Latest / Uncomfortable Conversations with Josh Szeps / Premium: Zach Cregger - From The Archives

Transcript

Premium: Zach Cregger - From The Archives · Uncomfortable Conversations with Josh Szeps

• 0:00
  G'day, this is an abridged version of the episode
• 0:02
  that you can hear in full by signing up
• 0:04
  at uncomfortableconversations.substac.com slash subscribe.
• 0:08
  Enjoy the freebie.
• 0:09
  [♪ OUTRO MUSIC PLAYING [♪
• 0:11
  Welcome to a special episode of We The People Live
• 0:14
  A One-on-One conversation about creativity and comedy
• 0:18
  with the one and only Zach Kregger,
• 0:20
  comedian extraordinaire, star of stage and screen.
• 0:22
  You might know him from TBS's new comedy show,
• 0:25
  which surprisingly became the sort of breakout hit
• 0:27
  of cable comedies this year.
• 0:28
  It's called Rekt.
• 0:29
  And I caught up with Zach down in Puerto Rico
• 0:31
  where they were shooting, Rekt.
• 0:34
  But look, just listen, even if you don't know Zach,
• 0:37
  enjoy this conversation because I think it's an interesting insight
• 0:40
  into somebody who has a lot of fingers and a lot of pies
• 0:43
  and a lot of interesting thoughts about the nature of creativity
• 0:46
  and the nature of comedy.
• 0:47
  Enjoy.
• 0:49
  You are the people.
• 0:50
  I am the people.
• 0:52
  And this is We The People.
• 0:56
  Zach Kregger, you threw your voice out?
• 0:59
  Why did you threw it?
• 1:01
  We were doing a scene on Friday where I had to do this.
• 1:04
  Grousing speech, like Braveheart style.
• 1:07
  On a tropical beach?
• 1:09
  On a beach, yeah.
• 1:10
  Tell us about Rekt.
• 1:11
  So much as Rekt and it's about a plane that goes down
• 1:14
  on a tropical island and it follows the survivors.
• 1:16
  It's basically a comedy lost.
• 1:20
  And it's a comedy version of the show lost.
• 1:23
  Comedy lost.
• 1:24
  You're not saying it sounded like you were saying.
• 1:27
  I didn't understand what you were saying.
• 1:29
  It's a lost comedy.
• 1:30
  Yeah, basically.
• 1:32
  But I got to say, it could be great.
• 1:35
  It depends.
• 1:36
  You never know.
• 1:37
  But the scripts are amazing.
• 1:39
  These guys, the Shipley brothers, these two 25-year-old brothers
• 1:43
  are, the writing is just nuts.
• 1:46
  I never laugh out loud when I read scripts.
• 1:48
  But every single episode I get, I laugh out loud.
• 1:52
  Do they just want to have a team?
• 1:54
  No, they have a team, but their voice is pretty clear.
• 1:59
  And they definitely, their thumb print is on everything.
• 2:03
  It's pretty great.
• 2:04
  I love it.
• 2:05
  I read a thing comparing it to it's always Sunny and Philadelphia.
• 2:07
  Yeah.
• 2:08
  I suppose, and only as much as it, when Sunny came out,
• 2:13
  it was very fresh and new and you just hadn't seen anything like that.
• 2:17
  Yeah.
• 2:18
  And I hope, you know, history will tell.
• 2:21
  But I hope rats will be like that.
• 2:22
  It just, it feels different than anything ever.
• 2:24
  Isn't that great working on something where you actually love it?
• 2:26
  I just didn't say it.
• 2:27
  And which you respect.
• 2:28
  It's insane.
• 2:29
  Which you want to be.
• 2:30
  It changes everything.
• 2:31
  Yeah.
• 2:32
  It changes everything.
• 2:33
  Remind us of a couple of, and this is, and I'm not saying this to be a douchebag,
• 2:35
  but you've done a couple of shows that were critically not...
• 2:38
  Sure.
• 2:39
  Yeah, yeah.
• 2:40
  I mean, like I did guys with kids, which is a multi-camera NBC sitcom.
• 2:44
  That was like me, Anthony Anderson, and Jesse Bradford.
• 2:49
  And it was, look, it was funny.
• 2:52
  It was what it was.
• 2:53
  It was funny.
• 2:54
  Like two and a half men is funny, right?
• 2:56
  I hope it's better.
• 2:57
  But I think that shows funny.
• 2:59
  It's funny.
• 3:00
  You're gonna have menist.
• 3:01
  It's funny in the old, like dumb.
• 3:03
  Like I'm just gonna sit down and pop my brain at the door and have some soup.
• 3:06
  You want to turn your brain off and just, you know, hear dick jokes.
• 3:10
  Yeah.
• 3:12
  I don't know.
• 3:13
  The point is, you're pouring your hands all into this project,
• 3:16
  and then the final result is something that is not,
• 3:19
  that people don't regard as being like, something that's groundbreaking.
• 3:22
  Yeah.
• 3:24
  Yeah, and before, before guys with kids, there were a couple other things,
• 3:27
  like similar to that.
• 3:28
  You know, whiteest kids I'm proud of, but that was a while ago,
• 3:31
  and it feels like something that I can be really proud of.
• 3:34
  And whiteest kids was your thing.
• 3:36
  That's the difference.
• 3:37
  Like, my relationship to this podcast and your relationship to the whiteest kids
• 3:41
  is probably the same, because it's your own thing,
• 3:43
  and you can make it whatever it is that you want it to be,
• 3:45
  and you don't have to feel embarrassed about it.
• 3:46
  And to the extent that you do feel embarrassed about it,
• 3:48
  it's all on you.
• 3:49
  Yeah, yeah.
• 3:50
  Oh, there's no whiteest kids I'm very embarrassed about.
• 3:53
  I mean, oh god.
• 3:54
  But that's different from, it's so lovely when you go into something
• 3:57
  that is someone else's baby, that someone else's creative vision.
• 4:00
  And it just so happens that they have a creative vision that's sympathetic
• 4:03
  with you always.
• 4:04
  And it is also something that's unusual and fresh and original and awesome.
• 4:08
  And it's great.
• 4:09
  And it makes being here in Puerto Rico for a couple of months,
• 4:12
  you know, totally worth it.
• 4:14
  Like, if I was down here shooting a show I didn't like,
• 4:16
  this would just be the worst experience,
• 4:18
  because Puerto Rico is not the most exciting place in the world.
• 4:21
  I don't know.
• 4:22
  I mean, a lot of people will be listening to this thinking,
• 4:24
  especially if they're listening in a cold pot of the United States.
• 4:26
  They're a worse place.
• 4:27
  So there are definitely worse places.
• 4:29
  Oh god.
• 4:30
  You could be shooting in Des Moines.
• 4:31
  Yeah.
• 4:32
  My girlfriend did a movie in Sue St. Marie, Canada, which is like, dude,
• 4:35
  it was bleak.
• 4:36
  I mean, what was the problem with that even in?
• 4:39
  It's like an hour in Northeast of Niagara Falls.
• 4:42
  Or Northwest of Niagara Falls, I think.
• 4:44
  Yep.
• 4:45
  I could be wrong.
• 4:46
  It gives a shit where it is, dude.
• 4:47
  Maybe it's above Michigan.
• 4:48
  I don't know.
• 4:49
  But it was so boring.
• 4:50
  I went to a visitor and it was just so, so good.
• 4:53
  So it's better than that.
• 4:55
  It's funny.
• 4:56
  I was hanging out with Brooke Delman, who's another cast member.
• 4:59
  And we were looking around at all these happy vacations,
• 5:02
  wandering around drinking and everything.
• 5:04
  We're like, why are we so bored?
• 5:06
  And all these people are paying so much money to come here.
• 5:08
  And I was like, no, if you took any of these people that are here for a week,
• 5:12
  and so they have to be here for two months, they go crazy.
• 5:15
  Yeah.
• 5:16
  Right.
• 5:17
  You can just what?
• 5:18
  Especially, you know, you can't be like,
• 5:20
  partying and drinking every night.
• 5:22
  Like, because you have to work and have a 630 pickout.
• 5:25
  Well, is it because you're away from your friends and your partner
• 5:28
  and your home?
• 5:29
  Or is it because of the place?
• 5:31
  It's both.
• 5:32
  It's both.
• 5:33
  I mean, look, if I was shooting this in New York,
• 5:35
  I wouldn't have this complaint.
• 5:36
  If I was shooting at Chicago, it wouldn't bother me so much.
• 5:38
  But, you know, San Juan is a very small town.
• 5:41
  I mean, you can do pretty much everything San Juan has to offer for the first week.
• 5:44
  And yet, most people in the world, well, in America,
• 5:47
  like, live in towns, the population of San Juan, probably.
• 5:51
  Well, there's a lot I could say about that.
• 5:53
  And about the mindset.
• 5:54
  I think I have maybe a psychopathic needs
• 5:57
  for attention and distraction.
• 6:00
  I'm always amazed when I'm flying across the,
• 6:03
  I mean, it's the only time I go to the Midwest or the South.
• 6:06
  And I see, I mean, I don't want to sound like a douchebag.
• 6:09
  But I see towns of 10 or 20,000 people.
• 6:13
  I'm like, why the fuck is anyone staying here?
• 6:17
  Well, I think it's like incubation, you know?
• 6:19
  If you're born into that environment, that's your norm
• 6:23
  from birth till 21.
• 6:26
  Why are you going to leave until you're there?
• 6:29
  But you're a human beings.
• 6:30
  I like veal cows or something.
• 6:32
  I am assuming that that's exactly correct.
• 6:34
  If you are raised in a cage.
• 6:36
  Incapable of, like, thinking outside of the little box that they were raised in.
• 6:40
  Yeah.
• 6:41
  That's the correct thing, Zach.
• 6:43
  I never said that.
• 6:44
  I never promised you a rose garden, Josh.
• 6:47
  I mean, look, a lot of people,
• 6:50
  a lot of people have wonderful fulfilling lives in those towns.
• 6:54
  And I don't want to diminish, you know, I just...
• 6:58
  No, you do.
• 6:59
  And we are.
• 7:00
  No, I would be bored.
• 7:02
  I would be really bored.
• 7:03
  I got bored in Arlington, Virginia, which is a population of, I don't know, a million people maybe.
• 7:07
  Well, and isn't it also essentially a suburb of DC?
• 7:10
  Yeah.
• 7:11
  So I mean, you're talking about a metropolitan area of millions of people.
• 7:14
  Yeah.
• 7:15
  It's funny, man.
• 7:16
  I was reading the psychopath test at John Ronson.
• 7:19
  He's like the population distribution of psychopaths, you know, geographically.
• 7:23
  And he was saying there's more psychopaths per capita in places like London, New York, and LA.
• 7:28
  And there are in, like, Surrey or, you know, Boise.
• 7:31
  Because psychopaths don't want to be in those places.
• 7:34
  They think they deserve greatness and attention and the best.
• 7:38
  And you're not going to get the best unless you go to London, New York, and Paris, and shit like that.
• 7:44
  But do you mean like classifiable psychopaths?
• 7:48
  You know, around killing people or do you mean people who are like CEOs of Wall Street companies
• 7:52
  who exhibit tendencies that would be correlated to psychopaths?
• 7:55
  I mean psychopaths at our CEOs of Wall Street.
• 7:57
  Right.
• 7:58
  Like psychopaths that kill people is like not really what psychopaths are.
• 8:01
  I downloaded that book and I haven't read it yet.
• 8:03
  You better tell me.
• 8:04
  You better tell me.
• 8:05
  You better tell me.
• 8:06
  You better tell me.
• 8:07
  You better tell me.
• 8:08
  You better tell me.
• 8:09
  You better tell me.
• 8:10
  You better tell me.
• 8:11
  You better tell me.
• 8:12
  You better tell me.
• 8:13
  You better tell me.
• 8:14
  You better tell me.
• 8:15
  You better tell me.
• 8:16
  You better tell me.
• 8:17
  You better tell me.
• 8:18
  You better tell me.
• 8:19
  You better tell me.
• 8:20
  You better tell me.
• 8:21
  You better tell me.
• 8:22
  You better tell me.
• 8:23
  You better tell me.
• 8:24
  You better tell me.
• 8:25
  You better tell me.
• 8:26
  You better tell me.
• 8:27
  You better tell me.
• 8:28
  You better tell me.
• 8:29
  You better tell me.
• 8:30
  You better tell me.
• 8:31
  You better tell me.
• 8:32
  You better tell me.
• 8:33
  You better tell me.
• 8:34
  You better tell me.
• 8:35
  You better tell me.
• 8:36
  You better tell me.
• 8:37
  You better tell me.
• 8:38
  You better tell me.
• 8:39
  You better tell me.
• 8:40
  You better tell me.
• 8:41
  You better tell me.
• 8:42
  You better tell me.
• 8:43
  You better tell me.
• 8:44
  You better tell me.
• 8:45
  You better tell me.
• 8:46
  You better tell me.
• 8:47
  You better tell me.
• 8:48
  You better tell me.
• 8:49
  You better tell me.
• 8:50
  You better tell me.
• 8:51
  You better tell me.
• 8:52
  You better tell me.
• 8:53
  You better tell me.
• 8:54
  You better tell me.
• 8:55
  You better tell me.
• 8:56
  You better tell me.
• 8:57
  You better tell me.
• 8:58
  You better tell me.
• 8:59
  You better tell me.
• 9:00
  You better tell me.
• 9:01
  You better tell me.
• 9:02
  You better tell me.
• 9:03
  You better tell me.
• 9:04
  You better tell me.
• 9:05
  You better tell me.
• 9:06
  You better tell me.
• 9:07
  You better tell me.
• 9:08
  You better tell me.
• 9:09
  You better tell me.
• 9:10
  You better tell me.
• 9:11
  You better tell me.
• 9:12
  You better tell me.
• 9:13
  You better tell me.
• 9:14
  You better tell me.
• 9:15
  You better tell me.
• 9:16
  You better tell me.
• 9:17
  You better tell me.
• 9:18
  You better tell me.
• 9:19
  You better tell me.
• 9:20
  You better tell me.
• 9:21
  You better tell me.
• 9:22
  You better tell me.
• 9:23
  You better tell me.
• 9:24
  You better tell me.
• 9:25
  You better tell me.
• 9:26
  You better tell me.
• 9:27
  You better tell me.
• 9:28
  You better tell me.
• 9:29
  You better tell me.
• 9:30
  You better tell me.
• 9:31
  You better tell me.
• 9:32
  You better tell me.
• 9:33
  You better tell me.
• 9:34
  You better tell me.
• 9:35
  You better tell me.
• 9:36
  You better tell me.
• 9:37
  You better tell me.
• 9:38
  You better tell me.
• 9:39
  You better tell me.
• 9:40
  You better tell me.
• 9:41
  You better tell me.
• 9:42
  You better tell me.
• 9:43
  You better tell me.
• 9:44
  You better tell me.
• 9:45
  You better tell me.
• 9:46
  You better tell me.
• 9:47
  You better tell me.
• 9:48
  You better tell me.
• 9:49
  You better tell me.
• 9:50
  You better tell me.
• 9:51
  You better tell me.
• 9:52
  You better tell me.
• 9:53
  You better tell me.
• 9:54
  You better tell me.
• 9:55
  You better tell me.
• 9:56
  You better tell me.
• 9:57
  You better tell me.
• 9:58
  You better tell me.
• 9:59
  You better tell me.
• 10:00
  You better tell me.
• 10:01
  You better tell me.
• 10:02
  You better tell me.
• 10:03
  You better tell me.
• 10:04
  You better tell me.
• 10:05
  You better tell me.
• 10:06
  You better tell me.
• 10:07
  You better tell me.
• 10:08
  You better tell me.
• 10:09
  You better tell me.
• 10:10
  You better tell me.
• 10:11
  You better tell me.
• 10:12
  You better tell me.
• 10:13
  You better tell me.
• 10:14
  You better tell me.
• 10:15
  You better tell me.
• 10:16
  You better tell me.
• 10:17
  You better tell me.
• 10:18
  You better tell me.
• 10:19
  You better tell me.
• 10:20
  You better tell me.
• 10:21
  You better tell me.
• 10:22
  You better tell me.
• 10:23
  You better tell me.
• 10:24
  You better tell me.
• 10:25
  You better tell me.
• 10:26
  You better tell me.
• 10:27
  You better tell me.
• 10:28
  You better tell me.
• 10:29
  You better tell me.
• 10:30
  You better tell me.
• 10:31
  You better tell me.
• 10:32
  You better tell me.
• 10:33
  You better tell me.
• 10:34
  You better tell me.
• 10:35
  You better tell me.
• 10:36
  You better tell me.
• 10:37
  You better tell me.
• 10:38
  You better tell me.
• 10:39
  You better tell me.
• 10:40
  You better tell me.
• 10:41
  You better tell me.
• 10:42
  You better tell me.
• 10:43
  You better tell me.
• 10:44
  You better tell me.
• 10:45
  You better tell me.
• 10:46
  You better tell me.
• 10:47
  You better tell me.
• 10:48
  You better tell me.
• 10:49
  You better tell me.
• 10:50
  You better tell me.
• 10:51
  You better tell me.
• 10:52
  You better tell me.
• 10:53
  You better tell me.
• 10:54
  You better tell me.
• 10:55
  You better tell me.
• 10:56
  You better tell me.
• 10:57
  You better tell me.
• 10:58
  You better tell me.
• 10:59
  You better tell me.
• 11:00
  You better tell me.
• 11:01
  You better tell me.
• 11:02
  You better tell me.
• 11:03
  I really was doing it.
• 11:04
  He did it.
• 11:05
  I had him on and Judd Epitow on half-post live when they were promoting train wreck.
• 11:09
  And Judd I was asking Judd Epitow what he was reading.
• 11:13
  I can't remember how books came up and he mentioned John Ronson.
• 11:15
  And and then Bill Hader starts going into this John Ronson in personation of exactly that.
• 11:22
  John Ronson.
• 11:23
  He has the weirdest accent.
• 11:27
  He has the weirdest accent.
• 11:28
  I can't tell if that's John Ronson or if that's like where he's from.
• 11:31
  Like he's incapable of pronouncing R, the letter R.
• 11:35
  Oh really?
• 11:36
  Oh yeah.
• 11:37
  There.
• 11:38
  There.
• 11:39
  There.
• 11:40
  There.
• 11:41
  There.
• 11:42
  Yeah that's him.
• 11:43
  I went to I went wound to see my friend.
• 11:44
  Yeah.
• 11:45
  Yeah.
• 11:46
  He's a delightful guy.
• 11:48
  Don't listen to this.
• 11:49
  Turn this off.
• 11:50
  Not right now if you're listening and still come on the show.
• 11:52
  I'm sure he is.
• 11:53
  There's nothing he hasn't heard.
• 11:54
  No that's right.
• 11:55
  It's a combination obviously of his accent and also his debilitating speech impediment.
• 12:00
  That's what I'm asking.
• 12:01
  Does he have a speech impediment or if he doesn't have a speech impediment?
• 12:04
  Everyone has a speech impediment.
• 12:06
  So I wanted to talk mainly about the creative process and about how you come up with shit.
• 12:12
  Because I know that you just can we talk about the thing that you've just succeeded in doing?
• 12:18
  No.
• 12:19
  Okay so there's let's talk in vague terms about it which is that you've got a project which is in a good positive place
• 12:25
  and it's something that you came up with and have been able to make happen and we'll talk about it when it actually happens.
• 12:30
  But from the beginning to the end of that kind of process, are you able to kind of articulate where an idea comes from?
• 12:37
  How you then get it molded into a shape at which it's presentable to other people and then recruit them into believing in it?
• 12:45
  Yeah I mean I feel like this is tough.
• 12:50
  I'm not prepared to talk about this yet.
• 12:53
  I don't know I feel like there's always a little like 5% of my mental hard drive you know if I'm awake.
• 13:00
  It's just kind of like just at least tuned in to see if things I encounter in my day to day could somehow translate into a story.
• 13:09
  Does that make sense?
• 13:10
  Yeah.
• 13:11
  And that story could either be a sketch, it could be a stand-up thing.
• 13:14
  It could be anything.
• 13:15
  It could be a premise for an improv sketch.
• 13:17
  It's just kind of always like awake and running at the lowest possible capacity.
• 13:21
  Is that the same RAM as the one that's looking to make a joke right at any given moment?
• 13:27
  No that one takes up a lot more space.
• 13:29
  I feel like if you're in a conversation where you feel you need to like be on and be funny.
• 13:33
  Because I feel like that's two ways.
• 13:35
  I have one that's like responding and one that is like shooting down different roads of like could this be funny?
• 13:40
  Is this a funny place to go? Is this a funny place to go?
• 13:42
  It's an annoying, you know sometimes it misfires and I look at it.
• 13:46
  So to all of us who have that brain and where we're just constant like I just kind of a constant little program.
• 13:50
  I don't think it takes up a lot of my brain space.
• 13:52
  But it's always just running back behind my ears of like is there a potential for a joke here?
• 13:57
  Yeah of course.
• 13:58
  I think most people probably have that I think.
• 14:01
  When you're honest it turns on in certain situations and it's I don't think most people do.
• 14:05
  I think most people aren't funny.
• 14:07
  But most people who use around yourself with probably.
• 14:11
  Maybe I don't know.
• 14:13
  But I don't know man it was weird I remember exactly I was like in my bedroom.
• 14:17
  I was I was hooking a cable into the back of my TV and I was thinking I literally I remember thinking like.
• 14:23
  What would be a good idea for a TV show?
• 14:25
  What would be a good idea for a show and I was just thinking what are weird jobs people have?
• 14:29
  And then I just thought of like oh like some people are.
• 14:32
  The show is about drug dealers and I was like some people are drug dealers.
• 14:35
  Like how can you well how can a drug dealer be like accessible to everyone?
• 14:39
  Average person become like a really crazy drug.
• 14:43
  You know breaking bad did it perfectly and all that.
• 14:45
  And then like it just kind of popped in it like.
• 14:48
  I feel really dumb talking about this right now because I.
• 14:51
  Because I can't really talk about the idea.
• 14:53
  So just kind of being vague and masturbatory.
• 14:56
  But basically I don't know it just kind of came.
• 14:59
  I was like plugging my TV in and the idea hasn't really changed since since that moment.
• 15:03
  I called my buddy Mosha and asked if he liked it and he did and he had a similar idea.
• 15:10
  And so we just got together and we're like let's do this together and we just kind of.
• 15:14
  So what's next you up on the laptop and go all right.
• 15:17
  So who's the main character?
• 15:19
  Like where is he?
• 15:20
  Yeah we just got in our room.
• 15:21
  We'd hike and just kind of talk through like well we need this character and then we need this character.
• 15:25
  And then you know you have a good idea when it's easy.
• 15:27
  Those characters kind of just come like your mouth can barely keep up with your brain.
• 15:31
  Right.
• 15:32
  It just flows and then and you know I think after one hike we had all the characters that we still are using.
• 15:38
  And now it's in a good spot and we have it at home and it's.
• 15:42
  It's nice also for it to be in a format.
• 15:45
  It's like to have a structured format that you know has constraints that you need to obey.
• 15:49
  Probably in other words this is going to be a 30 minute television product.
• 15:53
  Right.
• 15:54
  Right.
• 15:55
  And that has certain things that come that has certain baggage that comes with it.
• 15:58
  So you need a certain ensemble.
• 16:00
  Yeah.
• 16:01
  You know roughly how many episodes are going to be commissioned in a in a season.
• 16:05
  Right.
• 16:06
  One of the difficult things for someone who produces television from scratch or who produces anything from scratch
• 16:12
  is figuring out exactly what the format itself is.
• 16:15
  So like I have friends who will be VP's of development at production companies.
• 16:19
  And their job is to and this is something that I'm struck the reason why this is forefront of my mind is because it's something that I'm grappling with as something like my podcast evolves.
• 16:27
  Right.
• 16:28
  What even is it like we spent the whole first season going what is we to people live.
• 16:33
  Like we don't even it's not like I can just say okay here's the lead character.
• 16:37
  Here is the other ensemble characters.
• 16:39
  Here's the B plot and here's the A plot.
• 16:41
  Yeah.
• 16:42
  It's like we have to start from scratch with a completely raised earth and go like okay what is what would this thing be?
• 16:48
  Yeah.
• 16:49
  I'm sorry.
• 16:50
  I'm sorry.
• 16:51
  That's right.
• 16:52
  Yeah.
• 16:54
  I'm sorry.
• 16:55
  So it's interesting.
• 16:56
  The point you're making it's it's interesting because yeah you have no rules.
• 17:01
  There's no shape.
• 17:02
  There's no constraints.
• 17:03
  No limits.
• 17:04
  And I feel like that kind of does a disservice in a weird way.
• 17:07
  Yes.
• 17:08
  Constraints create any blossoms when it's constraints.
• 17:11
  Yes.
• 17:12
  One of the problems with widest kids is that there was just zero rules.
• 17:15
  And especially when we were on IFC there was like no censorship.
• 17:17
  We could do whatever we wanted.
• 17:19
  And there was no there was literally no mandate.
• 17:22
  It didn't it you know it was a sketch comedy show.
• 17:24
  Didn't have to be about anything.
• 17:26
  Didn't have to have any we just all we had to do was fill the time.
• 17:30
  And that kind of at a certain point kind of led to paralysis in a weird way.
• 17:34
  Whereas I feel like I watched these guys writing rap to the show I'm doing right now.
• 17:39
  And just it's got to be about these people on this island.
• 17:42
  They can't leave.
• 17:43
  There's a ton of constraints there.
• 17:45
  And because there's all of these limitations they get to go crazy and kind of buck the rules.
• 17:50
  Like you have to have rules in order to break them.
• 17:53
  And it's so great.
• 17:55
  And I'm finding writing this new show that I'm working on.
• 17:59
  Just a similar kind of join that like okay it has to be about this.
• 18:02
  I have these limitations.
• 18:04
  It has to be about these people.
• 18:05
  It's more of like a math equation that's begging to be solved.
• 18:08
  It lets my mind just go crazy because it can actually feed on something.