LIAM McENEANEY has been performing as a professional standup comedian since the age of 19, when he left school with a college comedy game show tour. Since then, he’s appeared on TV, toured extensively through Europe and across the United States, and produced and starred in a critically-acclaimed standup movie, “Tell Your Friends! The Concert Film!”, which had its world premiere at the 2011 SXSW Film Festival. His first album, “Comedian,” was critically-acclaimed and debuted atop the iTunes and Amazon charts. It has been played everywhere from Sirius/XM’s various comedy channels to the Dr. Demento Radio Show.
WITH SUPPORT ACTS: COLIN JOST is the co-anchor on SNL’s “Weekend Update.” His standup credits include HBO, TBS, and “Late Night with Jimmy Fallon,” and wrote and appeared in the comedy “Staten Island Summer.”
DAVE HILL is a regular contributor to NPR’s “This American Life,” and is the host of “The Goddamn Dave Hill Show” on WFMU. As a comedian, he has toured internationally, and has appeared on HBO and Cinemax. He also wrote the theme for “Last Week Tonight with John Oliver.”
YOUR HOST: ROB PARAVONIAN has appeared on Comedy Central and Vh1 and in the film “Tell Your Friends! The Concert Film!”, and his YouTube video, “Pachelbel Rant,” achieved international fame with over 12 million hits and counting.
I’m recording my next album on January 10th, a Sunday in the year of our Lord 2016, at a live show at The Bell House in Brooklyn. As I am a lucky ol’ fella, my buds Colin Jost, Dave Hill, and Rob Paravonian will be opening for me. It will be recorded for release by Comedy Dynamics, a wonderful record label.
My first album, Comedian, which was released two years ago by ASpecialThing Records, was not only a professional milestone, but a personal one as well. I know that as a young comic in the 2010s, I’m supposed to be all about the TV or Netflix special, but when I was a kid I would go to sleep almost every night listening to the Richard Pryor, or the George Carlin, or even Cosby albums. (I know, I know. I never thought I’d describe the late ‘90s as a “more innocent time,” but there you go.) To me, the comedy album was the real Big Time.
And especially to release an album on AST, the same label as releases the albums by some of my favorite comics, including Paul F. Tompkins, Jen Kirkman, and on and on, was–and still is–a huge thrill.
That being said, putting together a full hour of material is not as easy as just “saying funny stuff into a microphone.” I had a whole philosophy about the material I wanted to present, and it’s a process that a few people have actually asked me about. I always warn folks, “Comedy is way more boring than you’d think.” And then they insist and then I proceed to prove my point because, what the hell, talking about myself is one of my favorite activities after all.
So for your elucidation, and to save myself breath the next time I’m at a party and someone asks, “Oh, what do you do?”, here is a track-by-track breakdown of how I put an hour’s worth of material together for my first album. (You can listen to it for free on Spotify right here.)
POSITIVE AFFIRMATIONS This recording was the first time I’d performed the bit live in probably three or more likely five years. When I actually made the deal with AST Records, I decided I didn’t want this to just be a “Greatest Hits of Liam’s Standup.” I had a specific vision for Comedian, something a little jazzier, a little more mid-early Nighthawks/Blue Valentine/Heartattack + Vine Tom Waits.So I went through my archives and while doing some digging, I remembered my positive affirmations, which I had originally specifically written for an appearance at Eating It at the Ludlow Street rock club Luna Lounge. When I started standup, “alternative comedy” was the hot term for “anything that isn’t recognizable “didja ever notice?” comedy club comedy. The big show in New York City that all the press and industry and in-the-know fans went to was Eating It at Luna Lounge. If you were a newer comedian, the pressure was always on to kill there, and showcase your “range” by not just doing polished comedy material (even though the TV bookers and agents there totally wanted to see nothing but your polished comedy material). So I came up with the affirmations, which was originally three times as long. I workshopped it at an open mic around the corner, called “Faceboyz Open Mic.” It went really well, but there weren’t too many other shows I could really feel comfortable busting it out.
But clearly it was, as Willie Nelson says, always on my mind. I thought it might be good to have Heidi Vanderlee play something meditation-y behind me on the cello. She picked a Bach piece. “Love is beautiful but porn is easy” is always one of my favorite, not jokes, but laughs I get on a joke. When this bit was played on the Dr. Demento Show, it was, to me, like receiving a Nerd Grammy.
LIVING SINGLE This is just a collection of one-liners I like that I was opening my set with at the time. If you can open with a handful of killer one-liners, you can lead an audience down any road you like. While I was definitely ready to retire them by the time I recorded Comedian, I thought it would be nice to get them all in one place. They’re interspersed around Tell Your Friends! The Concert Film! , but I’m proud of having written these jokes. For instance, writing the “Sex/Olympic Athlete” was SO. MUCH. WORK. I have a notebook where I have three pages of bad comedy writing trying to write a very strained and hacky bit about the Olympics and gay dudes, and I plucked this one line that was almost funny, reversed it, made it about me, and it was like a bright light descended from on high while a holy chorus sang and hit the paper.Also, yes, I named this track after the ’90s sitcom.
THE DOUG DATE The problem with this bit has nothing to do with the bit. But it sets up a callback that works very well in a bit I have about karate. When I had my set list that I would work out around town, I decided to do this material in the Doug Date bit early in the set, and then call back to it in the Karate bit towards the end. But the karate bit never ended up on Comedian, which I didn’t even realize until I went over the set list for this blog entry. I’m not sure if I did the bit in the live show, and just didn’t end up cutting it for time (unlikely) or just plain forgot to do the bit both nights we recorded (far more likely). In any case, I’ll put it in the set list for my second album, which means I can use it to close all these shows I’m doing to warm up for this album recording show, but man, I’m flummoxed I didn’t put that there.
EVERYTHING I KNOW ABOUT WOMEN
I thought it would be funny to have a track titled “Everything I Know About Women” and make it as brief as possible. My original thought was to make it a blank 30 seconds, but I quickly came to my senses and instead I put the title on a track under four minutes. It’s tough to do material about relationships, because it’s a meal picked over by many comedians before you, so whenever you get a new take, or a new way of delivering an observation, it’s very exciting. Framing the way women talk about men as a witch’s coven isn’t the most flattering way, but it was fairly original and people seemed to dig it. I’m actually pretty proud of the way it came out.
THE BALLAD OF JOHN AND RACHEL Rachel is the name of my ex, and John is her new boyfriend of many years, who is a very very cool guy, and they are not the couple in this bit. Seriously. I just liked the way their names flowed together. I like to write bits with crazy structure; beginning, middle, end, callback. I consider it to be like architecting a building. Some dudes are Brutalists, and just want to do the job no matter how ugly. Some dudes are Functionalists, and they want their jokes to do the job with nothing fancy. I like to try for a Frank Lloyd Wright; even if not every part of it is functional, it’s still interesting to look at.The bit (and the whole set of dating jokes in general) ends at almost exactly a third of the way through the album. I like to start a set with relationship material because it’s something that literally everybody on earth can relate to, and once the audience is with you, knows who you are, and trusts that you can make them laugh, it’s a lot easier to do the esoteric, weird, and fun stuff that I enjoy doing. I’m not putting my dating bits down when I say this. JOHN & RACHEL is one of my favorite bits on this album, and the fact that I made it work in time to record it made it feel like I had just pulled off a magic trick that involves spinning plates while balancing cups and saucers on my chin while yanking a tablecloth out from under a place setting.
It’s just that I’m a bit of a risk-taker, and it interests me more to figure out how to make, say, my love of Irish folk music relatable to a wider audience. But the dating stuff is my price of admission into the audience’s good graces.
THE McENEANEY FAMILY HOSTAGE SITUATION I got the title from a joke I thought of immediately after the second show was over and was mad at myself for not making in the moment. I couldn’t even tell you what it is anymore. In any case, this was strictly there because I liked the bit, and it represented what was a turning point in my comedy for me, and I thought it might be nice to make it the turning point into the rest of the album. I wrote it when I worked at a market research firm, making minimum wage making survey calls to strangers. It was a truly miserable time in my life, and it was, after reading a biography of Woody Allen, when I realized that if I wanted to actually be the comedian I always believed myself to be in my heart, and not just a guy who’d done Premium Blend once and disappeared, I was going to have to make an honest to God job of work out of this thing.I was reading a great piece about greeting cards in the New Yorker at work, and realized a bit about Hallmark Cards would be relatively unique. My friend Veronica Mosey heard me do it at the Irish Arts Center and fixed it for me afterwards (by suggesting I put my cuh-razy greeting cards in contrast by giving an example of a regular card first). This was the point in my life, and my career, when I went from being a guy who could do well through sheer tyranny of will into a comedian who was able to write actual bits from my point of view without any reliance on shock value. So while it’s not a groundbreaking piece of standup, per se, it was a turning point for me as a comedian. And also for this album in a bit more literal sense.
MY HACK PAGES Another concrete pillar bit that I knew would hold up a section of my set; it was part of my standard set whenever I was getting paid for performing. It’s definitely one of the oldest bits on this album, and it is a young man’s joke. But I’m glad I could stick it in there, and it helps bridge into some more autobiographical material.
MEOW MEOW MEOW Ah, everybody’s favorite bit, and another one I was writing all the way down to the wire. It started with a couple of different things; I had a half a joke about my parents’ cats and I fighting for space in their will. It was an amusing idea with a line I liked, but had no real weight to it. I was also hanging with my dope-as-fuck friend Dr. Leona Godin a lot, and whenever our conversation would hit a lull, I’d go “meow meow meow” like Henrietta Pussycat from Mr. Roger’s Neighborhood. It really is, no joke, the funnest thing you can randomly say out loud. Try it some time!But it wasn’t fully complete as a joke, and I was doing it onstage at these weird little shows in New York, and I just improvised the idea of throwing it into uncomfortable situations, like a Jesus guy approaching you on the street, but I couldn’t quite get into it. Then I hung out with parents the week before recording, and, as you hear on the track, my mom said something she didn’t realize was hilarious and weird, and I decided it would be a good way to get into the joke. I recorded the show over two nights at Union Hall, in Brooklyn, and the joke worked great except for the bit about sassing a religious guy. It just was a little too on-the-nose. While walking around Park Slope the second morning, I started thinking about a shitty encounter I’d had with one of those “Do you have a moment for the environment” guys. It occurred to me that was the perfect time to have actually said “Meow meow meow,” and I realized I’d just finished the joke. So what you hear on the album is the first time I ever performed the whole joke correctly, which isn’t bad considering that that morning I’d decided it wasn’t worth trying to salvage.
One final note: It’s funny to me to realize that the newest bit on the album was sandwiched by the oldest.
DROP OUT! This is also material from when I was young. I always liked these bits, and that’s pretty much it, except, the only reason it’s its own separate track is because Tom Waits has a ton of songs that have their own little funny musical intros on Nighthawks at the Diner and I wanted to do that, too. I promise I’m not as pretentious in person as I am when I discover my thought processes.
THE TRUE STORY OF FAST EDDIE (THE BANK ROBBER) I wrote this entire seven minute set, beginning to end, literally over the course of my entire career. The beginning bit, about Hector the ice cream truck driver, was a true story that I tried for the first time my second or third time onstage. The rest of it was written and perfected within nine months of recording. People always ask if these stories are true, and they aren’t always, but this one is, more or less. I changed a lot of stuff around, I asked permission of one guy to joke about him, and I condensed a lot of stuff to remove the parts that were sad or unfunny or just plain not believable as biography.By the way, the use of parentheses in the title is strictly because shitty pretentious bands did that a lot on their albums when I was a kid, as a way of showing that they were serious artists, and I never stopped finding it funny.
LIAM vs. THE AUDIENCE 1: “MY FIRST TIME” Christine is a very nice woman I’d met in the East Village art open mic scene. She is a lovely young lady who really had never been to a standup show before. As soon as she spoke up, I got really excited because I knew that whatever was about to happen was going to go onto the album. My original plan had been to record an hour of material and cut it down to the best forty-five minutes.All my favorite comedy albums when I was young had been, on average, no more than forty minutes, and I really believe that there’s a reason they’re considered unimpeachable classics. But of course, the best-laid plans, so the album includes 15 minutes of audience participation. The label wanted to edit a point halfway through where I declare my intention to be mean, which was entirely meant to stop me from sounding like an utter dick, but I thought that would be completely unfair.
NEW YORK STORIES My goal for this album was to do longer bits. I really tried to stretch these out to ten minutes, but the most important part of writing is editing, and it’s better to just cut four minutes than make an artistic point. I’d originally conceived the middle third of this album as almost a “suite” of longer bits that thematically flowed from one to the next. Of course, that went out the window with the previous track, which is fine. By the way, this is named after the Coppola/Scorcese/Woody Allen film about life in NYC. I genuinely put that much thought into each and every detail on this album.
NEW YORK I LOVE YOU BUT YOU’RE BRINGING ME DOWN Just like Track 8, this was a bit I was bombing with all over town, trying to write it into decent shape. It just never shaped up the way I’d hoped, and my plan was to leave it out and rewrite it into a better bit. But Ryan at the label liked it a lot, and he convinced me to let him edit it. I don’t think it ruins the album by any stretch, and he was so passionately behind this track I genuinely didn’t have the heart to cut it.
AN EVENING WASTED WITH LIAM McENEANEY First of all, this was my original title for this album. It’s a total rip of Tom Lehrer’s An Evening Wasted With… album, and when I decided to go with a complete throwback jazz theme to Comedian, I realized the title didn’t fit anymore. I did keep it for the bit, though, as a tribute to one of my favorite comedians.This is the bit that people always ask me if it’s true. Yes and no. The basic facts of the story are true. But structurally, the joke is a bit of a Frankenstein’s monster. I originally had a joke about taking my first AIDS test, with the idea that the wait for your results is way more frightening than any scary movie you could watch. A funny idea, but it would require more and I didn’t want to be the guy with a killer five about AIDS. So I put it in the vault and forgot a out it and about five years later, I was watching a comedian on TV talk about asking a woman if she was pregnant. That’s happened to a lot of people, and it’s a super hacky used premise. But it had, as I say, actually happened, and so the challenge for myself was to figure out a way to take a hacky premise and make it fresh and personal. As I was trying to find my way into the subject, I remembered the AIDS test joke, and reappropriated it for this bit. It was one of those bits, just the first time I ever tried it at my Tell Your Friends! show, I knew I’d made the right move.
LIAM vs. THE AUDIENCE 2: “SHANNON’S BETTER” I went back and forth on this one. On the one hand, I didn’t want this to be a crowd work album, and I definitely didn’t want to encourage people to talk to me during a future show. On the other hand, this woman automatically arguing that a lesser-known Irish airport was “better” was about the most Park Slope thing I could imagine.
DUBLIN AIRPORT AND IRISH RAIL I’d talked about my dad’s family being Irish Catholic earlier in the show. There was actually a lot more stuff about religion, but it was material that, when I started performing it, got very strong laughs, and then kind of just started getting less and less as the years went by. I’d hoped that a friendly album taping crowd would mean I could get it on tape one time. But as Ryan at AST Records pointed out, we had a LOT of material and we had the luxury of cutting anything that came off as weak, so at least you know that every laugh you hear on this is earned. Other than that, these are both true stories, and the people who’ve liked them the best have been Irish people from Ireland.
HOW TO WRITE A TRADITIONAL IRISH FOLK TUNE My next album isn’t going to be as custom built; it’s going to involve less storytelling, and is going to have a very different structure. But as you may have noticed, there are a lot of musical references in the track titles, and I wanted to bookend the show with a second musical number to provide a big finish and bring the whole thing full circle. I wrote this as a silly blog entry 15 years ago, and my mom bugged me and bugged me to perform it as a live bit. She was right.
That’s it. I kind of can’t believe you made it all the way through, but thanks for doing so. And if you’re intrigued, please feel free to let people know and buy a copy why not, I’ll autograph it for you at the next show.
I stood on the stage at The Bell House, a rock club in Gowanus Brooklyn, and said, “Thank you everybody, for coming out to our movie!”
Earlier that year, I had invited Victor Varnado out to lunch with a proposal: I had an idea. I wanted to take what he had done with The Awkward Comedy Show, what others had done with The Original Kings of Comedy, The Original Queens of Comedy, and so on, and make it bigger. Better. Less like another TV special, and more like an event. remember: I was grandiose, I was insane, and i was correct.
I wanted to do a concert film in the style of Woodstock, in the style of The Last Waltz. Epic, era-defining rock concerts, that didn’t just capture a show, but an entire generation in transition. And so I didn’t just want cameras pointed at a stage. I didn’t want swooping crane shots, as you see in many specials, and I didn’t want cuts to random audience members. I wanted to stage the kind of show I’d staged with TYF! over the last few years, with some of the biggest rising comics, and I wanted interviews with comedians who had come out of this “alternative comedy” scene and made it big, to talk about how these little shows had become so big.
But I really was adamant about the idea that it would be a rock concert-style film, with split screens, with cool lighting, with a you-are-there-on-stage-with-us feel. To his credit, Victor “got it” right away, and said that if I got the money together, he was fully onboard. In the meantime, I had two things I had to do: I had to write a prospectus for potential investors, because I certainly was not, and am not, independently wealthy, and we needed money to make this happen.
And the other thing I had to do was talk to my man Steve Rosenthal. Steve is an editor, a former comedian, a filmmaker. truly a genius, and an old friend. It was him who had pointed out to me at a Super Bowl party one year that most comedy specials that have swooping crane shots look cheesy, and that cutting to laughing audience members is a cheap way to edit, and that in fact even if you are genuinely cutting to a reaction shot it makes you look cheap, like you’re taking the easy way out. He had edited the Awkward Comedy Show for Victor, and I wanted him to do as good a job for me. So I took him out for a couple of after-work drinks, and explained my vision to him. To his credit, he got it as well, and we talked for a while about what could realistically work and what couldn’t. He and Victor were both skeptical about the idea of using split-screen effects for a comedy show, but I knew the kind of film I was going to stage would not just be dudes standing behind a mic telling jokes. Because the lineup I wanted to put together was going to be as diverse and interesting and daring as the shows I’d been producing, and watching, in New York City.
ASSEMBLING THE A-TEAM
The first thing you have to remember is that I was so impressed by, and truth be told, a bit jealous of the previous “collection of great comics” albums, Invite Them Up, Comedy Death Ray, and The Awkward Comedy Show, that I didn’t want anyone to ever confuse my project with theirs, and I didn’t want to make it look like I was in competition with any of these things. So my rule was simple: If anyone had been involved with one of these shows, they wouldn’t be doing standup in mine. And not because I thought they were bad, or because I was competitive; I wanted to have a very, very clear distinction, at the end of the day, between mine and theirs. All of theirs. In hindsight, this meant that i was cutting myself off from booking people I really liked a lot; in a perfect world, Hannibal Buress would have been in the movie. I was a huge fan of his. He had performed in Chicago with my friend Prescott Tolk, and he was one of those people who, when he was making the movie to New York, Prescott told me I should book and look out for. I’ve been a fan of Hannibal’s for a very long time.
But the lineup I put together was, and still is, for me, everything I could have hoped for. It was exactly what I wanted. Sitting with Victor at an outdoor cafe, after my conversation with Rosenthal, I called Reggie Watts to ask if he would headline this project. I had gone to see him a year or two before, at the small space below Webster Hall, doing an hour. I sat on the floor up front and watched him, stage lights streaming down through his afro, and realized he would some day be huge, and that someone should make a concert film with him.
I got a text back from Reggie immediately, explaining that he was on a train in France, and couldn’t answer his phone. I asked him, if I could get the budget together, would he headline my movie? I’d been booking Reggie for a few years in my crappy basement show, and he said yes of course. Everybody I reached out to that week said yes, and I think it’s because it sounded like the absolutely craziest, most quixotic undertaking possible. Getting together the budget for an indie film based on a show in a bar basement is, still, even after all is said and done, the dumbest thing anyone could ever want to pour money into. And my friends, being my friends, said yes, of course, if I could get the money together they would be in my concert film. And if the sun shone out of my ass they’d be happy to ride a unicorn over a rainbow, because why not?
SO THEN AN INVESTOR SAID YES
And things got more intense. Because I then had to confirm everybody who had said yes. And I’m going to give everybody involved credit here; they all were as good as their word. The funding came together quickly, really quickly. In fact, I was writing a submission packet for a TV show the entire week I was negotiating with my investor and everybody’s reps. I am very grateful, because not only did they all agree to do it, but they agreed to film with a little over a month’s notice, which meant that every single act went into that show at The Bell House without a contract. Which means that, if someone’s rep was particularly bloodthirsty, they could have held me up for more money, or for crazy contract demands. Instead,the only concern anyone’s lawyers or managers had was that I treated their clients completely equally. That I had no problem with; if there’s one thing my career has shown, it’s that I’m not the person who screws others over for career or financial gain.
Not that the production was smooth sailing, by any stretch of the imagination. There was one day when everybody on the show would be available for filming, which was June 22nd. That day, Reggie would only be available for the late show, as he was going to lead a yoga session in front of 1,000 people in Central Park that afternoon, and then was going to headline a fundraiser for his friend’s theater troupe before getting into a car and headlining the TYF! filming. (The day after his manager had given the go-ahead to have Reggie as part of the show, the New York Times ran a full-page article about him. In the three months since i’d first approached him about the film, he had become huge.)
There was a lot of scheduling craziness going on (Kurt was moving into a new apartment the night we filmed, so he arrived the the Bell House with all of his stuff in suitcases). And while all of this was going on, I had to keep going out nights to keep my act sharp. I was truly worn out by the time we reached the Bell House, which we rented for free, by the way, after I struck a deal with the booker Heather Dunsmoor, that allowed us to use their space in return for charging a five-dollar cover that the venue could keep.
In fact, we taped two shows that night, and I completely bombed the first show. I was doing a set that I’d worked out at all the shows I was doing, and of course, when you do material that people who come to see you see at show after show, it’s not going to go well. I was panicked backstage between shows, and I quickly made a mental inventory of other material I had that had ever done well in the past. If you watch the movie, and I hope you do, the “Ten Whiskeys” bit did extremely well, but I was desperately trying to remember how it went as I was going along! Anything you see me do in that film comes from that second show.
We interviewed over two dozen people, in addition to the principal cast, for the documentary aspect of the TYF! movie. In addition to all the people you see in the film, we talked to Morgan Murphy (in the back of the Purple Pianos Studio, our friend Sven’s rehearsal space in the back of his junk shop attached to his moving company in Williamsburg) We talked to then comedy-blogger now owner of the hottest club in NYC The Stand, Patrick Milligan. We shot him in the old Mars Bar, a beloved East Village dive bar. Most of the space we filmed in were more than happy to have us, but to get it, we had to send our Production Assistant, an attractive young woman, to talk to the owner, an old neighborhood guy who sat out in front of the bar every day in a lawn chair watching the world go by. When we went to LA (more on that in a second), we talked to one of my absolute favorite people to come out of the UCB comedy scene, Seth Morris, on the roof of the Gary Sanchez Productions office, where he then worked.
We flew out to Los Angeles, as I said, because there were a few people I felt we could not honestly make an accurate movie about the New York City “alt. comedy” scene. One was Jeff Singer, the former producer/booker for the original New York City big deal bar show, Eating It (his partner, Naomi Steinberg was, sadly, not available). Another was Marc Maron, who is now a huge star in the standup world, but at that time had just released the Robin Williams episode of WTF that would put him, permanently, on the map. But at the time, he was still a comedian who, to me, represented the best of the New york “alt. comedy” scene of the ’90s, when it was still a dangerous, exciting, rock n’ roll scene.
And while we were there, we wanted to talk to Seth, to Kumail Nanjiani. Unfortunately, Pepitone was away in Florida filming a movie, and Baron Vaughn (the original permanent host of TYF! until he got too successful) was in Toronto shooting a TV show. But for the most part, we were able to get everybody we wanted. In fact, we were so successful at getting people to talk to us, for the most part, that Victor had to finally put his foot down and refuse to film any more interviews.
I had one of those perfect LA moments, after just landing at LAX, with our Production Manager, Myka Fox (herself a very funny comedian and writer), at whatever budget car rental place we’d picked. While filling out forms, the woman behind the counter, an older, very tanned woman with a thick Israeli accent, asked what we were doing in town. And me, being very proud of the fact that I’d actually pulled this off, made the mistake of saying, “Oh, we’re here filming a movie.”
The woman then grilled me about where I got the budget for it, and explained that she was trying to put together her own action movie, the plot of which she then outlined in detail, which involved ninjas traveling in time from ancient China to present day, and she could get Tom Cruise but CAA wanted a guaranteed budge of $60 million before he would attach his name, and I realized oh yeah, everybody in this town is show business and nobody gives a fuck. Here was a woman, helping me find the cheapest option for renting a car before driving out to the fleabag motel in LA where we were staying (on the Sunset Strip, now torn down for a boutique hotel), who thought I could conjure tens of millions to make her dreams come true.
That didn’t stop me, a couple days later, from having a moment, sitting in the passenger side of the car, riding down Hollywood Boulevard on our way to interview Seth, where I realized, “Here I am, on my way down Hollywood, to film my own movie that i star in that’s actually happening.” It was a great moment.
And then we were done shooting. It was then up to me to get out of the way and allow Victor and Steve to do what they did best, and what I didn’t do at all… edit together a movie.
WATCH TELL YOUR FRIENDS! THE CONCERT FILM! ON HULU: