Amy Miller [Interview]

I’m just going to be straight with you all right off the bat: today we are featuring my absolute favorite comedian working today. You know that feeling when you just absolutely KNOW in your heart of hearts that somebody is a genuinely nice person, yet you have never met them? When I think about a feeling like this, I instantly think of the great Amy Miller. I’ve never actually met this amazingly talented woman. Hell, I haven’t even watched her perform live. But, I have spent hours upon hours just listening to her be her best hilarious self.

Now, I know that might sound a bit stalker like, so let me explain. I have managed to find Amy Miller in several variations of podcasts that I have been always enjoyed. I first found out about Amy the same way I have discovered several other hilarious folks who have appeared on this site. From a little show called Doug Loves Movies. I always knew that when I saw her name on the episode title, it was going to be a fun one. I felt the same way about a guy named Sean Jordan. And as it turns out, Sean and Amy had a connection to not only each other, but to the city in which I (sort of) hail from, the great Portland, Oregon. And this led to me hearing Amy appearing several times on All Fantasy Everything, which Sean Jordan is a co-host on, which would lead me to be a huge fan of her own podcast, Who’s Your God. Basically, I just want Amy to know that she is KILLING IT in the podcast game, and it is working for her, and she should do even more. But, that is just me being selfish.

Alright, that is enough rambling from me. I’ll just reiterate that Amy Miller is my absolute favorite comedian working today. She is a hilarious person who inspires me personally with her drive and determination to succeed in a business/world that can sometimes get you down simply because you weren’t born with a useless flesh stick. It’s because of people like Amy that I am determined to make sure that my daughter’s know that they can be whatever the hell they want to be in life. And for that, I have to say, thank you Amy!

So ladies and gentlemen, please enjoy some amazing words from the brilliant Amy Miller!

What inspired you to jump into the insane world of stand up comedy? When did you realize that you were a hilarious and you could use that to make a living?

I sort of had a life crisis and was depressed but also needed a shake up and to conquer my extreme social anxiety and fear of public speaking. So I just dove in like a lunatic. Im still not sure I can make a living from it, but nevertheless, I persist!

You have been appearing consistently across the country, performing just about everywhere. So what are some cities that you love, that many people may not realize is actually a pretty great spot for comedy?

I love the crowds in Portland. They’re super supportive and ready for comedy, and Portland is much more varied than people realize, especially if you go out to Beaverton or Tigard or Gresham. While the town itself is VERY white, they’re not all bicycle riding flute player baristas or whatever the cliche is. Portland proper is surrounded by working class towns and people who wear Ed Hardy and voted for Trump. I do well with white trash crowds because it’s what I know and what I am. Not the voting for Trump part obviously. I also love working in Denver, Minneapolis, and Oakland where I started. The longest set I ever did was in Birmingham, Alabama. I loved that crowd but they really should have made me stop talking.

After a solid 3 years of working your way to becoming one of the biggest acts of the fair city of Portland, and rightfully moving on to bigger things, what is it like to go back? Does the reception from audiences feel the same now that you aren’t a physical residing in there?

When Sean Jordan and I moved out of Portland, 600 people came to our going away show. We sold out a theater. Portland’s support has never made much sense based on how much shit I talk about the place. But it’s real and it’s followed us to our podcasts, shows in other towns, TV appearances, etc. Portlanders like to see a local girl make good and they stay loyal. Im very grateful for it. Even tho Portland sucks and Im not from there. Heh.

And for the question I hate that I have to ask, but I feel it needs to be addressed whenever possible: What are some of the worst challenges you face as a woman in the world of stand up? In your experience, does it seem as though we are getting any closer to any resemblance of equality in the world of comedy?

Uhhh. I mean. The challenges I’ve faced as a woman in comedy haven’t been much different than what I faced working in music or tech, or any workplace I’ve ever had, from non-profit work to a cake shop. Misogyny and discrimination are everywhere and only amplified in comedy or other areas of entertainment because people/ comedy fans feel like they know comedians, they KNOW actors, because we lead semi-public lives. In some ways it’s an advantage for ME that people are talking about harassment in entertainment so much right now but it doesn’t address the fact that it’s rampant everywhere. Like nobody is writing think-pieces about the harassment my sisters have to deal with in their regular jobs. I think there’s more work for me than there may have been 10 years ago because a lot of the old farts who don’t REALLY care about diversity in booking or having a woman’s perspective are starting to finally just do it out of obligation, so that’s nice. But the day to day bullshit Im putting up with is still mostly the same and much of it perpetrated by my very liberal/ wanna-be feminist male coworkers. They still interrupt me, alienate me, mostly only help each other, tell shitty jokes about women, and talk about women in gross ways. But what am I gonna do, stop? (Editor’s Note: NO! DEFINITELY DON”T STOP!!!)

We have spoken with quite a few folks who also appear on Doug Loves Movies quite often. And this is actually where I heard you for the first time. With that, I am always intrigued to ask what it is like to do this show? Is it as much fun to do as it is to listen to?

It’s super fun! Yes. However I’ve always been sort of a teacher’s pet so while I am having a lot of fun Im also always worried about breaking Doug’s rules or structure. For the poster boy for weed, he’s much more regimented than I think people realize. This has become a bit now, where I just say “sorry, Doug” to him a lot when I think I’ve fucked up. But I love the people he picks to do the show, and many of them are my good friends, and it is a fun and silly time. It’s also a place where I never have to talk about or joke about politics or rape. So that is nice.

You also happen to have a new(ish) podcast entitled Who’s Your God? which is fantastic and very funny. But, it also gets very deep. So what inspired you to start to do this show? And how has the experience been for you? What has been your favorite part of creating WYG thus far?

I grew up very religious, as did my two co-hosts, and religion and beliefs aren’t things comics spend a ton of time talking about, either professionally or in casual conversation. Partially because any comic who DOES have religious or spiritual beliefs is often mocked by peers. So we wanted to create a space where people could really examine their universal VALUES. Comedy as a job can be so all-consuming that I think it’s hard to sometimes even take time out and think about the big BIG picture. Not like, “I want a TV show one day” but “why do we all exist.” My favorite part has been people feeling comfortable enough to open up about their own existence while we all navigate a job based on surface, survival, outward appearances, and narcissism. It’s big stuff!

If you were given the chance, after vomiting out all the nerves, to have a nice dinner with the amazing Dolly Parton, who I hear you adore quite a bit, what would be some conversation starters you would begin with? How do you think that dinner would go?

Dolly is extremely charming and we both have excellent social skills so I don’t think it would be that weird. I think it would feel normal. She is a very calming presence. I think the dinner would go like many other dinners with a friendly person would go – maybe we would talk about big stuff but maybe I would just ask for her biscuit recipe.

What does 2018 hold for you? Anything cool coming up that our reader’s should know about?

I wish I knew! Let’s hope this vision board works.

What was the last thing that made you smile?

A friend just told me that after she farted in front of her boyfriend for the first time, she said “I guess Time really IS up.” Im still laughing about it.

Find out more about Amy Miller and when she may be in a city near you at amymillercomedy.com.  And if you reside in the L.A. area, make sure you make your way to her show Two Doors Down on January 22nd to catch her, another co-host of the aforementioned Who’s Your God Steve Hernandez, and several other hilarious folks!

Lachlan Patterson [Interview]

We have another amazing comedian to showcase today for you fine folks! Lachlan Patterson is, amongst many other and far more important things, the first stand up comic I ever saw in an actual comedy club. And actually, the only comedy club I have ever been to. It was at the Funny Bone in St. Louis where I saw this hilarious man, and it was quite a different experience from other chances I have gotten to see live comedy (Theatres, USO shows, etc.). And I simply can not think of a better comic to see to bust my comedy club cherry, so to speak.

Again, I simply can not say enough great things about this man, and chances are that if you are just checking in here, it is because you already know this to be true. So with that, please enjoy some amazing words from the brilliant and hilarious comedian, Mr. Lachlan Patterson!

When did you first realize that you were born a hilarious human being, and you had an obligation to stand on stage and make people laugh as a way to make a living?

When I was about 12 I was eating raisins at my buddy Andrew’s house. While we were eating the raisins I told him a story about how my Aunt had to go to the emergency room when she was a kid for getting raisins stuck up her nose. A little while later he was talking to his friend on the phone in front of me and I was bored so I put two of the raisins on the ends my nostrils. When he saw me do it he began laughing which caused me to also laugh which sent the raisins up into my nose. His laughter became so uncontrollable that he began to piss pants. Luckily I coughed the raisins out. I’ve been hooked on making people laugh ever since.

I am always curious about comedy scenes in different parts of the world. I understand you worked pretty heavily out in the lovely city of Vancouver, Canada. Can you tell us a bit about what it was like working out of this city? What is the comedy scene like in such a place?

Vancouver has a fantastic comedy scene. On any given night you can get up in front of a great audience somewhere in the City. The Comedians are some of the best I’ve ever seen anywhere. I really miss those days.

In your lengthy experience as a stand up comedian, what have been some of the more delightful cities you have worked on that are not L.A. or NYC? What are some of the hidden gems that many people may not realize are amazing places for comedy?

Man, thats a tough one because there are so many little cities all throughout the US that I love. Pretty much anywhere on the Pacific Northwest is fantastic but maybe I’m biased because I’m from there. I go to Fairbanks, Alaska every year and always have a blast. Salt Lake City is beautiful. Boston, Denver, San Francisco of course.

While I am definitely no expert, really just a fan, in the world of stand up comedy, I find the idea of tournaments or contests in the world of comedy to be a bit strange and inaccurate at times. For example, I enjoyed hearing jokes on a show like Last Comic Standing, because there were great folks like yourself on the program doing great stuff. But, I never understood how you all could be judged against one another. Am I completely out of line in this train of thought? Do you have an opinion you would be willing to share with us about LCS, or the “judging” of comedy in any type of setting?

It’s hard to judge stand up comedy because we all laugh at different things. Some people like a well crafted spin on some simple observation while others can laugh at how funny someones voice is. I love it. How does your perspective of performing change based on the audience type and size at any given show.

For example, I saw you perform on a Thursday night, on Cinco De Mayo, at a mall on the outskirts of St. Louis about a year and half ago. The crowd was pretty sparse, although I’m sure it grew over the weekend, and I’ve watched clips of you performing to thousands. So how do the different atmospheres effect what you do?

When the audience is small or perhaps, not really energized I know that I have to work a little harder to make the connection and give them a great show.

What sort of adjustments do you feel you need to make?

I have to be much more present and make sure that each and every person in the room is with me.

What does the future hold for you? Creating new and funnier content for everyone. Anything you would like to plug to our readers?

I’ve been having a lot of fun with my Instagram lately. They can check me out @lachjaw .

What was the last thing that made you smile?

A warm cup of coffee. Thank you! Thank you!

Check out Lachlan’s latest special, Live From Venice Beach, available on iTunes!

Brian O’Halloran [Interview]

Today we are featuring a guy that I have wanted to have on Trainwreck’d Society since day one. In fact, if I had physically written down my bucket list of people to have on the site, Brian O’Halloran would have been right there at the top. This cat was the lead role in what is one of the greatest films of all. A film that redefined what we saw as creative cinema during the boom of independent film releases in the 90’s. And not only am I crazy excited to have Brian on the site today, I am also excited to tie his appearance into the fact that I am helping to showcase the ultimate ode to Clerks, the amazing indie gem of a film that is Shooting Clerks, which has embodied TWS for a while now.

I seriously can not express how excited I am to have O’Halloran with us here today. He is an incredible actor, who has some amazing insight into the world of acting. He has been a staple of existence in my life since I was a young child. His role as Dante Hicks may not define his existence as a human being or as an actor, but it is a role that I’m sure he is very grateful to always have in his proverbial back pocket, should the need for it ever arise.

With that, don’t forget, that if you currently reside on my side of pond here, the London premiere of the film is coming this Tuesday, January 16th! Tickets for the event can be found via The Prince Charles Cinema, and be sure to check out the Q&A that will follow.

Now ladies and gentlemen, please enjoy some great words from the legend himself, Mr. Brian O’Halloran!

While the whole world knows how you broke out into the world of film, I am more curious about what lead you into the world of acting to begin with? When did you decide that you wanted to play pretend for a living?

Well Ron, I always was a child (youngest of 3 boys in an Irish Catholic family) who was “acting up”.  I would be part of school plays and participate in chorus. But also when I was a teen and played “role playing games” i.e. Dungeons and Dragons, Villains and Vigilantes, and many other table top games I always wanted to escape into other characters. So I guess it was not a far leap to get into the acting profession.

What was it like revisiting the world of Clerks so many years later during your appearance in Christopher Downie’s excellent biopic, Shooting Clerks?

It was a bit odd to see someone portray myself “Brian O’Halloran” on screen. It’s weird to see a film depicting something you did nearly 25 years ago. Never in a million years would I have guessed that someone, let alone a whole crew of people, from SCOTLAND would make a bio-pic of a group of gen X er’s making a really indie film.

Did you happen to work with Kit Alexander on how to play both the character of Dante, and the real like Brian O’Holloran from 20 something years ago?


As of this day, I still haven’t talked to Kit. Not by choice, I just wasn’t contacted by him. But I thought his portrayal was spot on. I actually had friends watch the film and whom have known me for years think that the footage of Kit, especially the audition footage, think it was actually me. So that should be a huge compliment.

And in the end, after seeing the final product, what are your thoughts on Shooting Clerks? Should viewers expect a very realistic interpretation of the events that unfolded so many years ago?


I have seen the film about 10 time in different edits. And knowing the actual story of what happened in ’93-’94 I’m really proud of what Chris and everyone who took part in making the film. The story is about 85% accurate with 15% creative licence.

I’ve been following you around in the social media world for quite some time, and it seems like you are a mission to hit every single Con imaginable! It seems like you are constantly jet-setting to a new town to greet even more adoring fans. So how is the Con experience for you? What do you enjoy most about this type of setting?

I really enjoy visiting new cities and enjoying the sights. I also enjoy meeting the other guests who attend the cons. Plus I enjoy meeting the fans and hearing what they enjoy about the films.

I managed to catch an amazing appearance from you this year in the film Bad Frank. That was a hell of a role, and lets just say that you kind of got your ass kicked! How was your experience working on this insane movie, especially during said ass kicking scene?


Yeah, I was contacted by a mutual actor friend about that film and I thought the script was really intense. I wanted to try playing a role in serious drama and it was a role far from what I’m known for. I really enjoyed being on set and I thought the cast and director did a fantastic job with the film.

I know that the Jay and Silent Bob Reboot project is pretty fresh at this point, so I know you aren’t able to give us much insight. But, I am curious about what you are most excited about in entering that world once again?

Visiting the “View Askew Universe” is always a fun ride. I will work on anything Kevin wants me to be a part of, especially “View Askew” related. I just enjoy those characters.

What else does the future hold for you? Anything you would like to plug to our readers?

The best way to find out what I’m up to is to follow me on Twitter @BrianCOHalloran or Instagram @BrianCOHalloran or Facebook @TheBrianCOHalloran. By next year my Podcast should be out Twitter @TheOHalloRANT ; Instagram @TheOHalloRANT; Facebook @TheOHalloRANT

What was the last thing that made you smile?

Well Ron, I just moved into a new home. So when I finally got to sit in front of the fireplace with my lovely girlfriend on Christmas Eve with it snowing outside I thought “Man, this is beautiful”.

Chris Bain [Interview]

Hello Dear Readers! We are about to kick an amazing Shooting Clerks related weekend that you are all going to love! And we are kicking things off in a major way with one of the major players from the film itself, the great Chris Bain!

Chris Bain is a brilliant actor who recently took on the task of playing the legendary Jason Mewes in Shooting Clerks, a film we have been fanboying over here at TWS for quite some time now. And when I was given the chance to talk with one of the film’s prominent cast members, I simply had to jump at the opportunity! And just as I expected, he is a hell of a nice guy who gives some amazing insight into not just his work on Shooting Clerks, but on how he found his way into the world of acting has continued to thrive within the profession.

The man has a whole lot to say, so how about we just jump right into it? Ladies and gentlemen, the wonderful Chris Bain!

When did you first discover your passion for acting and the world of film and television as a whole? When did you realize you wanted to make a living in this world?

I’ve always been a film buff. From an early age my dad instilled that in me,  letting me watch films like Indiana Jones and Highlander really whetted my appetite for visual storytelling. Even now, at thirty years old, I still view going to the cinema as an experience and associate it as a bit of an adventure. I’ve always had a passion for acting and love the thrill of being someone else, although I started that journey somewhat later in life, at around twenty-six years old I realised how passionate I am about it and decided to take the plunge and forge a career out of it.

How did you manage to become involved with Shooting Clerks to play the legendary Jay Mewes in this brilliant biopic? Were you well versed in the View Askewinverse prior to taking on the role?

A few years prior to Shooting Clerks, I didn’t consider myself an actor, at all. I did it occasionally as something to do, unprofessionally as a hobby. A good friend of mine knew someone who was making a short film based on a podcast that Kevin & Jason recorded and needed someone to play Mewes. That someone was Chris Downie. We met, discussed the production and the role, I auditioned for him and took the part. Kevin & Jason viewed the finished production and were so taken by it, they decided to host it on their SeeSmod YouTube channel. I knew from then that working with Chris was special and that he not only had a unique vision but a lot of talent too. About a year later, he mentioned that he wanted to produce a feature based on the trials and tribulations Kevin faced when making Clerks and wanted me to play Jason again. Needless to say, it was a decision that didn’t take me long to make. Previously, I had watched Mallrats and Jay and Silent Bob Strike Back in High School so I was familiar with Smith’s work but I wouldn’t consider myself a fan at that stage. From preparing to play Mewes in Shooting Clerks I ensured that I was familiar with Smith’s entire back catalogue and discovered a great appreciation for his work, I’d definitely consider myself a fan now!

And how was your experience portraying one of the most infamous and beloved stoners in the history of cinema? Was it a tad nerve-racking to play a person who is still very much alive and would eventually witness you portray his character on the big screen?

I think for any actor, to play a real life person who is also still alive comes with some trepidation. I knew how passionate and devoted Kevin & Jason’s fans are and wanted to make sure that not only I play him in the way that you would expect, that you are used to so that my performance is authentic and believable, but to ensure that it’s a sincere performance too. It’s easy to mimic someone, I didn’t want to do that. I wanted to make sure that yes, this is the Mewes everyone knows and loves, but that you also see some aspects of his character that he isn’t immediately associated with so that my depiction is rounded and believable. I have met Jason previously but wasn’t able to attend the New Jersey screening that he and Kevin attended in August due to other acting commitments. However, I have heard that he was pleased with my performance. As long as the man himself is happy then I hope I’ve done him justice!

Shooting Clerks has already been released to some mighty acclaim in the states, and will have its UK release date on January 16th. After being a part of this project for so long, what does it feel like to finally see the film come to fruition and finally being shown in front of audiences? Is it surreal in any way?

I’ve been lucky enough to attend four separate screenings of Shooting Clerks prior to this one. With the cast & crew I was at the screenings in Orlando, New York, New Jersey and in Edinburgh too and the audience reaction has not only been incredible but also humbling. It’s wonderful to see such a phenomenal response to a film that everyone involved worked so hard on for the best part of three years. I’m just glad that people like it for what it is, not only some excellent performances and funny lines, but a wonderful piece of filmmaking with a lot of heart.

Aside from obviously portraying the legendary Jason Mewes, if you were given the chance to portray another legendary figure from the world of film, who would it be?

It’s such a difficult question to answer. For me, it would have to be someone who made a difference, not just someone who has achieved a lot in the world of film, but who made a genuine difference to the lives of others. I think it’s important to bring to life a story like that. It may seem cliché but that’s why I’d choose Marlon Brando, not only a giant in cinema who revolutionised screen acting, but a man with a huge heart who used his fame and recognition to raise awareness for various causes and charities. Also, a role like that would require a lot of make up as I look nothing like Brando!

What does the future hold for you? Anything you would like to plug to our readers?

I’ve been keeping busy. I’m still relatively at the beginning of my career and although I’ve been lucky to appear in some fantastic productions and do some excellent work, I’m still starting out. I have a few projects that I’m working on, but as ever, I  can’t say too much at this stage. Watch this space!

What was the last thing that made you smile?

Being a huge fan of another cult film, The Room. I saw The Disaster Artist in the cinema the other day and loved it. It’s one of the first films in a while where I have ended up crying with laughter during it. I think it’s quite apt that we’re screening our film in the same cinema that James Franco showed The Disaster Artist in when we appear in London.

Shooting Clerks featuring Chris Bain as the legendary Jason Mewes will have its London premiere on January 16th at the Prince Charles Cinema – 8:45pm. Tickets are available HERE.

Sean Patton [Interview]

Welcome to 2018 folks! We are kicking things off this year in a major way with an amazing interview from one of the finest comedians working today. And with the controversial year that the world of comedy had in 2017, I think it is important to continue the conversation of the importance and cultural relevance of comedians in our modern era. And I can not think of anyone better to kick off this conversation with than the brilliant Sean Patton.

Sean Patton is a brilliantly funny comedian with jokes that will hit you harder than that girl hit her mom in the face with that ArkAngel laptop in Black Mirror. A very specific reference, I know. But, it is very true. He is one of the best in the business and we feel so very fortunate that he has chosen to digitally be here with us today. For die hard comedy fans, Sean has hit just about every spot on television you could want, from his own Comedy Central half hour special, to a couple of appearances on one of my favorite programs, This Is Not Happening. Yes, he is true working comedian who has done some incredible work in his career thus far, and has the promise and will do even greater thing sin 2018 and beyond.

So Ladies and Gentlemen, please enjoy some amazing words from an even more amazing comedian, Mr. Sean Patton!

When did you first realize that you were a hilarious human being, and it was your civic duty to stand on a stage and bring joy to random strangers?

The first time I remember making anyone really laugh was in the 7th grade. At school, my teacher was pouring BC headache powder into a glass of water, and I said “My dad snorts headache powder up his nose”. The teacher did a legit spit take. My Dad’s doesn’t snort coke, not that I knew of then or now, but I remember thinking “This will be funny”, so I just blurted it out.

Sarah Silverman once played a version of herself on the Larry Sanders show as a stafff writer who gets her first TV credit doing stand up on his show. Watching her set on that show was amazing for me. I identified with her sense of humor so much. That’s when I decided I wanted to do stand up.

What were your early days like when you were first starting out in comedy in New Orleans? I will admit, I am not very up my knowledge of the comedy world of NOLA. I know you and Mark Normand have started there, and that’s about it. So what was that world like when you were first starting out? And when you make your way back to your homeland, does it seem like it has changed a bit?

It was a very DIY scene back then. It didn’t then, nor does now, have a full time stand up club. I don’t know if it ever will, but it’s doing so well as an independent scene. That is what’s important. The New Orleans comedy scene now is very supportive and eons better than when I started out.

In your obvious expert opinion, what are some cities across America that are incredible to do perform stand up in, that many people may not be aware of? Beyond L.A. and NYC, what are some of those hidden gems hiding in plain sight across the land? 

Minneapolis, Madison, WI, Eau Claire, WI, Denver, Chicago, Atlanta, The Bay area, Pretty much every city in North Carolina but specifically Asheville and Wilmington, Washington DC, Cincinnati, Detroit, Burlington, VT, Houston, Austin, Dallas, Portland OR, and I’m sure many more. In all of these cities There’s a great club(s) or independent show, and they all have great local comedians.

Beyond the American borders, you have performed at the legendary Just For Laughs festival in Montreal. As an avid comedy viewer and podcast listener, I hear about Montreal a lot, but haven’t grasped the concept of why this is one of the biggest festivals in the comedy world. So in your opinion, what is it about Montreal that makes it such a huge deal?

Montreal is a beautiful city to be in during the summer, and it seems to love the festival. They book great comedians year in and year out and do not fuck around when it comes to the shows. It’s also been around for over 30 years. Also, Canadians are mostly happy people who travel to Montreal specifically for JFL. Add all that up and that’s why I’d say.

A few years ago you appeared on a couple of episodes of one of my favorite television comedies of all time, Maron. We’ve spoken with folks like Troy Ruptash and Dave Anthony who appeared on the show as well, but I am interested to know what your take was on working on this show? And was there anything about working on this show that set itself apart from the numerous other projects you have worked on?

I had a small part in two episodes, but I’ve known Marc for a bit now. He’s a particular guy, and often times that’s where the best comedy comes from. I had a great time working on that show. What set it apart was how into it everyone involved was. It felt like everyone knew they were making something good, which goes a long way in this business.

What does the future hold for you? Anything cool coming up that you would like to tell our readers about? 

My first hour special. I can’t say exactly when it will premiere, so check in at meseanpatton.com from time to time. I am excited about it.

Gabe Dixon [Interview]

It was almost a decade ago when first discovered the magic of Gabe Dixon. I was dragged by my lovely wife to see a show that “she wanted to see this time”, which turned out to be Justin Nozuka, and was one we both thoroughly enjoyed. But while I found Justin very intriguing, and became a big fan afterwards….it was the middle act that blew my fragile mind. That middle act was The Gabe Dixon Band, featuring the man with the namesake smack dab in the middle of the trio. It was a magical experience, and I became a huge fan almost instantly. I can still be found swallowing down vodka tonics in my novelty GBD cup to this very day.

Directly after seeing Gabe perform live in that Portland club, I became entranced with his amazing songwriting skills and the brilliant career he had built for himself. And in the decade that followed, I became an even bigger fan of the work of Mr. Dixon, and have continued to follow his work fairly religiously. The Gabe Dixon Band has since disbanded (Fun fact: I caught the band’s drummer Jano Rix killing it with The Woods Brothers at Pickathon 2012, but that’s a whole other story), and Gabe has built an incredible solo career that is culminated in some very amazing accomplishments, which we shall discuss in the Q&A below.

We are so excited to finally have been able to get a few answers from one of the finest performers of the modern times. I simply cannot think of a better person to have featured on the site as our last interview of 2017! So with that, ladies and gentlemen, please enjoy some amazing words from the legendary musician, Mr. Gabe Dixon!

When did you first realize you had a talent for music? When did you realize you wanted to write and perform for a living?

Those were two different moments. When I was a kid, I started taking music lessons because my parents thought I should. Then, when I was about 11, I started trying to copy my favorites. Elton John was a huge inspiration for me at that age. He was one of the artists who made me want to write and perform for a living. As far as the talent thing, I was always told that I had a talent for music, but a few times in high school, my performances made people cry. That made me start to think that I might truly have a gift for music. And then, in college, when Eddie Kramer wanted to work with me and my band, I felt professional validation for the first time.

Can you recall the very first time you were on stage with the intention of entertaining an audience? What were you doing, and how did that go?


I played piano recitals starting at the age of 7, but I consider my first “real” performance to be when I was 12 at a summer camp talent show. I was so nervous because I had never sung and played at the same time in front of people. I sang “Great Balls Of Fire” by Jerry Lee Lewis, and the crowd just totally flipped out. Afterward, my fingers were bleeding from doing so many glissandos on the piano, and I felt higher than I’d ever been. And suddenly all of the girls wanted to talk to me. I’ll never forget that day.

And when did you truly have that “Aha!” moment, when you realized that you are indeed a working and living musician? That your entire livelihood was based around you creating magic in the form of music?


In my 20’s I went back and forth between paying my bills fully with music and working day jobs. After a certain point, I just decided to quit the day jobs and work extra hard at music, whether it was performing with my band or backing up other artists, or songwriting, I decided that I was talented enough and had the right experience to make a living at music. Even if I had to play on the street, I wasn’t going to take another day job. I felt like it was my responsibility to bring music into the world no matter the cost (or rewards). Before I knew it, I hadn’t worked a “real job” in 10 years.

I can still clearly remember seeing you perform at Berbati’s Pan in Portland almost a decade ago, then as The Gabe Dixon Band, and being blown away by your showmanship and talent. And you had been at it a for a long time prior to that, and are still consistently entertaining crowds on a regular basis to this day. So in all of your years as a performing artist, what would you say has been your most notable growth as far as stage performance is concern? What have you learned over the years that has helped you know what to do to entertain a crowd?


I’ve learned little things over time, like don’t put too many slow or fast songs together, don’t let there be too much dead space in between songs, etc. but mostly it’s about my being comfortable in my own skin. Since I was a kid, I’ve been kinda shy and introverted. Showmanship didn’t come naturally, but one thing I’ve come to realize is that it’s best to slough that stuff off when I go on stage. People don’t want to see some self-conscious person up there. They want to see the opposite. They want to see freedom. So, before I go onstage, I usually take a moment to get centered and say a little prayer to get my ego out of the way and let joy and love and good-times flow through me. I think it works. Also, most people want to sing and clap along, even if they don’t think they do, so I try to get the crowd involved in that way sometimes. It’s fun when we all make music together.

When you look back on the amazing career that you have had thus far in the world of music, what would you say is your proudest moment? Is there a singular event that you were a part of that sticks out in your mind as an event that can not be topped? Or maybe not a singular moment, but a collection of many?


I can’t help but think of playing keyboards with Paul McCartney at Madison Square Garden. We performed a benefit for New York City firefighters after 9/11, and it was truly awesome and moving. I feel so lucky and grateful to have had that experience. And singing lead with Supertramp at a festival in France in front of 70,000 people was also a high point for sure. I also felt proud to sit in a movie theatre and hear myself singing a song I co-wrote, “Find My Way,” in the opening credits of The Proposal, which was the # 1 movie at the box office that weekend. But, to be honest, the most fulfilling thing is hearing people’s stories about how my music has helped or healed them somehow. When I hear those stories, I know I’m doing the right thing.

What does the future hold for you? Anything you would like to plug to our readers?


I have a new live EP called Live In Boston. It’s my first solo live record—just me playing piano and singing. I have also been releasing singles lately and will continue to do that for a bit. Maybe they will turn into an album at some point. I’m not sure yet. And the touring continues. Recently, I have been doing short weekend tours instead of the long marathon ones, so folks should keep checking the tour page of my website to see where I’m going to be.

What was the last thing that made you smile?


My one year old son this morning. His cuteness knows no bounds.

D.C. Pierson [Interview]

For our first post-holiday showcase, we have some amazing words from the comedic genius you all know and love, the great D.C. Pierson. This cat is not only responsible for some of the earliest bits of hilarity that the internet had to provide, but he was a huge part of what will go down in history as one of the finest sketch comedy groups in history with his involvement in the legendary Derrick Comedy troupe.

And since those early days, D.C. has managed to keep himself very busy as he continuously creates amazing content for the screen, as well as putting out an original book of his own. Pierson is a man with a mind that just won’t quit, and we are all so fortunate that he continues to share the insanity that lives within his brain to the rest of us. He is a hell of a nice guy, and we are very honored that he has agreed to become a part of the TWS family. So without further ado, please enjoy some brilliant words from the legendary D.C. Pierson!

When did you first become interested in sketch comedy as a specific type of art form? Did you always feel that you would have the knack for it?

I had liked SNL a lot as a kid, like most Americans who eventually get into comedy. Then in high school our family got HBO and reruns of Mr. Show turned up really late at night. Then when I got to college the sketch group I joined aspired to do sketches with Mr. Show-style transitions (which were kinda Monty Python transitions, something else I’d been really into growing up) instead of blackouts so I kind of felt like “Awesome, these people know about and aspire to emulate this thing I kinda thought only I know about,” which was really exciting.

I have had the pleasure of speaking with several past and current members of the UCB world, and as a fan I understand what is so great about it from the viewer’s perspective. But, I always want to know how the player’s feel. What makes working with UCB a great experience for you personally? Is it all work and no play behind the scenes, or are you enjoying yourself as much as it seems?

UCB has grown so much and there are so many facets to it that I can’t speak to the whole experience with any degree of authority. For me personally it’s all play and no work because I go do an improv show there every week that requires zero preparation and we are lucky to have a consistent audience. There are also unpaid interns, managers, teachers, artistic directors, people writing and putting up scripted material, or hustling to attract audiences and industry to their shows, all of whom are doing a ton more work than me. I’ve filled several of those roles in the past but my current position has more to do with when I got into the UCB community and how small it was back then. I was very lucky in that respect. It’s so much bigger now and institutions change as they grow.

What can you tell us about the origins of Derrick Comedy? And what was the writing process like for these amazing digital shorts?

Donald, Dom, Dan, Meggie and myself were all part of the larger college sketch group I mentioned earlier (Hammerkatz). We didn’t have a formal writing process, it would be more like a bit would develop just in the course of us hanging out and it would stick around long enough to be remembered the next time we were going to take a weekend (as long as we still felt like it actually had legs as a sketch) and shoot a batch of sketches and then we’d say “Okay, that makes the shoot” and someone would script it, and there would definitely be feedback from everybody and it would get developed further on its feet.

What were those early days like becoming stars of the Youtube universe? And what are your thoughts on the progression, or regression, of the world of online media today?

It was very cool. YouTube was very new — that’s why we had “Comedy” in the name, there wasn’t a lot of scripted content up so we felt like we needed to demarcate it as “HEY, THIS IS SOMETHING PEOPLE MADE ON PURPOSE.” As far as online media now, I know it’s a lot harder to break through than when we were starting. That was another bit of good fortune. We were trying to get good at making sketch videos for their own sake when they suddenly became a commodity.

As far as shooting perspective goes, what would you say was the most entertaining and fulfilling video you worked on during your time with Derrick Comedy?

I think most of us would say New Bike. It sort of felt like a stylistic evolution for us, and was a lot more filmic, and wasn’t really a first beat / second beat / third beat / blackout kind of sketch.

You are also an acclaimed author with two books and several short stories, one book I am told is a must read, from people I trust, for these modern times is The Boy Who Couldn’t Sleep and Never Had To. For those of us who have made poor judgements and have missed out on this modern classic, what can you tell us about it? Why should we checked it out already?

It’s cool that you’ve heard that! The Boy Who Couldn’t Sleep And Never Had To is a coming of age sci fi adventure about two kids in suburbia who are working on a homemade comic book when one kid reveals to the other kid that he has no biological need for sleep. When they push further, they discover that as a byproduct of this not needing sleep, he can actually bring things from their comic book into real life. Action, comedy, and growing up ensue.

With my screenwriting partners and two of the members of Derrick, Dan and Meggie, I made this proof of concept for a film version of the book. If you like this, you’d like the book. And if you have millions of dollars, please give it to us to make the film:

http://whocouldntsleep.com

What does the future hold for you? Anything you would like to plug to our readers?

Nothing to plug really. Continuing to work on screenwriting projects with Dan and Meggie and new literary stuff on my own. My twitter is @dcpierson and if you grew up in a similar pop cultural universe to mine you may enjoy the dumb jokes I do there.

What was the last thing that made you smile?

I’m listening to a box set called Love Is The Song We Sing: San Francisco Nuggets that is a collection of 60’s era rock singles that capture the bay area music scene at the time. The music’s obviously great and the accompanying liner notes are really interesting. It was a unique and special time.

Check out DC’s aforementioned treatment for The Boy Who Couldn’t Sleep And Never Had To:

Onur Tukel [Interview]

Today we have a very special interview for you fine folks with a truly eccentric man of film, and one of the finest visionaries in independent cinema today. Onur Tukel a NYC based filmmaker who put out what could be arguably considered one of the finest films of the year entitled Catfight. It is a delightfully dark and twisted comedy that is as poignant as it is intense. Which is basically a description of any Onur Tukel project.

Mr. Tukel has been writing and directing amazing independent cinema for over 20 years now, and has a lot to tell us about the business he found himself engrossed in at a very young age. He is a very prolific gentleman with a style all of his own, and we are so happy that he was willing to share a few words with us here today. I feel it to be only respectful if I just cut my babbling out right now in order to get to these amazing words from one of the finest folks working in the world of film today. So ladies and gentlemen, Mr. Onur Tukel!

Where did your passion for filmmaking stem from? Was it an early aspiration, or did you just fall into this world?

It probably all started in the 6th grade, when I made a movie with a bunch of my friends called Campout with Death. We spent the Summer of 1984 running through the foothills of North Carolina with a VHS camcorder making a goofy slasher film. I’d say after that, I was hooked. We kept making VHS movies, copying the stuff that was out at the time. We were inspired by horror films (Friday the 13th, Nightmare on Elm Street). We were also inspired by the ridiculous Golan Globus films. We made ninja movies, fantasy, break-dancing movies, you name it. They were all ridiculous and a fun way of bonding through puberty. None of the movies featured women. We were terrified of girls. We were homophobic as well, due to growing up in the South in the 80s. We were just morons with a camera. We had no idea who we were, what we stood for, and we barely had pubic hair.

Years later, I majored in film in college but didn’t make movies. Most of my classes were theory-based. I wish I could remember the theories. In 1995, I moved to Wilmington, NC, which had a fertile film community back then. That’s when I started taking it seriously. I shot silent shorts on Super-8. Then 16mm shorts with sound. Eventually, I saved up enough money to make a feature on black and white 16mm. Years later, we shot color 16mm. Then I eventually made a feature on 35mm. From 1995 – 2000, I’d say that’s when I really figured out that this is what I wanted to do with my life. But people change careers all the time, and film has never been a career for me. I’ve never been able to pay the bills making movies.

One of your latest films, Catfight, is one of my favorite films to be released in the last few years. It is a brilliant story, and is brilliantly casted, if I might add. I am always curious about where these truly unique ideas (which are sadly too rare these days) come from. So what part of your psyche did Catfight come from? And what are your thoughts on the final product that was put to screen?

Ron, you’re a beautiful man. Thanks for the kind words. I think it’s a brave movie and I think Sandra Oh and Anne Heche are fearless for making it. I still can’t believe the movie exists. Weeks before we started shooting, I kept assuming it was going to fall apart. I just wanted to make a powerhouse action comedy about war and loss. Wars are started by men, fought be men, analyzed and planned by men. I wanted to switch the script a little bit. I wanted women to be the focus of the story. Men would take a backseat for a change. You mention the cast, and I agree, it’s brilliant (thanks to Stephanie Holbrook), but it’s also just so beautifully balanced, in terms of age and race. Sandra Oh, Anne Heche, Alicia Silverstone, Myra Lucretia Taylor, Amy Hill, Ariel Kavoussi. It runs the spectrum; it’s so diverse. And the actors all nail it.

There are so many themes in the film – solipsism derived from wealth, narcissism derived from art, self-importance derived from having children. But the crux of Catfight is centered around the war in Iraq that America started 14 years ago. I’m still, to this day, bitter about the war. I needed to make a movie about it. It’s about American entitlement and hypocrisy. I wanted to punish the audience in a way; thus, the violence is unsettling. Still, I wasn’t sure if the final product was going to be so violent. If Sandra and Anne had wanted to pull back the violence, we would have. I think they were trying to make a statement as well. These are two of the most talented actors in the business. At the time, they weren’t being offered the kind of scripts they wanted. They were frustrated. They wanted to make something angry, perhaps to reflect that frustration. I know that I’m angry. I’ve been angry for 14 years. I love the movie. I think its cathartic. I think it resonates with other people who are angry.

As a person who is very removed from the world of screenwriting, I am very curious about what it feels like to have a script in your proverbial back pocket for MANY years, and then you finally get the chance to see it become a visual reality. What sort of emotions do you go through when it finally does happen. Does it create further anxiety and fear or does it create a heroin-like rush of joy? Possibly somewhere in between?

When I was making movies in my twenties, making films was so exciting. I don’t know if it was because I was shooting on film then, but the real rush came when you got the film dailies back. You’d watch what you had shot days before and it was magic in a lot of ways. And that was just the first step. When you married those dailies with audio, it was another rush! The image speaks. “It’s alive,” as Dr. Frankenstein screamed, right? Just seeing your movie start to exist was better than sex. Then you edit that synched clip with another, and then, wow…the miracle of film starts to take shape. I think it’s hard to remove yourself from what you’re watching when you make your first movie. It’s just so thrilling to see it come to life. I remember thinking my first movie was quite brilliant as I was making it. I couldn’t see the flaws because it was just all so ridiculously exciting. I’m watching the film come together and I’m thinking, “I’m doing it. I’m actually making a movie.” I’m still enamored by the process, but not captivated like I once was. There’s a feeling of dread that creeps in now when making a movie, especially in the early stages. In some ways, it’s Sisyphean.

When I try to get a film made now, I just assume it’s not going to happen, that the actors attached are going to drop out, that the funding is going to fall through. This used to make me nervous but not so much anymore. I’m trying to accept things that are not in my control. If a movie is meant to get made, so be it. I feel lucky that I’ve been able to make a handful of movies. When the time comes that I can’t do it anymore, hopefully, I’ll switch to painting or music.

I was encouraged to create at a young age. I’m very fortunate in that regard. I never bought into the idea that I couldn’t make a movie. No one should buy into that idea. Still, you need money. And that’s the exhausting part. Finding it. The money has to travel from the investors hands into the bank, and it has to stay there. I’ve been part of projects where the money was supposed to come and it never came. I’ve been part of projects where bad checks were written. It’s part of it. When I was younger, fuck, it was a nightmare. Now, you know, I’m a little more laid back about it.

When the money does come through, and we start shooting, the objective is to be focused. My movies are low-budget, so the schedules are so tight, there’s a lot of stuff to shoot every day. The shoot may be fun and inspiring, but there’s not a lot of time to celebrate or experience joy. We shoot a scene until we get it right, and then we move on. Sometimes, something magical happens and it is like a drug-rush. It’s an amazing feeling. But there’s not a lot of time to revel in it, you know? You just keep moving, like a shark, or the momentum dies.
I love being on-set. And I’m always a bit stressed out when we’re shooting. I’m usually not completely relaxed until I can watch a rough cut of the movie. That’s why I try to do the first cut as quickly as possible, to make sure we shot everything we need. Once I see that the story makes sense in the edit, the anxiety wanes a bit. I’m not looking for good performances or good camera work at this point. The rough cut is thrown together just for peace of mind.

The editing process is fun. Rewarding. Waiting to hear back from film festivals is nerve-racking. Getting rejected is soul-crushing. Selling the movie is probably the most horrible aspect of the whole affair. Because making money in this game is tough when you have no business acumen, which I don’t. Still, overall, it is like being addicted to a drug, Ron. And I have found myself trying to quit this business, like quitting a drug. Filmmaking is too tough. It’s too punishing. It’s killing me in many ways. But I just can’t stop doing it because the high is so good. When you watch the finished movie in a theater with an audience and everything’s clicking, people are laughing and the room is alive, energized. Fuck. It’s the best.

Also as a person far removed from it all….the ever-trusting site Wikipedia boasts that you are a “notable figure in the NYC independent film community”. And simple based off the brilliant work I have seen from you, I have to imagine this is very accurate. So with that, what exactly is the NYC independent film community? What is it like to live in this world? What makes it unique from other factions of the world of filmmaking?

Ha. I don’t feel notable. But I feel lucky to be have lived in New York the last seven years. I feel lucky that I have had so many cool people who wanted to work on my movies, for very little money. I’m probably not as active in the film scene as I should be. But in my opinion, the New York Independent film community is pretty vast and passionate. Off the top of my head, I could name drop dozens of filmmakers, producers, film festival programmers and curators who live in and around New York. I think having a thriving community of filmmakers here keeps me on my toes. It inspires me to work a little harder, I think.

When I discovered Woody Allen in college, his movies had a profound affect on me. I fell in love with New York through his movies. I identified with his neurosis, his rambling dialogue, his love-affair with existence, his hypochondria. New York is magic. It’s tragic. It’s beautiful. It’s disgusting. It’s everything. And it does exist in black and white, in a lot of ways, just like he describes it in Manhattan. I get down on the city sometimes. It’s so expensive that it feels like the city doesn’t value its artists. It seems like the city continues to cater to the rich. Many people are leaving. They’re going to LA. There’s more room. It’s cheaper.

What makes New York unique? The people, maybe? When you decide to live here, you’re making a deal with yourself. You’ve come to one of the most competitive cities in the world. You have to be a little nuts to live here. I don’t know how much longer I’m going to stay here. But I can say that I stuck it out for seven years. I can say that I was a New York filmmaker for a little while. But New York is very insular as well. There’s a smugness here. Like living in New York automatically gives someone legitimacy. It doesn’t.

You have covered just about every gig there is in the world of film. From being on screen to writing, editing, directing, and on and on. How do you decide where you need to be, and what you want to take part of? And if hard pressed to label your actual profession, what would you want to consider yourself to be labeled?

I wrote a science fiction comedy a few years ago called Infinity Baby, about babies that don’t age. I wrote several drafts and had planned on making it, with me in the lead, and after some time passed, I just moved on to other projects. I eventually gave it to my friend Bob Byington to direct and I think he really nailed it. Seeing what he did allowed me rethink my role in films. I think I could step away from directing in the future, concentrate more on writing, I suppose. I’d also like to direct something I didn’t write at some point. This would be a great exercise. I’d focus more on designing shots that tell the story. It would be an exercise in aesthetics, craft. I suppose it depends on the script. I’d want to honor the screenwriter, understand his/her intentions.

It’s all up in the air. If an opportunity presents itself, and I feel inspired by the opportunity, and I trust those people involved, hell, I’ll do it. It’s all just an exercise, right? We’re all just passing the time before our hearts stop beating. But there are a ton of factors to consider. It depends on the budget. If I’m making a movie with a larger budget, I’m not going to act in it. That would be a bit irresponsible. I need to give the movie a fighting chance to recoup its budget. Casting a recognizable actor is a more fiscally responsible decision. I’ve never had enough money to hire a professional editor for 3-4 months. That’s something I’d really like to do in the future. I’ve got a shark attack script that I may not direct. If the right producer comes along, coupled with the right director, I’d be happy to step aside, let them make it.

For a long time, I thought I might play the lead of The Misogynists, until I had a reading with a group of actors. I realized I need someone older and whiter. Whether or not I write, direct, act, etc. it’s all a matter of timing, necessity, budget. For me, the ideal would be to have big enough budgets where I can just write and direct. Someone else would edit and I would never step in front of the camera. But I do enjoy acting and I’ll probably continue doing it.

When you take a step back and look at your wonderful career thus far, what would you say you are most proud of?

When I was 35 or so, I made a horrible movie called The Pigs. It was a disaster from the first day of shooting to the last day of editing. I was an emotional wreck when I made it and the film was an unwatchable mess when I finished it. It still is. It crippled my confidence. I swore I’d never make a movie again. So from 2000 – 2010, I made one movie and it held me hostage. I regret that in a lot of ways. But if you don’t have confidence, it’s difficult making movies, or any art for that matter.

So I guess I’m most proud of getting back into it. It started with a short movie called The Wallet. I wrote and directed this with a bunch of adorable children in Durham, NC. It’s very raw and funny and the kids are incredible. After that, I got cast in a couple of independent feature films, Septien and Red Flag. Being on a film set again was an absolute blast. I’d forgot how much fun it was. I started getting that itch again. I wanted to get back into this crazy world.

When the Canon 7Ds came out, it was really exciting for me, because it was the first digital camera that really replicated 16mm to me. When I went to Sundance in 2011 with Septien, I saw several movies shot on the 7D. It was a revelation. I knew that this is what I was going to shoot my new movie on. Not only that, it allowed me to take advantage of the camera’s low-price and mobility, you could take them anywhere. And we could use multiple cameras. This is when I started making movies in New York, with tiny crews. The focus was more on performance and less on the aesthetics. It was like starting from scratch. And it was electrifying.

Two cameras opened up everything for me. I could shoot twice as quickly. I like my performances to be a bit caffeinated and multiple cameras just gave the scenes more energy. It allowed me to edit faster. And between 2012 – 2017, I made several movies in New York. Richard’s Wedding, Summer of Blood, Applesauce, Abby Singer/Songwriter, Catfight and The Misogynists. I feel like I’ve been given a chance to catch up on all the movies I failed to make in my thirties.

What does the future hold for you? Anything in the works you can share with our readers?

My movie The Misogynists, about two Trump supporters celebrating in a hotel room on election night, is making the festival rounds and will hopefully be released in 2018.

I’m going to finish shooting a project I began in 2016 called Black Magic for White Boys. If all goes well, I’ll finish that up in 2018.
I have several films that I’m trying to get made – a science fiction comedy, A shark attack comedy and an existential roadtrip movie (from a script I didn’t write). Maybe none of these movies will get made. Maybe all of them will. Who knows? You have to plant a lot of seeds when you’re making movies. Some will sprout. Some won’t. Maybe there’s going to be a drought and my film career will end. It’s not a big deal. I’ll move on to other art forms – painting, music, stand-up comedy. The thing about this, whatever it is, the need to create – it’s about the self worth you get from making something. I hate myself most of the time. When I’m making something, I hate myself a little less. I get the same fulfillment from other art forms. It’s all therapy.

What was the last thing that made you smile?

Two things. The “Million Matzo Balls” song in the movie Lemon didn’t just make me smile, it made me laugh my ass off. And a specific scene in Mike Ott’s California Dreams. This made me laugh like a child as well.

Ben Bodé [Interview]

John Poveromo [Interview]

In continuation of  our undying love for all things comedy, which is desperately needed in this day and age, we have a wonderful interview today with one of today’s finest comedians. John Poveromo is not only as good as they come today, he is better. He has been in the game for quite some time, and he definitely knows what the hell he is talking about. John is also a brilliant cartoonist and has a new book coming soon entitled Drawings From A Nobody that is both poignant and hilarious. It is a politically charged piece of art that is as on point as his stand up act continues to be.

So Ladies and Gentlemen, please enjoy some great tales and bits of wisdom from the oh-so hilarious, Mr. John Poveromo!

When did you first realize you wanted to make people laugh for a living? And once you found yourself in the world of stand up comedy, what made you decide that it was indeed the life for you?

Seems cliche, but I always liked making people laugh. Even when I was a kid I knew I had this innate ability to make a room full of people crack up. It starts with your family, then your close friends, then your classmates, co-workers and eventually just people you meet in your day to day life. Comedy isn’t always done on a stage, sometimes it’s saying the right thing at the right time to someone having a shit day who’s ringing you up at a grocery store. It catches them by surprise and makes their day a little better. It’s a pure instant connection with another human being and I think if you’ve got it, it’s an important gift to share.

Over the course of your career as a Stand Up comedian, has there been a singular moment that you can remember feeling nothing short of eternal bliss while you were on stage? Have you had that sort of moment where everything just seems to click like magic, and you become so enthralled with what you do for a living?

I’ve been doing this for 13 years and I started in the digital age, so I’m lucky enough to not only have had those moments, but have been able to capture them on video. I can tell you that feeling is nothing short of, as you put it, eternal bliss. It’s like something happens in your brain…every gear is turning at full speed, the air around you cracks and the audience is alive. It’s like something else takes over. It’s an indescribable feeling but something other comedians get right away. Comics are always functioning at a higher level on stage because we’ve got six things we’re focused on at the same time. We’ve got our set list, how the room feels, the sound of the laughs we’re getting, where to pause, any physical movements to enhance the joke, all while being in the moment in case something happens or we get the chance to improvise a new line. When that bliss hits though, it’s a perfect storm of comedic timing, ad-libbing, and audience response. They don’t last long. That’s what makes those nights special. You live for those nights.

Whilst scanning through your very impressive website and resume, I noticed that you have had writing credits for the “news” program known as Hannity. I never considered the aspect of comedy to be something involved a Sean Hannity project, but alas, there you are. So what type of contribution were you able to give to a program like Hannity?

The Hannity credit is always an interesting one to talk about. Comedians write for other comedians. Especially when they’re starting out. Early in my career I wrote for a few comics when Hannity used to have them on his show. It was challenging and fun at times but ultimately disappointing. The comics I wrote for were great but after a while I began to realize what I was writing wasn’t always making it on. Or the jokes were watered down. I was young when I was doing this and I’ll admit a little naive. It was basically a TV credit for some of these guys and not something they were doing to sling jokes and challenge the network or the host on his views,  which I absolutely understand and don’t begrudge them for. It helped me understand part of that end of the comedy business but also made me realize it was something I wasn’t necessarily cut out for. I’ve got jokes and I’ve got opinions and If I’m going to be appearing on a show like that in the future they’re not going to be watered down so the host can beat me over the head with pillows.

I am very intrigued by Drawings From A Nobody. What can you tell us about this project? What inspired you to make it happen?

I’m really excited about the book. It’s basically a result of me sitting around going, “Well what’s another way I can disappoint my family by not making any money?” And I think I made a wise choice. I’ve been drawing since I was in the third grade? I think? I know by the time I was in sixth we had these fake year books and in them we had to write down what we wanted to be doing when we grew up, and I put down Comedian/Cartoonist. So It was inevitable. Being a comedian when I was younger didn’t seem as accessible to me as being a cartoonist did. I idolized cartoonists like, the late Charles Schulz, Bill Watterson, Berkeley Breathed, Gary Larson, Jim Davis, Steve Breen, Scott Adams, Rick Kirkman and Jerry Scott, Mike Peterson, Jim Toomey, Bill Amend, and Lynn Johnston. I know that list is long but here’s the thing – I wrote to all of them. Asked every single one of them for advice on how to be a successful cartoonist. They all wrote back and I still have their emails. Some of them I wrote to more than once.  These guys were clowns, and misfits, and they thought differently than the rest of the world, just like me. AND THEY WROTE BACK TO ME. I was overjoyed by this as a kid.

Two of my favorite middle school art teachers encouraged me to pursue it and I think from that moment on throughout High School that was the only profession I had told anyone I was pursuing. In many ways drawing was a cover in High School for the fact that I knew I’d never last in college and wanted to pursue stand-up in NY. I never stopped and would doodle all the time. Eventually I bought an iPadPro to take with me on the road and I started drawing these one paneled comics that were basically jokes I didn’t use on stage. Eventually I had over 50 drawings and after posting them on my website and Instagram, it caught the attention of an art gallery in Woodbridge and I got to display them. They were a hit and I deiced to put them in a book. And here we are now!

What else does the future hold for you? Anything you would like to plug to our readers?

I’m doing a string of shows in Boston (one of my favorite comedy cities) the second week of December. Then I’ve got a couple local shows in Jersey I’m doing before heading back to Los Angeles for a meeting with NBC that I currently cannot disclose details for. But it’s gonna be fun.

What was the last thing that made you smile?

My four year old cousin Samantha is in school now and her teacher sings John Denver’s ‘Sunshine On My Shoulders’ to them in class. So one day she’s sitting at home coloring and singing that song. My Uncle passes by and hears her singing it and asks where she heard it. She said, “Mrs Sharon sings it to us.” So he walked over to his computer and started playing it. “You know that song too?!” She asked. Then he pulled up a video of John Denver singing it live. “Who’s that?” She said. “That’s John Denver.” My Uncle replied. ‘That’s the man who sings it.” She paused for a moment, watching him and then said, “I like him. He’s shy like me.” It’s 2017 and there’s a lot of messed up shit going on in the world, but if that doesn’t make you smile nothing will. I’m gonna carry that one with me for a while.

Wanna check out John performing live? Head on over to his website to find out when he will be at a city near you! Also find updates on “Drawings From A Nobody” at his website as well. To all of our Boston/Cambridge/Somervile fans out there, you can find him this weekend all over your fine city:

Dec 7th @ ImprovBoston
Dec 7th @ The Riot Theater
Dec 8th @ The Limelight Cafe
Dec 9th @ Bill’s Bar
Dec 9th Laust Laugh @ ImprovBoston
Dec 10th Liquid Courage Comedy @ Somerville Brewery

Check out a clip of John right here: