Sam Morril (60:55)
And then you find you're. You're. You're your best self with those people because you're. You're just willing to kind of take a weird chance and be very you. So, you know, it's also cool to just see Mark and, like, I always thought he was hilarious, but, like, we weren't good comics yet, you know. So I see some at open mics. I was like, oh, this guy's so funny. But I also had a low bar for what funny was like. I see. I'd see comics back then. I was like, this guy's great. And then like, a couple years later, I'm like, that guy's fucking horrible. I can't believe I thought that guy was funny. So we just hit it off. We'd write all the time. And then, you know, you. You start really rooting for your friends. You want your friends to really succeed because you see how hard they're working. And I think he got on Conan, first of our friends. And, like, that was a big mark. When we were young comics, we want to get on late night. And it's, you know, to young comics, I guess it's not as important now, but I think I see young comics and they still want to, like, get it on, like Fallon or something. Something for your folks. You're like, oh, I did a late night set on tv. And your parents were like, that's fucked. Although my parents were never. They were like, Conan, all right. And then I get like a write up in the New York Times, and they'd be like, you were in the Times? And I'd be like, yeah. They said I sucked. I didn't even say, but it's the times, you know? So, you know, we do like these late night sets. And that was kind of like what we looked up to, like, the comics of our generation before like, you know, David Tell and all these great comics, like Gerald always, all these guys, they were doing that. So we were like, this is what we should do. There was no clear trajectory, really. So the guys before us were like, we will go on the road. So Mark and I would, like, slowly tour. We'd kind of do our thing touring and build our audience and kind of get good. But we always quoted this Bill Burr thing where he called it killing in obscurity. So you're like, I'm killing, but no one knows. Like, I'm in fucking Dayton, Ohio. And I crushed. But no one knows who I am. And I'm just, you know, I'm just trying to get by. I'm just trying to make a living at this. And. And it becomes really. You become really obsessed with the road because you see development. Like, you have a new hour. You're like, all right, I wrote my first hour. I'm. I have another joke. I added a joke because you're on stage for an hour in New York city or in LA, when you're coming up, you're doing like 10 minute sets if you're lucky. It's hard to develop when you. When you have to kind of prove yourself and. But then when you're on the road alone and you can do like an hour plus, you're like, I can fucking. I can experiment. I can. I can try this, I can try that. I have my jokes at work. But when you're starting, you don't have your jokes at work. I mean, like, I remember my first headlining weekend. In my head, I'm like, I could do 45 minutes. I think I got like, 43. Maybe I could, like, try some crowd work. How the fuck am I going to fill the time? And I didn't, like, have enough. I mean, I was young, I didn't have enough jokes, and I was lucky to even be there. And I was very hard on myself for what constituted, like, a decent joke. So I remember I went up. It went really well. I get off stage, a club owner. I'm in Kirkland, Washington. It's like a suburb of Seattle. And this guy goes, what the fuck was that? And I was like, what? He goes, we're a family club. And I was like, which one? Which joke was the problem? And he just, like, shook his head and walked away. And in my head I'm like, I can't take any joke. I don't have enough time to take any jokes out. So I just gotta keep doing the same set. And then by the end of the weekend, he was just like, man, I was. I had my doubts about you. He really pulled it together. I'm like, I did the same set every show. I think he was just a crazy guy, you know, but he was like, man, you fuck, you're bad. The first night, he's like, you're like a bad guy. But by the end, he's like, man, that was. I'm like, it was the same show every night. I don't know what he was like, man, you really. You figured it out. I think it was just nuts. But, yeah, then Mark and I started kind of doing. It's weird because you. You as a young comic, you hang out drinking every night. We would just kind of be, like, at the bars and, like, you know, having fun, being silly and, like, living. And then you get older and you kind of go your own way. You kind of start doing the road, your own road. Like, at first we would not be out there as much, but then you're gone. You don't see your friends as much. So you're texting, you're calling, you're like, oh, what do you think of this joke? You're. You're, you know, trying to always think in terms of, like, what could go in the act. And. And it's weird. I mean, that's kind of what started the podcast, too, is like, we were like, we don't. We. We don't get to drink enough together. We so many. It was originally. It's called We Might Be Drunk, but it was originally called One More Drink, because when you're out with your buddies and you're like, all right, I should go. One of you always says, one more drink, you know, and then it would turn into 7am we would turn in drinking all night. Because it went from having one night to drink to having. Or seven nights to drink to having one. And we'd have to make that one night count, you know, because you miss your friends. And I mean, that's really. The. The podcast started during COVID is just like a. On Zoom. I was in LA and he was in New York, and it was just like, ah, we should, like, catch up and have a drink over Zoom. And then it just turned into a guy hit us up like, you should have a studio for this. And we're like, we don't. We're idiots. We don't know. So that's kind of how it developed. But, yeah, I mean, Mark has been my friend for, I mean, geez, almost like 20 years now. It's crazy.
