:04
  laptop and make things. So we used to hold it like that.
• 11:07
  See. That's good.
• 11:09
  But there was, I think the first we, there's the, we did 3, about
• 11:12
  a year's worth of stuff. The first year has all been lost
• 11:15
  because accidentally deleted it all the lost files.
• 11:19
  But there was quite a lot of fat shaming in the first thing we
• 11:21
  made. I think we had yeah, we made
• 11:25
  like a mockumentary about like our, our house at school.
• 11:29
  And one of the characters we called the local fat boy and he
• 11:34
  was fat. He was fat, yeah.
• 11:37
  So I, you know, now I probably wouldn't have done something
• 11:39
  like that to. That guy today is Kyra Starmer.
• 11:43
  No, he's not. He's actually, I think he's a
• 11:45
  reform counsellor now. OK.
• 11:49
  So maybe, maybe the cruelty of the way we treated him, he's
• 11:52
  like, this is the way. This is the law of nature.
• 11:55
  This is the law of the. Jungle this this happens.
• 11:58
  Mite is right, sort of. Maybe he learnt that from us
• 12:01
  bullying him, yeah. So you did loads of sketches and
• 12:05
  then when did you first start to because you started stand up
• 12:09
  really young? I started at uni and basically,
• 12:12
  I mean, this is pretentious, but it's true.
• 12:15
  I was doing, I was doing I was doing for for a level.
• 12:20
  I did philosophy and the our teacher who'd barely ever taught
• 12:24
  anyone anything like he was in charge of getting everyone to
• 12:26
  Oxbridge and got no one in right which is but he was an.
• 12:30
  I'll get you in, yeah. But he was, and he never did it
• 12:32
  again. So it was like, I think our
• 12:34
  school got like 12 kids into Oxbridge.
• 12:36
  Then he was in charge, zero kids.
• 12:38
  Next year, 15 kids, someone else.
• 12:40
  But he was a great teacher and he showed instead of teaching
• 12:44
  us, he used to show clips and he showed a Stuart Lee clip that
• 12:48
  immigration routine during that one.
• 12:50
  And then I immediately realised that stand up could be really
• 12:54
  pretentious and superior. I was like, OK, maybe I, I do
• 12:59
  want to do this. And so I became obsessed with it
• 13:04
  from there, and I always just thought it would be something
• 13:07
  I'd do alongside filmmaking, but then it just sort of.
• 13:12
  It took. On it took run and run and yeah,
• 13:15
  I just started writing. I had a Google doc that I'd
• 13:19
  built for like 2 years from the age of 16 and.
• 13:24
  This was before, you know, YouTube became big.
• 13:28
  I all of my stand up education was YouTube, so it was on
• 13:32
  YouTube and I that's why I'm like, I want everything I do to
• 13:37
  be on YouTube. You didn't.
• 13:38
  Think about monetizing at all. When I was 16, yeah, no, I
• 13:42
  wasn't. It wasn't like Youtubers in the
• 13:44
  same. Way, Yeah, yeah.
• 13:45
  I think it was like Zoella. It was sort of that era of
• 13:48
  YouTube. Yeah, but everything I know
• 13:52
  about stand up and so a lot of people have their their like,
• 13:54
  key stand up moments watching TV with their family or like seeing
• 13:58
  it live. But all of mine were like boot
• 14:02
  cuts of like Chris Rock on YouTube.
• 14:04
  Oh, right. Right.
• 14:05
  That have to be like reversed to stop copyright infringement.
• 14:08
  Those are like my big moments where I was like.
• 14:11
  And who did you kind of look up to?
• 14:13
  Or well, I love Stuart Lee, I love Patrice O'Neal, I love Bill
• 14:16
  Burr, I loved Louie. Of course of.
• 14:23
  Course, I love Kevin Bridges. He's.
• 14:26
  Great. I love Billy Connolly, I love
• 14:28
  Dylan Moran, I love Maria, love Maria Banford.
• 14:32
  Yeah, did you see the documentary?
• 14:35
  Which one? They're they just came out with
• 14:38
  the oh. No, absolutely.
• 14:38
  That one. Yeah.
• 14:39
  It's really, it's a good. Yeah, yeah.
• 14:43
  So you. Sarah Silverman So.
• 14:46
  That's the thing. You just started doing it,
• 14:48
  though. A lot of people do it just to do
• 14:50
  it and then they forget about it.
• 14:53
  Yeah, well, I think yeah, it was funny because I also, I wasn't,
• 14:58
  I was by no means a a prodigy, a stand up, which I think really
• 15:02
  disappointed me because I just like I'm starting so young.
• 15:05
  This is brilliant. I'm going to, but I wasn't at
• 15:08
  all. But that's what I'm saying.
• 15:09
  It took me anxious to be off, be off in my head.
• 15:13
  It was like this is going to be like as you start young and then
• 15:16
  it's going to be like the youngest person to do all this
• 15:17
  stuff. It just took me ages, but I had
• 15:20
  a huge head start and still sort of that's the.
• 15:26
  Thing though, you kept doing it. Yes, yeah.
• 15:29
  I mean, what was it about it? Like if you didn't do well, did
• 15:33
  you always look on the positive side of it and go, oh, that bit
• 15:36
  worked, that didn't work. That I think weirdly with the
• 15:38
  stand out, I think I I some people, they didn't realise they
• 15:43
  wanted to do anything and then they found stand up.
• 15:45
  I was like, I'm going to make something no matter what, be it
• 15:48
  feel like. Even when I was like 8 years
• 15:50
  old, I was thought I was going to like be an inventor.
• 15:53
  I didn't know what that meant. I thought I was gonna build
• 15:55
  like, machines or something. Yeah.
• 15:57
  Then I couldn't do that. Then I thought it was gonna be a
• 15:58
  musician. Then I was crap at that.
• 16:00
  Then I thought it was gonna be painted.
• 16:01
  Then I was crap at that. So it's just like trial and
• 16:03
  error. Yeah.
• 16:04
  Failing at every single art form.
• 16:06
  I was. Gonna so stain surgeon.
• 16:07
  Well, yeah, yeah. Did you, did you, did you start
• 16:10
  in the clubs? I didn't try anything.
• 16:12
  There was there's no like, is there a grassroots brain surgery
• 16:15
  scene? I just heard that you were you
• 16:18
  had to be really smart to be a brain surgeon.
• 16:21
  And you're like, count me out. Yeah.
• 16:23
  Whereas before you thought it would be like a DOS.
• 16:26
  Yeah, yeah, yeah. So stand up stuck because you
• 16:32
  were somewhat good at it. Yeah, obviously.
• 16:35
  Yeah, well, a good first gig and that will keep you going for the
• 16:38
  first three years, I think. Yeah, because you, you, if I
• 16:43
  think a lot of people have a good first gig because it's just
• 16:45
  so much pressure and it's everything so on the line and
• 16:49
  then you sort of chase that. I chased that feeling for
• 16:51
  another three years and. It's all magnified in that first
• 16:55
  gig. Bombing my ass off.
• 16:56
  Also I went to uni and I I think what I I do stand up as myself
• 17:00
  talking about my opinions. So I guess straight stand up,
• 17:06
  which is it's sort of similar to stand up that I, you know, lose
• 17:09
  Kate Bilber, that sort of stuff. Just talking about things, I
• 17:11
  think. But because I was doing it at
• 17:14
  uni in the UK in the mid twenty 10s, it meant that it was like a
• 17:19
  lot of alternative prop comedy poetry kind of characters.
• 17:25
  So everyone looked to me like I was a complete freak.
• 17:27
  There'd be like a guy dressed as a snake with a book of poems.
• 17:30
  Being like. Yeah, anyway, I like it.
• 17:35
  I did feel very like. I completely.
• 17:38
  Stood out because no one was just talking about what they
• 17:41
  thought. It's all come back to that
• 17:43
  style. Yeah, you were the forerunner.
• 17:46
  I'd say so. Yeah, I would say so.
• 17:51
  I know. I remember doing alternative
• 17:54
  stand up nights. Somebody would do stand up as
• 17:58
  the Elephant Man and yeah. Just, but they'd be looking at
• 18:02
  you just like, yeah, what the fuck are you there?
• 18:05
  But I would. Do.
• 18:07
  I would, I would prefer being a character initially because, you
• 18:15
  know, you didn't feel comfortable in your own skin.
• 18:18
  Yeah, yeah. But now what?
• 18:20
  What style of standard do you do now?
• 18:22
  I do it as an elephant. No, I I don't.
• 18:29
  I just do it as myself. Yeah.
• 18:31
  Yeah, yeah, I, I like that. That's what I I'm pretty like
• 18:36
  uninventive when it comes to stand up as a form because I
• 18:38
  really like the purity of it. But when you were growing up,
• 18:42
  was your family life you expressed your opinions a lot.
• 18:47
  That's none of your business. Stop praying now.
• 18:53
  No, but I mean, some people would like, they'd be around the
• 18:57
  dinner table and they go, yeah, they'd be talking.
• 18:59
  It's a very opinionated, a very opinionated family, yes.
• 19:02
  And it would be very encouraged to say what you thought.
• 19:05
  Because it seems like things flow freely from your mouth.
• 19:09
  It's not. Are you trying to?
• 19:11
  What are you trying to say? Saying.
• 19:13
  We've been, we've been talking for about 20 minutes.
• 19:16
  You're saying I got no philtre? No, no, not not a philtre, but
• 19:20
  you very easily you can talk about things yes, if I.
• 19:24
  I don't know about. Space lasers, you could talk
• 19:27
  about that. Yeah, for sure.
• 19:30
  What is it about? Well, space lasers have changed,
• 19:36
  haven't they? Yeah, yeah.
• 19:38
  The the what is a space laser has changed from the 70s to now,
• 19:42
  don't you think? Yeah, they're like, it has more
• 19:45
  texture on it now than it used to, don't you think?
• 19:49
  Don't you think? Yeah, yeah, doesn't agreement.
• 19:52
  Yeah. So you're you're doing the stand
• 19:55
  up at uni and then you graduated and then you just decided to
• 20:02
  when? Did you decide that you just
• 20:04
  wanted to do it full time? Well, I you don't get to decide
• 20:09
  you want to do it full time, someone else decides.
• 20:12
  Sort of. Well, the collective did.
• 20:14
  You have an agent when you graduated or.
• 20:17
  No, it took me agents to get an agent.
• 20:19
  Yeah, Even though I was. Oh yeah.
• 20:21
  I mean, I, yeah, it took me. Lots of people were getting
• 20:23
  agents after like 5 gigs and it was like I thought I'm about 10
• 20:28
  years younger than them and better than them.
• 20:29
  Can I not have an agent please? So it actually took a while for
• 20:35
  me to get an agent, but I did. I went full time maybe like 3
• 20:41
  years ago, four years ago. OK, so it I was like part time
• 20:45
  editing producing for like 4 or five years out of you.
• 20:50
  Oh nice it. Took off enough.
• 20:53
  Yeah. But I was always doing podcasts
• 20:56
  pretty much alongside it. What was the first pod you.
• 21:00
  Did I did during lockdown, You know, that first lockdown I was
• 21:07
  like, I was 22 and I was back at my mum's and we weren't allowed
• 21:13
  to see anyone. So I just went in her garden
• 21:15
  shed and did a podcast every day or five times a week, 20 minutes
• 21:21
  a record. And I'll just talk about a boy
• 21:26
  gone wild from history. So it's sort of blending the two
• 21:29
  particles I do now. And I to be honest, it's the
• 21:31
  most creative flow state I've ever been.
• 21:34
  And it's like the the most peaceful I've ever been is no
• 21:38
  one else is doing anything. So you've got no FOMO.
• 21:41
  I'm at home. I would always record at 6:00
• 21:45
  PM-ish because I needed the sunset sunlight still.
• 21:50
  After that I'd go, I'd have a joint 3 beers, I'd watch TV and
• 21:57
  then I would about 1:00 in the morning, I'd go upstairs and I'd
• 21:59
  edit for two hours. I'd release it on YouTube
• 22:04
  scheduled for the next day, go to bed 3-4 in the morning.
• 22:07
  I'd then wake up at 1:00 PM at five hours just sitting in this
• 22:11
  garden in the sunshine. Then I'd do research the episode
• 22:14
  during that time start all over again and it was like the
• 22:17
  perfect circadian rhythm because it would like you could doesn't
• 22:22
  you could be as late as you. There's nothing to.
• 22:24
  You owe your creativity from the deaths of millions. 100% Also it
• 22:31
  was like it was as complete power grab for young comedians.
• 22:35
  Lockdown because we're all in this massive queue behind much
• 22:39
  more talented circuit comedians who are far more skilled and
• 22:43
  funny than us. But then lockdown happened.
• 22:45
  It was catch up time. But then it was just, it was
• 22:48
  digital, they didn't know how to use social media and stuff.
• 22:50
  So it just gave this huge like, boost to younger comedians.
• 22:53
  And what about? Completely unfairly, no.
• 22:56
  But and also they were all dying because they were old as well,
• 22:58
  so it was a double whammy. They would catch it.
• 23:00
  Yeah, yeah. Did you get COVID?
• 23:04
  Yeah, I think I I got the hat trick.
• 23:05
  I got 3/3 Pete. Oh nice.
• 23:08
  Yeah. So did you get COVID?
• 23:10
  Yeah. Do you still have it?
• 23:11
  Yeah. Just in the nose, Yeah.
• 23:16
  Wasn't a part of it that you wanted to see the reaction to?
• 23:22
  Like, if you were just doing this in a vacuum, that would be
• 23:25
  fine. But it was also getting feedback
• 23:28
  from people about, oh wow, I got all these hits and.
• 23:32
  What is the question if I was? Wasn't part of the driving force
• 23:38
  of the. Year.
• 23:38
  Well, I probably, yeah, if, if no, if I was the only person on
• 23:40
  Earth, I probably wouldn't be putting YouTube videos out if
• 23:43
  that's what the question is. Yes, you're right.
• 23:47
  I I probably, yeah. I got him.
• 23:50
  I got him. Oh, right.
• 23:52
  Thank you everybody. I can say, I can say pretty
• 23:55
  competently, if it was like if I was last man on earth, I would
• 23:58
  not podcast. Yeah, you'd be doing shit.
• 24:02
  I don't know. I'd be fucking collecting scrap
• 24:04
  metal. I don't know, there's other more
• 24:06
  important stuff to do. Well, plus you wouldn't.
• 24:09
  I mean, I can imagine there's there's certain art forms you
• 24:11
  would still probably want to express yourself in if you're on
• 24:13
  your own. I can imagine painting if you're
• 24:15
  on. Your own art would be more
• 24:17
  important. Yeah, because that feels like a
• 24:19
  but I think doing a sort of comedy podcast.
• 24:23
  I don't know, unless you thought maybe at the end, like when you
• 24:27
  died, when aliens would come and then they'd look at you as the
• 24:33
  standard bearer for humans. Yeah, unless that, yeah, unless
• 24:38
  that was the case, I think so, yeah.
• 24:41
  So COVID was so you started that podcast and then you did another
• 24:48
  podcast quickly after. No, I that podcast as soon as
• 24:54
  lockdown ended, so I did like about 40 episodes of that.
• 24:58
  By then it was really popular. No, no, it was popular for what?
• 25:03
  I had nothing. So it was something, OK, I was
• 25:06
  getting maybe like 506 hundred views an episode.
• 25:09
  That's pretty good. Which I was good for me because
• 25:12
  I'd literally know nothing I'd ever done but anything at that
• 25:15
  point. And then the my old school
• 25:19
  friend who I made that local Fat Boys film with, we also went to
• 25:23
  university together and we did a student radio show for three
• 25:27
  years at the UNI we went to called the Golden Kerwin Show.
• 25:31
  Did you go to school together by choice?
• 25:34
  Like let's go to the same. School same uni by choice, yeah,
• 25:37
  but not the same school. And then when I I didn't want to
• 25:42
  do a solo podcast after lockdown.
• 25:43
  So then we decided to do mate boys Come wild, a double
• 25:47
  podcast. We were basically just re did
• 25:49
  our radio show. Nice.
• 25:52
  So it wasn't an it was, yeah, it was a new podcast, but the same
• 25:54
  branding, same name basically. And you just kept doing it.
• 25:58
  I did relentlessly. I've, I mean, it's, I guess part
• 26:03
  of podcast is your the, the horror of podcasting is the
• 26:06
  weekly nature of it. I know.
• 26:08
  Tell me about it. Because I think things used to
• 26:11
  just end used to do TV shows and you do a season or like a series
• 26:16
  and you maybe not get renewed, but there's just this
• 26:20
  endlessness to podcast and that is kind of like you stare down
• 26:24
  the barrel of it and you're like, there's there's no, no
• 26:26
  one's going. To.
• 26:27
  No one's going to actually tell us to stop.
• 26:29
  Did. You ever want to quit?
• 26:33
  Well, it depends you you sometimes want to do other
• 26:35
  projects and we there's ebbs and flows.
• 26:40
  I think it's nice to make sure that you make something creative
• 26:42
  every week that's just done So And also boys come wild, more so
• 26:47
  than history, I guess, is like the diary of the last six years.
• 26:51
  Like there's, there's a least, there's over an hour of me
• 26:55
  having a conversation with Andrew every week for the last
• 26:57
  six years pretty much without fail.
• 26:58
  Right. So it's nice that you kind of
• 27:00
  have some you talk about how you're feeling that week every
• 27:05
  week for six years, which is nice, but also sounds horrible.
• 27:08
  Depends how you look at it. It's either like, wow, that must
• 27:11
  be the therapeutic release or is it like, well, that sounds like
• 27:13
  you've you've like been you're like a Greek myth and you're
• 27:16
  being punished for something. Plus that's forced Sissy foose.
• 27:20
  Yeah, yeah, I'm forced to talk on a podcast for the rest of my
• 27:24
  life. You get connected to your
• 27:25
  audience though, because people know you guys and they, they're
• 27:29
  just like living your life as well.
• 27:33
  That's a good point. Yeah, yeah.
• 27:36
  But I, I heard this, you know, I heard this.
• 27:41
  No, it's it's a good point, people.
• 27:43
  People do connect with you through podcasts.
• 27:45
  But the weekly? Nature of it.
• 27:47
  That's the thing, it's like relentless and you're told, you
• 27:51
  know, if you if you don't put something out every week, that's
• 27:56
  it. It's just going to go downhill.
• 27:58
  I mean, what's nice about the history podcast is that we can
• 28:02
  batch cook and it's because it's about history, it's about a set
• 28:05
  topic. But so you can sort of like we
• 28:07
  have. I'm five weeks off history for
• 28:09
  now. What's the most you've ever
• 28:11
  batch cooked? Probably like.
• 28:14
  I've never heard that term, but I'm using.
• 28:16
  It you know how batch cook. No.
• 28:17
  They're not even for like batch cooking like meals.
• 28:21
  No batch cook 7. Seven weeks we've done seven
• 28:25
  weeks worth of stuff. Because you're going on a
• 28:28
  holiday. Yeah, and that's great because
• 28:30
  you can just work it around you just like.
• 28:32
  But Boys Gone Wild is pretty much every week without fail.
• 28:36
  So sometimes you you're you're glad for it, sometimes you're
• 28:39
  not. But that that's the thing
• 28:40
  though. There's something inside of you
• 28:42
  that keeps going. Keeps talking, keeps talking to
• 28:46
  Mike, Yeah. You have to do it.
• 28:49
  It's part of. Maybe, Yeah, maybe.
• 28:52
  Or is it just the, is it that I always think about what era
• 28:55
  you're in? And I guess partly because I'm
• 28:57
  do so much about history, I just happen to be for better or
• 29:01
  worse, I'm just born in the podcast age.
• 29:04
  Yeah, which I think does inexplicably have a less artful.
• 29:10
  I just feel like there's something that undermines a
• 29:12
  creative person by having that much stuff out.
• 29:15
  I you look at, you mean you look at great, I don't know, You look
• 29:18
  at great artistic moments in history.
• 29:21
  You look at sort of like, I don't know, the artistic boom in
• 29:25
  Paris in the 20s, right. The writers there.
• 29:28
  Hemingway, Scott. Fitzgerald also cranked out
• 29:30
  loads of. Stuff.
• 29:33
  I guess so, but he never had to be on a podcast.
• 29:36
  You, you know, if you're a writer, you spend ages writing a
• 29:39
  book and then that's it. You you agree that I'm I'm happy
• 29:42
  with that. I'm happy for that to go out and
• 29:44
  there's a level of mystique that creatives I think had in other
• 29:48
  art forms. Not even saying this is an art
• 29:50
  form, but this I think every week I undermine my mistake to a
• 29:55
  point where I think it's I can't it's unsalvageable.
• 30:00
  I know. Do you know what I mean?
• 30:01
  Like I feel like a huge part of what makes for me creative
• 30:05
  people who I'm interested in is the fact you'd only know little
• 30:07
  bits about it and you can imagine what they're really
• 30:09
  like. And it's because any great
• 30:12
  artist, if you forced them to do a podcast, they would humiliate
• 30:15
  themselves, like I think. It's like.
• 30:16
  Done If Dostoevsky, I'm not comparing myself to Dostoevsky
• 30:19
  at all. But if Dostoevsky, for example,
• 30:21
  one I'm saying as a thought experiment, if Dostoevsky, you
• 30:25
  know, a great author, he he writes books about the human
• 30:28
  condition, morality. He's really rich, big themes.
• 30:31
  If he had to do a podcast every week, I do think episode 52 he'd
• 30:37
  be like, would you rather have a cop for a nose or a nose for a
• 30:42
  cop like he? He'll run out of things to do.
• 30:45
  And I'm not comparing myself to him.
• 30:47
  I'm just saying that it you because this is the age we live
• 30:51
  in. You're doing a podcast.
• 30:52
  I'm sure you didn't want to do a podcast.
• 30:55
  I love doing a podcast, people. I'd love this.
• 31:00
  This wasn't the dream. You know what I mean though.
• 31:06
  So you're saying all great or even great, it's already done?
• 31:09
  No, I'm just saying that podcast uniquely undermines art.
• 31:13
  Yeah. No, it does and even like.
• 31:16
  Dostoevsky is obviously a lofty example, but even like Richard
• 31:19
  Pryor or George Carlin or something like that, I feel.
• 31:23
  Or Richard Osmond. Or Richard Osmond.
• 31:25
  He's kind of, you know, I think Osmond, I'd love to keep more
• 31:29
  mystique with Richard Osmond. No, but.
• 31:31
  I, I heard him on a podcast, his podcast I think, and he was
• 31:35
  saying there's a pressure now because he's cranking out those.
• 31:39
  He's cranking, he's cranking it out all day.
• 31:42
  He's fucking, he's a non-stop. Cranking 10 * a.
• 31:44
  Day. Yeah, he's cranking it out.
• 31:47
  OK, well. It's like there, he says.
• 31:48
  There's a pressure to do that now with even with big authors.
• 31:55
  Oh, to for like to write stuff. Yeah, you.
• 31:56
  Can't wait like 2 years. I wrote a book.
• 31:59
  I'm going to wait two years. I mean, he, he also said that
• 32:02
  like in the 70s, if you're on TV, you're famous forever.
• 32:06
  Like if you had like ATV show in 70s that.
• 32:09
  Was you? Yeah, you're famous forever.
• 32:11
  You do like because everyone watched it and everyone know you
• 32:13
  and you'd be shorthand for forever now it's like, it's sort
• 32:18
  of like, you know, those like those torches that you keep you,
• 32:21
  you turn on by squeezing them, you know, yes, that's what
• 32:25
  that's what being famous now is like.
• 32:28
  If you don't, if you stop, the light completely goes out and
• 32:31
  it's all gone forever. So you just have to you're.
• 32:33
  A little bit too good at that. What's what you're implying?
• 32:37
  Nothing. OK.
• 32:41
  Also those wiggly things you know in the 50s they had, you
• 32:45
  know you, you have the strap around your butt and it jiggles
• 32:50
  for exercise. Oh, right, the lazy exercise.
• 32:53
  Yeah, yeah. That's what about that?
• 32:55
  That's immortal. Well, I don't understand your
• 32:58
  point. Would those things stick out
• 33:06
  whereas? Is that immortal?
• 33:07
  I did, barely knew what you're talking about.
• 33:11
  Look it up, it's immortal. Well, if you say yeah, if you
• 33:14
  say look it up, I feel that sort of undermines your point.
• 33:18
  No, I guess what I'm trying to say is there's so much going on
• 33:24
  now. It's a good point.
• 33:26
  Yeah, it's difficult to sift the wheat from the chaff.
• 33:30
  Definitely. Yeah, even with podcasts.
• 33:33
  I mean, it's so cool that yours is just.
• 33:36
  I mean, it's really good. Thank you.
• 33:38
  I appreciate that. And the fact that you've done
• 33:41
  that is the quality has risen to the top.
• 33:46
  Right. Yeah, yeah.
• 33:49
  But what if OK. You're saying that like it's a
• 33:51
  question Waiting for sure. Sure.
• 33:54
  Has it? No.
• 33:56
  Has it risen to the top? Yeah, yeah, I guess so.
• 33:59
  But supposing, OK, supposing you get like somebody approaches you
• 34:04
  about a movie role with Danny DeVito, are you doing now Jake
• 34:10
  Gyllenhaal? OK, no.
• 34:12
  And it's 3 months in Tangiers. Are you going to turn that down
• 34:17
  because you've got the podcast? Well, hopefully.
• 34:20
  Well, this is the thing and the sketch show that I sent you
• 34:23
  before this, a lot of the what I'm trying to do now is it's
• 34:27
  like as much as the. Escape.
• 34:31
  As much as the industry has changed to the point where you
• 34:35
  can do a podcast, you can make more money than TV, you can be
• 34:38
  more famous than TV, you can have all the things that you
• 34:40
  originally wanted from or like you know, more people will
• 34:44
  engage with your work then you could do.
• 34:47
  Going through any traditional media doesn't mean that I still
• 34:49
  don't want to do some of those things that I got into this for.
• 34:54
  And I felt like I only did a podcast because no one has asked
• 34:57
  me to do anything else. We've made the sketch her pilot
• 35:01
  because we did phone sketches, me and Andrew, for like, 3-4
• 35:05
  years, five years. But at the end, it's like, where
• 35:08
  does this go? Like, a couple of them pop, and
• 35:11
  it's like, do we just keep making them?
• 35:12
  It felt like the people at the top of the game and the bottom
• 35:14
  of the game were all just going like this.
• 35:16
  Yeah, Yeah. Surely there needs to be a
• 35:18
  promotion at some point. Do you know what I mean?
• 35:20
  The best sketch makers in the world are like, and the worst
• 35:23
  sketch makers in the world like, and it's like there needs to be
• 35:26
  some. So no one asked us to make the
• 35:28
  sketch show. We made it ourselves just so.
• 35:30
  It's like even if we die tomorrow, at least we've made
• 35:32
  something like reminiscent of why we even got into this for
• 35:36
  the first. It's all about your goals
• 35:37
  because some people are happy just to keep doing it, but you
• 35:41
  you want to do something further.
• 35:44
  Yeah, I'd like, yeah. So if if, if there's like a film
• 35:46
  role working in film, yeah, I probably would have to try and
• 35:49
  negotiate that with the podcast because I definitely don't.
• 35:51
  I could just sit on and do the podcast, but I think I would
• 35:55
  become quite frustrated if I just did the podcast.
• 35:58
  Now. What was the genesis of the?
• 35:59
  Sketch show When? When did you decide?
• 36:02
  Hey, Well, I think. So obviously me and Andrew,
• 36:06
  starting with that local Fat Boy film that's lost to the Annals,
• 36:10
  The Lost Files. It is a shame if anybody sees
• 36:13
  about that. Please.
• 36:15
  Send it in. We all of our sketches, I feel
• 36:23
  seem like they could fit into a, a sketch show from like late
• 36:26
  night BBC Two in the 2000s or even like the Mighty Boosh era,
• 36:31
  which was the golden age of that, that sort of stuff, which
• 36:34
  I'm very nostalgic for. And so I think to name but
• 36:40
  another channel. But yeah, and I think we just,
• 36:52
  we wanted to make our kind of perfect pilot.
• 36:57
  What was amazing is because we did it with our own money.
• 37:00
  It having no one is like having no one.
• 37:03
  You have to ask anything. Oh, it's the best.
• 37:05
  It's absolutely. Incredible.
• 37:07
  And I think you can see with the because we wrote it like we'll,
• 37:10
  we'll pitch it now, but we didn't pitch it beforehand
• 37:12
  because I just wanted it to be complete literally only for us.
• 37:16
  So you never pitched it to anyone?
• 37:19
  You just said we're going to do it ourselves.
• 37:21
  I think we we had. Spoken over the years, you know
• 37:25
  when you have like a cool with Channel 4 and there's like
• 37:29
  removal men taking their sofas out the background to try and
• 37:32
  make money? Like you can actually see the
• 37:34
  the whole system crumbling and they're like, yeah, no, let's
• 37:39
  have another meeting in six months as literally like this
• 37:42
  lorry is taking away any sort, they're selling off any Baftas
• 37:47
  they had, melting them down for gold just to try and stay.
• 37:51
  Afloat, you don't have any money.
• 37:52
  Yeah, exactly so. Then you just realise.
• 37:54
  That comedy's the lowest rung. And it's also these people's
• 37:57
  their jobs. Is to have meetings.
• 37:59
  Yeah. So you'll go for a meeting, you
• 38:01
  get excited and you realise that they'll just.
• 38:03
  They just needed the lunch. False excitement.
• 38:05
  They needed a tax. Expended.
• 38:07
  Lunch, so it's a write off to them.
• 38:11
  You're a write. Off.
• 38:14
  But after literally after this, we're going to I'm going to meet
• 38:18
  to talk to someone about the sketch show.
• 38:20
  It won't mean anything. Oh, so you'll present this?
• 38:23
  Yeah, I mean, yeah thing, but if no.
• 38:25
  One makes it. Hopefully we can still make
• 38:27
  another episode. So do you You have a date
• 38:30
  though? When you're going to air this,
• 38:32
  Yes, it will be this Sunday, but I don't know when this is.
• 38:33
  Coming out? When's this coming out?
• 38:38
  You want it to come out this week?
• 38:41
  Yeah, well, if it comes. Out.
• 38:43
  If it comes out next week, it's already out.
• 38:45
  If it comes out this week, it comes out this Sunday.
• 38:48
  If they missed it, will they be? Able to see it, yes.
• 38:51
  OK. Do you know?
• 38:52
  So YouTube, it's it's this, this thing you can post stuff on
• 38:56
  there and it's sort of just up forever red.
• 39:01
  And white. Yeah, yeah.
• 39:05
  Oh, that's well, it's that's in a cheat.
• 39:07
  How long did it take you to film that?
• 39:09
  Well, we filmed it in. February last year, so it's a
• 39:12
  long time ago. It took us five days to film it
• 39:17
  and then lots of stuff happened. This is just before the history
• 39:20
  podcast took off as well. And then the edits been a
• 39:24
  nightmare. I love the edits though.
• 39:27
  The. Way you I mean the one the one
• 39:29
  that. I've sent you half edited
• 39:30
  because we're still, we're still literally I've put this date
• 39:34
  because if we don't have a hard deadline, we'll never make it.
• 39:36
  But it's going to be like Indiana Jones under the the door
• 39:40
  grabbing the hat. That's gonna be, we're gonna
• 39:42
  hand it off literally an hour before we can.
• 39:45
  But I love the way though. That you're you're not, you're
• 39:48
  treating it as something that goes on TV.
• 39:52
  Yeah, in that, you know, you know how some people do sketch
• 39:55
  shows where it's sketch, sketch, sketch, you tie them in and all
• 40:02
  that sort of TV stuff that you can do you utilise it?
• 40:05
  Well, I think what we watched quite.
• 40:07
  A few sketch shows when we were writing it to try and see what
• 40:09
  we liked, what we didn't like. And I think like something like
• 40:11
  I think you should leave. I think it's amazing, Tim
• 40:13
  Robinson, But the only criticism I'd have or the thing that is
• 40:17
  because all the sketches are roughly the same length.
• 40:20
  I think psychologically, you know when the big punch is going
• 40:24
  to come after you've watched a few of them because they they
• 40:28
  spent all this money on the the setup.
• 40:30
  You know that it's going to be at least three and a half 5
• 40:32
  minutes. So you know it's going to be
• 40:33
  minutes. It's got a hot dog van you're
• 40:35
  going to. Spend so you know where it's
• 40:37
  coming from. But what we?
• 40:38
  Wanted to do with this is like try and flit around with the
• 40:41
  times as much as possible. So once a sketch starts you
• 40:43
  don't know if it's going to be 10 seconds or 4 minutes.
• 40:46
  And I think as a viewer, I think that means that you're it's much
• 40:51
  less predictable when the punch is going to be.
• 40:54
  And I like that. Big Train did that really well.
• 40:56
  We were doing a show. We did the show Snuff Box and we
• 41:01
  were told this is the way you do a sketch show.
• 41:05
  And then it was like somebody just had this old school notion
• 41:09
  of like, you do 16 sketches, you cut out four, and then you just
• 41:14
  put them all together. It's like no, we wrote them all
• 41:17
  as a script and they should all float I.
• 41:20
  Think what makes a sketch show fun is that it's flowing and
• 41:24
  trying to hit constant different rhythms and beats and like it
• 41:27
  should. If if it keeps following the
• 41:29
  same rhythms, then I think it can get quite repetitive because
• 41:32
  you notice that a lot of. Sketches that were like, say, a
• 41:35
  sketch troupe did well on stage that their first series is their
• 41:43
  sketches that they did on stage. So it's not necessarily the most
• 41:48
  you're not playing to the media. Yeah, then they start to play.
• 41:51
  To the medium and it gets even better for sure.
• 41:54
  Yeah, yeah. OK, that's good.
• 42:02
  I. Hope it does really well.
• 42:04
  I'm excited. Well, I hope.
• 42:07
  It does well enough that people will give us some money to make
• 42:12
  more so that I don't have to pay for it.
• 42:14
  But this is a dumb question, but do you?
• 42:16
  Just you've got it ready to go for the 12th, no?
• 42:23
  No, because once we do, once we. Do it'll be.
• 42:25
  Ready to go? Once it's ready, it'll be ready
• 42:27
  to go. It's and you're going to watch
• 42:29
  it. Yeah, I mean.
• 42:32
  Arguably, if you do, normally, if you make put money in
• 42:34
  something like this, you should then ship it around, maybe put
• 42:37
  up some awards, but I like just puts out on YouTube.
• 42:41
  I I'm a huge of all the social medias, I'm a huge, huge.
• 42:45
  I've discovered all the my favourite stuff.
• 42:46
  I think YouTube's amazing because it's the I love having
• 42:51
  all my old radio shows on YouTube.
• 42:53
  I put everything I've pretty much ever done is free to access
• 42:56
  on YouTube because it's like you, you you'll be watching
• 43:01
  football highlights or you'll be watching a fucking fucking
• 43:04
  explainer about Alexander the Great.
• 43:06
  And then you'll see in that window, it can be anything can
• 43:10
  be there. I love how everything is in one
• 43:12
  place. If you're watching Netflix, play
• 43:14
  YouTube. No, I'm not.
• 43:15
  I'm. Not I should.
• 43:16
  Be though YouTube actually pay really badly as well.
• 43:20
  You mean on their partnership? Programme, but I still like them
• 43:23
  nonetheless. That's how much my my pure love
• 43:25
  of YouTube is. It is great.
• 43:27
  I don't like Youtubers. I think they're, they're a
• 43:30
  scourge. Who's the worst?
• 43:32
  Well, I don't know if. I don't know if I'd go I.
• 43:35
  Think I was already risking me saying that but YouTube is a
• 43:41
  thing I think. Still, I bet if you had a few in
• 43:43
  you, you'd. Say something.
• 43:45
  Yeah, Yeah, this is early in the morning.
• 43:47
  A few who and me A. Booze, a few Youtubers.
• 43:52
  Yeah, that's. It are you gonna try to?
• 43:57
  Do another one or I think. I'm I think we'll have to see
• 44:01
  how it goes. It was that will definitely do
• 44:05
  it differently and much more efficiently.
• 44:06
  I would buy this show. If I OK, sure, sure.
• 44:09
  Great. Oh no.
• 44:10
  OK, but I mean I, I so you don't.
• 44:11
  Do you have any? OK.
• 44:13
  No, no, I wish. I do.
• 44:14
  Yeah, OK. I wish I but you would.
• 44:16
  But it to me it's a no brainer. OK, but then you, who are you?
• 44:20
  Then I'm nobody. You've got no you.
• 44:22
  You said you. I've got no clout.
• 44:24
  Yeah, but then. You so you won't buy.
• 44:25
  It well, here's the thing though.
• 44:27
  People aren't buying comedy these days.
• 44:31
  People don't buy, they'll buy. Dramas, yeah.
• 44:34
  Out the wazoo, yeah. Somebody gets kidnaps, they
• 44:37
  brilliant. Come to Glasgow.
• 44:39
  OK, I've seen that. That's brilliant.
• 44:41
  Yeah, I think. The problem is as well so sketch
• 44:43
  shows are financially a disaster for a channel.
• 44:46
  They'll make you no money because it's 6 episodes or you
• 44:50
  can't do that many of them. It's not that repeatable.
• 44:52
  If it's fucking reality TV you can just pump out a million of
• 44:55
  them. You can't do that to sketch.
• 44:56
  And even if you present the. Sketch show, they'll want
• 45:00
  runners because, like, we want to use this location more than
• 45:03
  once. Yeah, exactly.
• 45:05
  And. I feel like basically the only
• 45:08
  reason why any channel will get a sketch show is clout.
• 45:11
  Yeah, like. Netflix lost money.
• 45:14
  Making I think you should leave, but the fact that I think you
• 45:18
  should lose on the platform is so good, is good for Netflix
• 45:21
  because it's like we're supporting a cool young comedy
• 45:23
  thing, but they'll make all their money from fucking Love is
• 45:25
  Blind or something. Exactly.
• 45:28
  So your loss sketch show is a loss leader.
• 45:30
  So you are asking someone, can I be your loss leader?
• 45:32
  Basically, Yeah. Well, that's why.
• 45:35
  There was a period in the late 90s and the mid 2000s or just
• 45:40
  before mid 911 where there was crazy.
• 45:43
  Oh, sorry. Missioners.
• 45:47
  That are willing to go to. Be in your corner no matter
• 45:51
  what. They have as many failures as
• 45:53
  they do successes. But you do know you're in a
• 45:55
  golden age, right? You must look back on and was it
• 45:58
  as? But a lot of it has to do with.
• 46:00
  A commissioner that will back you, but yeah, because I guess
• 46:04
  so for. Me and I think I think the era
• 46:07
  of comedy that I started in stand up in was like the 20
• 46:10
  tens, which I think was a pretty much a desert for comedy in this
• 46:13
  country. The era before is probably the
• 46:17
  best period of comedy in British history.
• 46:20
  I'd say from I would argue from maybe the day-to-day in 1994
• 46:27
  till the last season of the thick of it is probably every
• 46:31
  like the best 15 year period. You got goth ranges, dark
• 46:36
  places, Nathan Barley, Big Train, Peep Show, Partridge,
• 46:41
  Snuff Box, UK Office. I you can IT crowd.
• 46:45
  It's like crate, I guess. No one was making stuff on their
• 46:48
  phones. Everyone was making it on TV.
• 46:50
  They only place it on TV, so yeah.
• 46:52
  Yeah, Mighty Boosh. I mean, that's it.
• 46:54
  Yeah, so was it like was the scene?
• 46:57
  Just like everyone. Was what were producers like
• 47:00
  then? It was a scene, man.
• 47:02
  It's I mean it. It seems like it.
• 47:04
  Was so you'd have would you have lunch with the producer and then
• 47:07
  they it might actually go somewhere?
• 47:09
  Well, yeah, because. Which?
• 47:11
  Is foreign to us. Yeah, this is how it.
• 47:14
  Was with us with our sketch show was we were what was Little
• 47:22
  Britain got taken from BBC Three and moved to BBC One and they go
• 47:28
  we need a sketch show. And Matt Berry and I had been
• 47:32
  pushing other types of shows. Like I think there was one where
• 47:36
  we're going to be ghost hunters, all sorts of ideas and they go,
• 47:41
  you can do a sketch show. We will Commission you if you do
• 47:45
  a sketch show and then we go, OK, so, so like without even.
• 47:49
  Seeing the sketch show, yeah, they're just like, yeah.
• 47:51
  And that's just crazy. I know.
• 47:53
  Yeah, It's like the. People that fish.
• 47:56
  And the fish just jump into the boat.
• 47:58
  Yeah. And it's, I guess, no one.
• 48:00
  Really watches TV anymore but then I think the mistake that TV
• 48:03
  makes is they think that's that the the reason no one watches TV
• 48:07
  is because isn't stuff's not being made that people would
• 48:10
  want to watch. I still think people still would
• 48:13
  maybe crave a bit of traditional I think so there is a.
• 48:16
  Demand for it. Here's the difference too with
• 48:19
  the UKTV and US is. In.
• 48:24
  UK, if you are big enough and you ask for a sketch show, like
• 48:29
  if Michael McIntyre said I want to do a sketch show, he could do
• 48:33
  one, but it would be based on, you know, I am Michael McIntyre.
• 48:37
  Yeah. The Michael McIntyre Sketch
• 48:38
  Show. Yeah.
• 48:39
  Yeah, yeah, OK. Now ratio there is a formatted
• 48:45
  segment please I was waiting for it I.
• 48:48
  Was thinking where the fuck's this formatted segment coming
• 48:51
  in? Well, we saved it for last.
• 48:53
  Right. OK, I ask you. 5 questions with
• 48:57
  a blank. It's called fill in the blank.
• 48:59
  It's not blankety blank. OK, and you don't have to be
• 49:03
  funny or anything, but there's a heavy.
• 49:06
  Yeah, yeah, there's a heavy, there's a heavy pressure.
• 49:09
  It could be a bit less. It could say, yeah, this whole
• 49:14
  podcast. Relies on it, all this stuff.
• 49:18
  About sketches, God damn it, number one.
• 49:23
  The last thing I drew was blank. It was a.
• 49:28
  It was a guy a. Guy's face like this.
• 49:32
  Is that a go to or? Yeah, when I'm doodling, it's
• 49:35
  just like a guy. In immense pain.
• 49:37
  I wish I could draw that. I think that's quite easy to
• 49:40
  draw. I could.
• 49:41
  Not draw. It's kind of a guy with this,
• 49:42
  like big alpha Chad jawline, but he's in immense pain.
• 49:46
  And there's the blood vessels are popping out his eyes.
• 49:49
  And you doodle a lot. Yeah.
• 49:51
  If I have a, yeah, not very good.
• 49:52
  But that's good. Thank you.
• 49:55
  Number. 2 blank. Is what I say when I need to
• 49:59
  leave a boring conversation. This goes to toilet really.
• 50:03
  Always but. You have to try.
• 50:05
  And you have to try and space them.
• 50:09
  Out sometimes you get. Caught if you get have you ever
• 50:13
  done so? I'll go to the bathroom, wait in
• 50:15
  there even if I don't in the toilet count.
• 50:19
  And then I'll go back out and sometimes.
• 50:20
  I somehow I get sucked in and I'm back here again.
• 50:24
  I'm like yeah, yeah, yeah, fuck me.
• 50:25
  How I can't because I can't say toilet again.
• 50:27
  No. What if somebody?
• 50:29
  Now, having seen this, somebody approaches you and you go, I
• 50:34
  have to go to the toilet. Well, I don't think it works.
• 50:38
  That's not how you can't do it like that.
• 50:40
  OK, you can't have a boring person coming near you and you
• 50:43
  shout at them. I need the toilet.
• 50:45
  It has to be Do you get wrong? You have to.
• 50:47
  Dip out of a conversation. You're already in yes, because
• 50:50
  then it seems quite a great because they might not even be
• 50:52
  coming towards you and if you just shout I need the toilet.
• 50:54
  It seems like you're in a lot of pain.
• 50:56
  You're it's always like they need to come and help you
• 50:58
  because it sounds like a cry for help If you're screaming.
• 51:02
  I haven't seen this. They're not going to believe
• 51:05
  you, so they're going to follow you into the toilet to see if
• 51:08
  you're really going and then I guess there'll be a lot of
• 51:12
  performance. Anxiety.
• 51:13
  Yeah, just desperate. Come on, come on.
• 51:17
  Furiously trying to do it if I had a blank.
• 51:21
  Things would be a lot easier for me if I had.
• 51:28
  If I had, I guess if I had, I was going to say.
• 51:35
  Wings, but then I. Think the commuting and stuff.
• 51:40
  Yeah, I think it would make. My life a lot harder because I'd
• 51:43
  be the only person with wings and I'd be sort of a genetic
• 51:46
  freak. Yeah, teenagers would want to.
• 51:49
  Shoot you down maybe. I think more I'd become like a.
• 51:52
  Spectacle and I'd be sort of objectified as maybe a thing of
• 51:58
  you can have your sketch show. What would I get?
• 52:02
  The sketch show with the wings. Yes, you would.
• 52:04
  No. I think I'd I'd be getting.
• 52:06
  Documentaries made about me, that's true, which is not what
• 52:09
  I. Want you don't.
• 52:10
  Want can we film you at 5:00? O'clock yeah, you.
• 52:15
  Don't want that? You want to be behind.
• 52:16
  The camera you don't want someone you don't want Louis
• 52:18
  thru going. That's true like.
• 52:20
  If Louis thru turns. Up be fucked up, right?
• 52:23
  I know if Louis. Thru's at your door.
• 52:26
  You're like, what? You need to go back through your
• 52:27
  life and go, what have I done wrong?
• 52:30
  Although he has what's fucking weird about me?
• 52:32
  How I Yeah, yeah, yeah. He has been doing celebrity
• 52:37
  interviews, though, recently. Yeah, I guess I could go on this
• 52:40
  podcast. With the wings, yeah.
• 52:42
  But then I'd feel like, have I earned any of this?
• 52:44
  If I've if it's just the wings that I wished on on talk box,
• 52:50
  it's. After.
• 52:51
  A gig and it's 2:00 AM. I'm eating a blank at the blank
• 52:56
  shop. Chicken shawarma is probably.
• 52:58
  My go to I think late night food is a huge part of being a
• 53:01
  comedian. I think if you're you sort of
• 53:05
  try every different fast food place, I think you do need to
• 53:07
  try and find something that's more reliable, healthy and the
• 53:11
  healthiest late night option past midnight probably is a
• 53:15
  chicken kebab or chicken shawarma with minimal sauce.
• 53:18
  I would say it's got protein in there.
• 53:20
  It's like a wrap some you get all the salad you can.
• 53:23
  That feels like the most sustainable fast food though.
• 53:26
  I was eating so much fast food in my over my days that I even,
• 53:30
  like, understood the difference in service level across the fast
• 53:34
  food shops. Really.
• 53:34
  So McDonald's, there's a there's a huge consistency to the
• 53:38
  standards there that I respect at McDonald's.
• 53:40
  Yeah, like they anywhere across the world.
• 53:42
  That's one thing that's amazing at McDonald's.
• 53:44
  Well, they have to do it to keep their.
• 53:45
  Trade KFC, they treat you like absolute.
• 53:47
  Fucking shit. Because they know that they know
• 53:50
  that the the Colonel's 12 Spice Secret recipe is so good that it
• 53:55
  you're going to keep coming back like you're like, like crack
• 53:57
  addicts. But they they know you.
• 54:00
  Are. They don't fucking salt the
• 54:02
  chips. You have to ask for that.
• 54:03
  They're livid about it. They're just like, there's no
• 54:05
  respect in there whatsoever. Now, Taco Bell that has only a
• 54:10
  couple of sort of wait, there's Taco Bell here, There's.
• 54:13
  Debut Stores. In, in around Paddington and
• 54:17
  I've never been treated so well. I get treated, I get called Sir.
• 54:20
  They want your service. I imagine it's because Taco
• 54:23
  Bell's trying to make a foothold in the UK market.
• 54:26
  So they're like, let's put the best foot forward because you
• 54:29
  often see that new shop. This is great.
• 54:31
  As soon as they've got established brand, it all goes
• 54:34
  to shit. They've got to beat Chipotle.
• 54:36
  They've got to. Beat Chipotle.
• 54:37
  Well, Chipotle when it arrived. Was good, yeah.
• 54:39
  And now Chipotle. They've already got you.
• 54:42
  They. Got you.
• 54:42
  So they don't give a fuck anymore.
• 54:45
  But yeah, I'd probably say Taco Bell, McDonald's, KFC for how
• 54:49
  much respect I get as a as a patron.
• 54:52
  Wow, I didn't expect that. Last question, blank is not
• 54:58
  funny until I've had a few wines in me.
• 55:04
  Theatre like hard. Hitting Theatre.
• 55:14
  Yeah, if I'm if I'm pissed. In a theatre seating.
• 55:17
  I'm giggling. Yeah.
• 55:19
  Don't know if you find that if I'm if.
• 55:21
  I'm if I'm a bit smashed. And it's got this sort of velvet
• 55:24
  seats and kind of like the acoustically warm space of, like
• 55:27
  a West End theatre. I'm just laughing my head off no
• 55:30
  matter what's happened. Even though it's a Holocaust
• 55:32
  play, it's quite serious. Yeah, it's still.
• 55:34
  I'm just, I'm just giddy. Well, a lot of double G and TS.
• 55:38
  Will have that. One funny.
• 55:40
  Moment. And then it'll just be like like
• 55:43
  a release for the audience. That's the one time I'm not
• 55:46
  laughing. It's like, it's like I'm like in
• 55:51
  a perfume. Advert you know, it's like go
• 55:53
  your own way. The Heard are all doing going
• 55:55
  laughing, but not me. Somewhere in Dior Suavage.
• 56:02
  Now is this. Is plug time sure anything you
• 56:05
  do? I mean I think this I I plugged
• 56:07
  for about. 20 minutes so I feel like no, but anything else that.
• 56:11
  You're doing, are you doing any gigs, Stan?
• 56:14
  Are you doing a tour? I decided I'm not going to do
• 56:16
  Edinburgh about. A week ago, oh man, I decided.
• 56:19
  Against it. I want to do some other stuff
• 56:22
  instead. You're going to have a free
• 56:24
  August. Yeah, I mean the the way.
• 56:26
  That we just give up our summers so readily I know is mental.
• 56:32
  But I've got my old show stand up.
• 56:34
  My old stand up special hopefully will be out in five
• 56:37
  weeks. Six weeks on YouTube.
• 56:40
  Where's YouTube? That's YOU.
• 56:43
  PUB Yeah E. Dot com.
• 56:49
  And yeah, I've got my podcasts and that's probably, that's
• 56:54
  probably it. That's all I all I care to plug
• 56:56
  at this time. No further.
• 56:58
  Plugs, your honour than. A tour at all?
• 57:00
  Yeah, we toured. Last year and then.
• 57:02
  There's talks of doing like a big one off show this year.
• 57:04
  We don't know. Yeah.
• 57:06
  Or doing another. But with our tours, it's not
• 57:09
  like just the live version of the pod.
• 57:10
  It's like a theatre show. So it we don't know if we'd do
• 57:15
  to do that, would it probably be like quite a lot of run up.
• 57:17
  So but we don't know what happened.
• 57:20
  Well, listen, good luck. To you.
• 57:22
  Thank you. The sketch show's terrific.
• 57:24
  I appreciate that. I hope you.
• 57:26
  Keep doing it. I hope so too, it means a lot.
• 57:29
  Coming from from Rick Falca. That was Horatio.
• 57:35
  Gould Oh my gosh, you know about his podcast, but he's got a
• 57:40
  sketch show coming up, so check it out on YouTube.
• 57:44
  And if you want to support Rich Vultures talk box, you can get a
• 57:49
  Patreon membership. It's wonderful.
• 57:53
  It'll unlock your world to a whole panoply of fun and prizes.
• 57:59
  Not really prizes, but maybe. All right.
• 58:04
  OK. Thank you for your support.