← On Purpose with Jay Shetty
On Purpose with Jay Shetty
Judd Apatow: Fear of Rejection Holding You Back? THIS Trick Will Silence the Inner Critic & Help You Feel Confident to Create
01:47:16
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A
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B
I had to look at the failure as the path to success. I thought, well, every joke that doesn't get a laugh is teaching me what not to do.
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A
Sometimes we wait for the result to make us believe that we're worthy. But there's a moment that I think when you do what you love, you're like, oh no, I can do this. It's just a matter of time before people kind of figure it out.
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B
The number one health and wellness podcast, Jay Shetty.
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C
Jay Shetty.
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B
The one, the only Jay Shetty.
- [02:28]
A
Hey everyone. Welcome back to On Purpose, the place you come to listen, learn and grow. Today on On Purpose, I welcome a true icon, Judd Apatow, one of the most influential storytellers in modern comedy and the filmmaker behind, just to name a few, the four year Old Virgin Knocked up and Funny People Together we explore how to tap into your creativity, push through self doubt, use humor to get through tough moments and build the kind of resilience that lasts in both life and work. We'll be diving into Judd's newest book, Comedy, a visual memoir of his life and career. This book is epic. Honestly, I've been flicking through it and taking moments out that I want to talk about today for the past couple of weeks, and I can't wait for you to grab it. Please welcome to On Purpose. Chad Apatow. Judd, it's great to have you here.
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B
It's great to be here, truly.
- [03:18]
A
Thank you so much for being here. I'm like, I'm so fascinated by your career, your life, and I feel like there's so many directions with which we can go. And that's my favorite kind of person to sit down with. But the first thing I want to ask is you have a book called Comedy Nerd.
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B
Yes.
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A
You've made people laugh for decades. What was the last thing that made you laugh out loud?
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B
There's a TV show on Hulu called Such Brave Girls.
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A
Oh, I've not seen it. Okay.
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B
I just. I'll just recommend that to everybody.
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A
It's just make this show. There's no.
- [03:45]
B
I have nothing to do with it other than my daughter Maud said to me, I think I've seen the funniest thing ever. And then we watched it together and we went, yeah, that's about it. And I've been catching up on the righteous gemstones, which I. Which I was behind on.
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A
Okay. I've not seen that either.
- [03:59]
B
You got two good ones.
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A
Great. Two recommendations. I love that. I feel like you and your family just have such a sweet, fun relationship. Are you always watching shows together and connecting and recommending? What does that look like?
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B
Yeah. I mean, when they're young, you're just watching the Iron Giant 800 times in a row with them or Toy Story. And then at some point you go, I wonder if they could enjoy the Blues Brothers. And you try to slip some Caddyshack or Ghostbusters in there, and maybe a third of them, they like. You kind of can't get them to love the stuff that you loved. But then every once in a while when they were young, I'd walk by their room and they're like watching Anchorman or something, and I think, okay, they're beginning to get it.
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A
How long did it take them to get your sense of hum and your style?
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B
I don't know. I used to joke all the time that, like, they just so don't think I'm funny. And, you know, I would go do stand up, and they would be like, how long did you put them through it for? I'm like, 15 minutes. Like, oh, God. You know, like, they felt so bad for anybody that had to listen to me.
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A
Anyone who paid to see you.
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B
Exactly. But I think that's the fun thing about kids is they just have no respect for you whatsoever. I mean, maybe hidden. Like, every once in a while, they'll sneak out, like, oh, I guess they did like that. They think it's funny to hold back.
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A
Yes.
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B
Like, Maude is in the movie Funny People, and the running joke for her in the house is she's never seen it.
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A
Right.
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B
So when she comes over, I'll just have it playing on a tv, and then she'll just leave the room.
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A
That's amazing.
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B
She just decided, this one I will never watch.
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A
That's amazing. What's her reason? Why does she want to watch it?
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B
I think she just realized that it bothered me, and now it's a lifelong gag.
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A
That's what it is. That's exactly it. I don't have kids yet, but I can totally relate to the fact that if I thought something my dad did was cool, I did not want him to know.
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B
Exactly.
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A
Like, I did not want him to know. And you just got to be prepared for that as a dad, I guess, and a mom. Like, I saw one clip where I think you and your wife were talking, and I think you said that her. Her, like, best feeling of being a parent was when you realized your daughters actually got along or something like that.
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B
Oh, that was a big, big moment.
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A
Yeah.
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B
Because, you know, when they don't get along for a while, then you're like, wait a second. They called each other. Oh, my God. They text each other now. And then you just get excited that, you know, the relationship you always thought would happen, happens.
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A
How did you get over that as a parent? I think so many parents struggle with that. Obviously, we all want to be liked. You want to be liked by your kid.
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B
Yes.
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A
And this is the person you love more than anything else in the world, but for years, they don't love you. Like I always say. Like, I feel like I was grateful to my parents when I was, like, 21. Like, it took all those years for me to turn around and be like, thank you, mom and dad. Like, in a deep, sincere way, I may have said it before then. How did you deal with that? Like, it seems like you have a really great relationship with your kids. And how did you get over that hump of not them seeing you as cool and funny and all the rest of it when you achieve?
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B
So I'm like, well, I think that they, you know, I think we all got a kick out of each other. Like, we always thought that they were really funny, and we enjoyed their personalities. And so even when, you know, you go through the rough middle school years, you know, we're still having fun most of the time. And. But I also think, like, we're like the kind of parents who were like, you know, don't go to college, then leave me alone. Like, we weren't like, the pressure parents.
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A
Yeah.
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B
You know, we were trying our best best to say, just figure out what you want to do and chase your passion. And that's the main thing I realized later, which is people are always obsessing on grades or discipline. But the thing you're really hoping your kids have is some sort of fire to chase a dream. And I had never thought about that before. Oh, I need my kids to have some ambition, some energy to take a risk and go after something. And so when I saw that both of them did you know, that was a great, great relief.
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A
Yeah. How were you in school? Did you get good grades?
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B
I was like, a very mediocre, mediocre student. I went to school on Long island, and they used to do this thing where they would test you, I guess, like in sixth grade, and they would decide how smart you were, basically. And they would put you in track one, which is the smartest. Track two, which is kind of. Most people, track three, kids having a problem. And if you were put, like me in track two, it was really hard to get them to ever switch you to a class in track one. So I always thought, like, that kind of messed me up because it was very early, like 12, where they basically said, this is the limit of your intelligence. That really bugged me. And you'd see the smart kids go to class, and you could kind of tell that the Track 1 teachers were probably a little cooler than the other ones. But I got my act together. I went to USC film school and studied screenwriting. But how I got in was I just wrote a really funny essay. My grades weren't amazing. I just sent in a couple. Couple ideas for movies. But my essay was. It was meant to be funny. I just described what the buildings would look like that I would give them the money to build. So I just kept promising them how much money I would donate. It was basically the college scandal in 1985. And I think it made them laugh. I said, you know, you think the George Lucas building is nice? Get ready for the Judd building. But I still have not given them any money.
- [09:06]
A
Is that happening? I was about to ask, are we getting a Judd building?
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B
Just. Just so that they're not part of a bad agreement? I literally have never given them a penny. I'll go speak there all the time, but I. I don't want them to be caught in anything.
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A
Have you ever reconnected with any of your, like, school or high school teachers or anyone else who taught you and you had any interactions with back then that you remember now?
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B
Well, you know, the. The man who ran the. The media program and the high school radio station that I used to interview comedians at was named Jack de Macy and Friends. And, you know, he was the first person to say to all of us, you know, treat this radio station like it's real and just, you know, use. Use it. And so we would like, call up and try to figure out how to get free tickets and free books and.
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A
And live on.
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B
Yeah, we would just, like, use it. You know, people were interviewing politicians and sports people. My friend was interviewing bands like R.E.M. and then one day my friend was like, you should try to interview comics, because he knew I was into it. And then one day I got an interview with Steve Allen, and then I got an interview with Howard Stern, Sandra Bernhardt, and that became how I educated myself about comedies. I did 50 interviews in high school with, like, Seinfeld and Leno, and as I look back now, I go, it helped. Like, they did give me good information, and most importantly, they were nice to me, which I think made me feel safe trying to get in the business, because I thought, oh, there's people like that in there.
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A
Yes. Yeah. What was the most memorable interview that you remember for yourself at that time? Because you were 15 years old?
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B
Yeah, I was 15, 16 years old. I mean, yeah. Martin Short, I interviewed when he was promoting sctv, and he was just so funny. I was always amazed when anyone would try to make me laugh because I was just a kid. And I just thought, wow, this is the nicest person in the world. They're, like, really, like, going for it with me. You know, some people would seem like, oh, no, this is a kid. I don't. I didn't want to do this. They'd be like, fine. But a few people would be really funny. Jerry Seinfeld was hilarious and talked to me about how to write jokes and gave me examples of jokes he was working on. And. And that all, you know, you know, stayed with me forever.
- [11:10]
A
Yeah. It's so subtle. I feel like in those years, the things that you learn and the people that you're around and I, I, I wish everyone got work experience like that. I mean, that sounds amazing.
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B
Well, it was also a lesson in how to treat people.
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A
Yes.
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B
Because, you know, I was just a young person and I would go in and talk to someone and, you know, for someone like Jerry Seinfeld, just to say, I'm gonna sit with you for 45 minutes and really take all your questions seriously and thoughtfully, and that was a big deal.
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A
Yeah, it's such an amazing experience and entryway into the industry, too. Like, you said that, oh, if I become like these people, then I can still be a good person and a nice person.
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B
Yeah. And I didn't realize that till, like, a few years ago, like, oh, that was a big thing about how I try to handle myself in the business was I saw these people like Harold Ramis, and they were just so kind and funny that I just thought that, oh, that's the vibration you want to go for.
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A
Yeah. Did you ever worry about it? I feel like everyone has so many thoughts on the industry. Did you ever have a negative idea of the industry or worry or fear that it would change you or make you different or in any way change your path?
- [12:16]
B
I was just really excited by it. I think, as a kid in the 70s and 80s, just variety TV, Bob Hope and Saturday Night Live and Richard Pryor, it seemed so exciting. And I also thought, there's not that many people in comedy. Back then, it really felt like all of comedy was a hundred people. So for some reason, I thought, I can get in there. I think I can get a job in there. And so I really was just determined to figure out what is the path. How do you do it?
- [12:47]
A
Yeah. I heard an interview where you were talking about how you almost grew up in comedy with all these amazing other people that are all icons in their own right as well, like Jim Carrey and Adam Sandlen. And you were almost like, you were like, we all grew up with our friends in our career, and. And I was thinking, what was it that allowed you all to be friends and not competitors and not see each other as your arch rivals or your arch nemesis in that sense and actually say, oh, no. You said in that interview, you were like, I saw them as friends. And I was like, wow, that's special. It's unique.
- [13:20]
B
I think it's different for everyone. For me, I just thought, I can't compete With Jim Carrey, I can't compete with Adam Sandler. I had an awareness that these were very special people. I mean, they were great friends and remain and are so nice. But back then, just as a fan, even when I was around Adam or Jim, I always thought, oh, that's the guy. That's gonna be the guy. It was like hanging out with Charlie Chaplin or something. And it just turned out to be true that they were the people who were gonna change everything. And so I never felt competitive. Sometimes I was depressed, like I had lost the competition. That's really what I thought. Oh, wow. I'm not built like that.
- [14:02]
A
Yeah.
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B
You know, if you're around Jim Carrey, you're like, yeah, I can't do that. I can't think that. I mean, I used to, you know, help him at writing jokes and punching up scripts and stuff. So that felt like the greatest thing ever. That. That he trusted me enough to be a part of his creativity in any way.
- [14:17]
A
Wow. Well, that's. Well, that's a great point, too. Like, I was looking at from the other angle. But I love. I love the lens you took it through, which is. Then how did you. How did you maintain your motivation and your drive? When you're looking around and you're thinking, God, this guy's ahead of me. This guy's going to be the next big thing. Yeah, who am I? How did you channel that feeling that could lead to depression and giving up to actually going, well, no, I. I still have something to say.
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B
I think I just thought, something's gonna. Something's gonna happen. I don't know what it is. I started out as a comedian, and I was studying screenwriting, and I didn't really have a vision of if I was gonna be an actor. I wanted to be a comedian. I didn't really think that much about being a director. I thought about being a writer a little bit. And everyone was jockeying to break in, and suddenly Jim Carrey was on In Living Color. And then Adam got Saturday Night Live, and I was beginning to write some HBO specials. I wrote for Tom Arnold, and Roseanne was one of my first gigs. And then I met Ben Stiller, and we created a sketch show, the Ben Stiller show together. And suddenly that was happening. And out of some weird fluke, even though I was very young, we both ran the show, which was weird. We didn't really climb the ladder. We got a show on the Fox network, and so I was just trying to not screw it up. And Ben was a genius. So I was Watching what he was doing and trying to figure out how I could help him run the show and not ruin this opportunity. And it got canceled after 12 episodes, but we won an Emmy. Six months. And so it became this.
- [15:56]
A
How did it cancelled and win an Emmy?
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B
It was a funny thing because I think how many people really liked it? It was on at 7:30 against 60 minutes. It was a very weird time slot. And Ben was really trying a lot of new things in comedy. You know, Bob Oudekirk and Andy Dick and Gene Garofalo were on the show. And so we knew this. The head of the network didn't like it. And so the whole time we were like, oh, this isn't going to last long. And six months later, we won an Emmy. And then people categorized us as people who were doing something interesting.
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A
Right.
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B
Almost like an alternative rock band. Like we were the Replacements or something. And I thought, well, that's pretty cool. To be a failure.
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A
Yeah. To be a rebel.
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B
Yeah. Yeah. To not get ratings. But. But certain people that I respect think what we did was great. And so that kept me going for a while.
- [16:43]
A
Yeah, I love that for two reasons. Because I remember reading Bob Iger's book and he talked about how Steven Spielberg, Tarantino, George Lucas, that they would all premiere their movies to each other and ask for feedback. And when I read that, I was like, wow. And he goes on to talk about how they were so confident in their own style, and they so trusted that every person had their own style, that they never felt someone was gonna steal something or take something off each other. And I thought, wow, that's an incredible, incredible. And they're all young at this age. It's not like they're, you know, they're adults, but they're not mature people with wisdom. And for them to have that at that point. And it sounds like you all have the same. Where you're helping each other with jokes, you're building shows together, you're running together. Like, it almost feels like the comedy version of that. If that was the film version, this is the comedy version.
- [17:31]
B
Well, when I was young, we would watch, you know, Saturday Night Live or Monty Python or Second City tv, and it was these groups of comedy people, these communities.
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A
Where would you do this?
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B
You know, we would just be on tv. You know, you'd be home and you'd watch, you know, Monty Python would be on PBS when I was a kid and. And you would see them and think, oh, maybe they weren't. But to me, they were all buddies.
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A
Yeah, right.
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B
And so Saturday Night Live felt like a group of friends. I'm sure they weren't. I'm sure like a couple were watching.
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A
This with Jim and with.
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B
Yeah. So in my head I was like, this is so fun that like there's a community here in Los Angeles of people trying to break in to comedy. And I realize, oh, that was the goal really, maybe more than even the work was like to find that community of like minded people to have fun with.
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A
What convinced you? What was the first moment you were convinced that I'm funny, I can write funny, I can do funny. When did that happen? In that journey and process, I'm trying.
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B
To figure out when I thought I was doing well because I was very comfortable not being good because when I did all the interviews, they all said, it takes like seven years to find your voice. So in my head I thought, oh, I started stand up at 17, so when I'm 24, I'll be great. And so when I was 19 and I was terrible, I thought, perfect, this is where I'm supposed, supposed to be right now. So I had this clock that was very aware that this was going to take time and that I had to look at the failure as the path to success. And so I thought, well, every joke that doesn't get a laugh is teaching me what not to do. And then I'm trying to think of the first thing that I thought was very fun.
- [19:06]
A
Yeah, that you thought. Not that the result worked. Because I think that's a really interesting part. Right. I feel like sometimes we wait for the result to make us believe that we're worthy. But there's a moment that I think when you do what you love, you're like, oh, no, I can do this. It's just a matter of time before people kind of figure it out.
- [19:23]
B
Yeah. I started writing jokes for comedians like George Wallace and Taylor Negron. And then I got hired to write jokes for Tom Arnold when he first moved to town. And everyone was like, who's this guy that's with Roseanne? And he was trying to figure out his point of view in Stand Up. And so I was a part of that. And then we did a bunch of HBO specials where he would try to solve the world's problems, like reality comedy specials. And we would write these setups for these reality pieces which were film sketches. And Roseanne and Tom would get big people to be in and Frank Zappa was in one. Fred Willard, I got Jim Carrey to do one of these intros and Stiller. And so these little Intros were funny. And so maybe those are the first things that they shot. Like, oh my God, I wrote a joke for Frank Zappa and got a laugh.
- [20:09]
A
Yeah.
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B
And that gave me.
- [20:11]
A
That was it.
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B
Yeah. To see Martin Mull do your bit and just go, wow, he's my favorite. And I think I didn't screw him up. I think I gave him a good joke there.
- [20:19]
A
Yeah, yeah, that's. I mean, the success. The failure to success piece is so interesting. I saw somewhere you said something like, you heard that someone sold their 10th script.
- [20:29]
B
Yes.
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A
And so you felt you could not sell nine and it would take time. And I love that idea that you said, hey, I started at 17 and it takes seven years to be a great comic. And so at 24, I think the reason why I'm picking those two things that you've said is today I feel like a lot of young people just feel like they have to be successful tomorrow because There is a 16 year old who has 100 million followers on TikTok, or there is a 21 year old that is a billionaire or whatever it may be. And so. And now you're aware of what everyone's achieving, not just your classmates or the people you're around. And I wonder if you've ever thought about, especially with your daughters going into the industry too, how do you help them reconcile that, that pressure and that timeline that's just totally shifted where you can't take seven years to become an icon anymore. You should be an icon tomorrow.
- [21:19]
B
Yeah. I think that that must be tough on everybody trying to do anything, because I look back at when I was living with Adam Sandler and I always think no one was paying attention to us. So we would go to the improv every night and Adam would experiment and do weird characters, do Cajun man out of the blue and just do all these weird things. And no one was judging it, no one was taping it, no one was commenting about it. So there really was this gestation period where you could be really weird and funny and take chances and really fail some nights, really kill other nights. And so the idea of people paying attention to that, where when you're really young, you feel the need to put yourself on the Internet probably is not great for everybody because it's also really fun failing when no one's watching. Yeah, it's fun to play a club at one in the morning in front of 30 people and just do something wild just to see if it would work.
- [22:09]
A
Yeah, yeah, absolutely. And it's almost like you've got to kind of. Even if you are putting yourself online, you've got to. You've got to feel or remind yourself that no one's really watching right now. And, hey, people won't. They'll only watch my first videos after I get a following, which will be okay. And so there's some of that that you can kind of take forward.
- [22:27]
B
And I, you know, I didn't direct till I was like, 36, 37 years old, a movie. I'd done some television before that, and I was better because I wasn't given the shot earlier. I think I just knew how to do it. I was more mature. I had more to say. And so I don't necessarily think it's always great to get the big break right off the bat.
- [22:47]
A
I love hearing these stories, and that's why I love the book Comedy Nerd so much, is because for me, like, my first experience of Ben Stiller would have been Zoolander or, you know, I'm trying to think of the first Adam Sander movie I watched in Click or maybe something like that. And it's like, you come across this work when. Or like, with you, it's like forgetting Sarah Marshall or, like, and you're talking about these huge hits that are, like, worldwide famous. You know, people talk about them, laugh for hours, and that's your first experience. Then you realize, wait a minute, this person had a TV show that had 12 episodes and got canceled, and then they went on to do something else. And so I feel like it's so sobering to hear it. And I feel like for our community that are full of creatives, people who are entrepreneurs, whether you're building a business, whether you're launching a podcast, whether someone's trying to create their own brand or clothing line, it's almost like there's so much pressure to be first and for your first thing to be your thing today, I feel, and to know that your. Your main thing that you do today, that you're most known for directing happened like, you know, 20 years in. 20 years in doing the thing, as opposed to two years in. And you've continued to build an amazing career from it. It wasn't. It wasn't like that was lost time. Even you wouldn't say that from 17 to 36 was a waste of time.
- [24:07]
B
No. And there was. There were fun projects that we, you know, we all learned how to make movies while making. So, you know, I worked on a kids movie called Heavyweights, and that was the first movie that we shot. And, you know, at the time was a little $10 million movie that made $20 million. And, you know, Ben Stiller played the bad guy. Paul Feig was an actor in it, Kenan Thompson was in it, and our friend Steve Brill, who I wrote it with, directed it. And, you know, we didn't know what we were doing and made this kind of super weird Disney movie, and at the time, I guess, considered a failure. And now, 30 years later, it's on Disney right now, and it's like a big movie that kids keep watching. So even the things where you were learning, sometimes over time, you realize, oh, people love that one. Even. Even the things that at the time were failures or people didn't quite get what your point of view was. And then, you know, 20 years later, people say, oh, I love the cable guy. Yeah, I took a beating for that in 1996. And so that's the other thing you learn that it takes time for the world to really tell you if you succeeded or failed. You may think that you failed, and then you realize, oh, that never went away. People like that, and they watch it. So now when I make things, I'm not as crazed about the immediate reaction, because so many times I've seen things bubble back up.
- [25:24]
A
Yeah, that's why, I guess making what you believe is so important. And that's one of the reasons. Reasons why I love TikTok so much. Because songs that are 5, 10 years old. Yeah, 20 years old, some of them will have a full refresh because they hit the TikTok algorithm, and now a whole new generation is in love with that song. Would you say, though, Judd, that you felt that way or you felt that way over time? Did you. Have you always made stuff that you believed was funny and was made for you and your friends, or did you always put the audience at the heart of it and it was their response that designed it? Because I feel like in creativity, there's these two versions where people are like, I don't care what anyone else thinks. I just make what I believe is funny and what my friends would laugh at. And then there's like, no, I'm listening and learning and taking all the outside notes. And then that's what I'm focusing on. What was your process in the days when it wasn't working externally?
- [26:17]
B
You know, the main thing is, do you like it? So as a comedy fan or just someone who wants to make things that are great? That's the main bar. Like, do I like it? Am I proud of it? And then the second question is, how many people would like it the way I like it because you can make something and you know, oh, this is a very niche idea. There's going to be a small crowd who likes it and certain ideas. You're like, I think this is great, but I actually think everyone will like it. And I was always a big fan of James Brooks from when I was a kid watching the Mary Tyler Moore show and Broadcast News. And I got a chance to work on this show he did called the Critic, and I just saw that he really cared if the. If the audience liked it. And he would always say, if the audience doesn't love it, you failed.
- [27:01]
A
Yeah, like, that's.
- [27:02]
B
It's as simple. It's as simple as that. If they're not touched emotionally, if they're not laughing, you didn't do a good job. And, you know, he was a big supporter of table reads and getting input from people and. And doing test screenings and seeing how people were interpreting the work. So it's a weird process because on one level, you're trying to be an artist and stay true to what you believe in and what you like, but you're also having this conversation with the audience because they don't get it. It's bad.
- [27:29]
A
Yeah, yeah, absolutely. I think now creativity has become, in one sense, more difficult because the idea of a trend and everyone doing the same thing is far more normal and common. Whereas in what you're talking about, there was a sense of uniqueness and ingenuity, and everyone's kind of doing that. Like Jim Carrey's not doing the same thing Adam San is doing. You're not doing the same if you're working with them on a project that's different, but you're not doing the same thing they're doing. And it's almost become harder to stand out. In one sense, you could argue it's. I'm easier to stand up because lots of people are doing the same thing. But it's almost like creativity has very much become about what the algorithm rewards.
- [28:13]
B
Exactly. And I'm glad to have escaped that era because I think that is really dangerous to doing something very unique, because the next great thing is the thing no one saw coming. It's just the wild idea or a band that doesn't sound the way anyone else sounds. And so there's a lot of great stuff that all sounds the same in music. And you think, yeah, that's good. But it does sound like these other 12 things. And then there's this other thing where it's like Radiohead or whatever, and And I think especially in comedy, you do need someone to reinvent the whole thing. Like when you saw the Hangover, and you were like, where did this come from?
- [28:54]
A
It was so Anchorman was definitely that.
- [28:57]
B
Yeah, Will.
- [28:58]
A
And Anchorman was completely that.
- [29:00]
B
Will and Adam had their sensibility of what they wanted to be in a big comedy, and there really wasn't an exact precedent for it. We loved movies like the Jerk, but they had their real take on this kind of arrogant American man who needed to learn some. Some lessons. And that changed, you know, the game for a lot of people.
- [29:19]
A
Yeah. What was. What was your sliding doors moment or, like, moment of, like, if that didn't happen, my life could have completely gone on a different trajectory or in a different format.
- [29:30]
B
I mean, there's so many of them. You know, I met Ben Stiller online at an Elvis Costello unplugged taping, and, you know, we thought of this sketch show idea and pitched it two weeks later, and everybody thought we were old, old friends. And we had known each other for 14 days.
- [29:47]
A
Wow.
- [29:47]
B
And suddenly we were just, you know.
- [29:49]
A
And it was just natural. From the moment you met, we just.
- [29:51]
B
Got along great, and creatively, we're in sync. So if I didn't bump into Ben that day, I mean, that was, you know, a pretty big one. I remember seeing Jim Carrey at a comedy club and. And thinking, I think I've just seen the best comedian in the world. And I called my manager and I was like, you have to come see what Jim Carrey's doing. And. And that was a big moment just to witness it. And in movies. Yeah, it's just like an opportunity. Steve Brill saying, hey, I want to make a summer camp movie that's about a camp for overweight kids. And I just said, oh, that's hilarious. If you need help, let me know. And just him saying yes changes your whole life.
- [30:42]
A
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- [31:44]
C
Hey everyone. Ed Helms here and hi, I'm Kal.
- [31:48]
B
Penn and we're the hosts of Irsay The Audible and iHeart Audiobook Club.
- [31:54]
C
This week on the podcast, I am sitting down with Jenny Garth, host of the iHeart podcast. I choose me to discuss the new Audible adaptation of the timeless Jane Austen classic Pride and Prejudice. This is not a trick question with no wrong answer. What role would I play?
- [32:14]
D
You know what?
- [32:16]
A
I can see you as Mr. Darcy.
- [32:18]
B
You got a little call in first.
- [32:20]
C
Okay, that's really sweet. I appreciate that. But are you sure I'm not the dad? I'm not Mr. Bennett here. Listen to Earsay the Audible and iHeart Audiobook Club on the iHeartradio app or wherever you get your podcasts.
- [32:40]
D
In the heat of battle, your squad relies on you. Don't let them down. Unlock elite gaming tech@lenovo.com Dominate every match with next level speed, seamless streaming and performance that won't quit. So you can push your gameplay beyond performance with Intel Core Ultra processors for the next era of gaming. Upgrade to smooth high quality streaming with Intel Wi Fi 6e and maximize game performance with enhanced overclocking. Win the tech search power up@lenovo.com Lenovo.
- [33:11]
B
Lenovo.
- [33:24]
A
Was there anyone that you felt was so good but then, you know, didn't have the career? Did you see people that you were like, oh my God, this person's amazing, but they didn't have the career that you thought they would.
- [33:34]
B
Yeah, there's so many comedians who are incredible, but they didn't necessarily transition to movies or sitcoms. But they remained the best comedians of all time, or they were just road comedians who were just way funnier and better than other people. But some people never had that energy to go, all right, how would I work in a movie? I think it's a very specific understanding of yourself and story and what you do. Adam Sandler started writing screenplays for himself when he was right out of college, when no one wanted him to write a screenplay for himself. No one was saying, hey, write a movie for you to star in. He just had this sense of, oh, this is a path I think that I could succeed in. And so even when no one thought you could be the lead of a movie, he sat in A room, I remember, sat with my friend Joel Madison. They just wrote a movie. And I was like, wow, you just sat down and wrote a movie. You can do that. You can just get out the computer and do that. But not everyone had that belief in themselves.
- [34:32]
A
Yeah. Why did you feel that turn was so important, that connection between comedy and then becoming a writer and director? Why was that calling important to you? Where did that come. Come from? Like, you're saying not everyone made that crossover.
- [34:43]
B
Well, when I was interviewing people, you know, some people like Harold Ramos said that he made a living by selling jokes. And I just thought, oh, I don't have to make burritos. I could, like, sell a joke for 50 bucks a joke to somebody. Or, you know, because I had, you know, worked in a restaurant for a long time, was a busboy and a dishwasher. So some of it was just, I need money.
- [35:03]
A
Yeah.
- [35:03]
B
And most comedians didn't want to write for other comedians because they wanted to be famous.
- [35:08]
A
Yes. Yes.
- [35:09]
B
And I thought, I think I can do it and still do my stand up. And I think what it really was is I enjoyed hanging out with other comedians and I enjoyed collaboration. Like, my desire to be successful solo wasn't very strong. I think on some level I thought, oh, this is fun hanging out with Ben. And I'm not looking to be isolated.
- [35:30]
A
Yeah, that's such a great sense of self awareness. I love that. Like, I love hearing that for everyone who's listening, because I think there's again, like, and I'm just looking at thinking about our community that watches our show and listens to our show and has dreams and has aspirations and how often by wanting to be the face or wanting to be number one in a certain way, you can lose out on, like, this, you know, tapestry of stories and experiences and amazing friendships and relationships where you're like, yeah, I just. I didn't really care about being the guy who was on the screen telling the joke. I was happy being the person who wrote and built these universes that these comedians played in.
- [36:09]
B
Yeah. I mean, it was so fun. Like, I would go to Roseanne's house and just write jokes with her on Sunday.
- [36:15]
A
Yeah.
- [36:15]
B
Just go, like, at breakfast time, sit at her breakfast table with her. She'd bring out legal pads. And to me, that was success. I mean, almost to the point of if it didn't get much farther than that, I was already pretty happy. Like, wow, there are people that are the best at this who will let me be a part of their thing. And so I was Just so excited to be allowed in the room. You know, sometimes I joke that the only reason why I even wrote anything was to get to be allowed in the room. I had to prove I was credible to have these relationships with everybody.
- [36:48]
A
Yeah. When do you feel most creative and when do you feel most creatively blocked?
- [36:52]
B
I mean, I work so hard to try to figure that out. I think it's just an ongoing search for flow state. And so I used to never understand anything about how the brain works. And so when I was young, I would write. My process was I would sleep till noon, I would get up to write. I'd watch mtv, Road Rules or something. I would just sit and watch TV for like six hours. And then at six, I'd think, I'm going to write. Then I would eat dinner. And then after dinner, at some point, I'd slowly move to the computer. Now it's like seven, eight o' clock at night. And then I would write to like, like two in the morning. And that was like my, my flip, my flow. And I realized, oh, so it's almost like a post food relaxation burnt out all my interest in TV in the world. And then my brain would just like get so tired, it would relax and then stuff would come to me. Yeah, but then, you know, when you have kids, you can't work from 8 till 2 in the morning. And then you have to figure out, oh, I guess I have to almost set an appointment. Like, okay, from 9 to 12, I'm just going to sit in this chair. And that's something I learned from David Milch, who created Deadwood, who always said, you can't think your way into writing. You have to write your way into thinking. So if you just start writing, your brain will eventually go, oh, we're doing this now. And that if you do it at a similar time, the second you hit the chair, your brain will go, it's time to do the thing that we do. And I even took a class on flow states, one of those Steven Kotler classes. And it just totally worked. It was kind of hilarious. And there were people giving advice about, all right, get up, don't have breakfast. Just drink a little bit of black coffee. Try not to eat lunch till noon. Don't let your office interrupt you. And then suddenly I realized, oh, I'm really getting a good four or five hours done just by listening to some very simple advice about not being distracted. Because I could look at the news feed on my phone and be in a bad mood for three days. And a bad mood that will prevent me from being funny. I won't be able to go to my world of imagination because I'm thinking about some problem in the world, and so I really have to protect my mental state to disappear into imagination.
- [39:14]
A
Yeah. How do you balance that, then, in staying informed? And does that ever inform your comedy? Does that ever inform the messaging you want to put out there?
- [39:22]
B
I mean, yeah, as soon as the writing's over, I go deep down, you know, a terrible rabbit hole of tracking everything, and I have to. I have to, you know, be aware that it could just put you in a massive depression because we know too much. Like, when I was a kid, we didn't really know what was happening in the world.
- [39:41]
A
Yeah.
- [39:41]
B
Like, I. Like, I lived in New York and I knew a little bit about what, like, Ed Koch was doing, and I knew they were trying to capture the mob, and occasionally you hear about some crime or. Or a murder. I didn't really understand what was happening in Congress as a. As a kid, I watched the news all the time, even in, like, middle school. And now I know the major terrifying problems of every country in the world.
- [40:01]
A
Yeah.
- [40:02]
B
And it's too much. It really is too much. And if you find it interesting, which I do, like, I'm fascinated by how politics work, how people treat each other, the problems of the world, the drama of crime, the drama of corruption.
- [40:16]
A
Yeah.
- [40:16]
B
I can really. I could read it forever. I just find it so interesting as a storyteller, too. Like, look, that person was in this position, and there's the choice they made. They could have gone this way or that way, and they went this way. So for me, one of my flaws is I'm looking at too much. And when I'm in a good writing groove, it's usually because I found a way to limit it so that I could go in my own head and see what's there.
- [40:42]
A
Yeah. Yeah. I read a study that said we're exposed to more tragedy today in 24 hours than we were in our whole lifetime 25 years ago.
- [40:50]
B
Just today. It's the equivalent of today that there was 11 Pearl Harbors in the last three days. So I was depressed the other morning, and I thought, how would you not be depressed just based on what you read this morning? It's a trauma response to all of that.
- [41:08]
A
So for me, what do you do with that? What do you personally do with that? Because I feel like that's an issue. Everyone who's listening can relate.
- [41:14]
B
I mean, I try to find things that I can do to support people or Organizations and. And causes that are fighting for values that I agree with, you know? You know, every month, I do a benefit at Largo in LA for a different charity. You know, I. My first job was working for Comic Relief, this homeless charity. And so I've always tried to, you know, be connected to philanthropy. And then some part of your brain's like, okay, you're doing something, you're doing something. And it never feels like enough. But I think everyone has to do something and just hope that this collective that moves certain causes forward and helps take care of people. Because it is rough to hear about so much suffering.
- [42:00]
A
Absolutely.
- [42:02]
B
And then the guilt response, like, should I be doing more? So I try to spend some time every day thinking about it. And I remember I went and had lunch with Norman Lear, and Norman Lear had the newspaper out, and I said, what are you doing? And he said, this is something that Frank Sinatra taught me, which is he would open the paper every day, he would look for somebody in a bad situation, and then he would get on the phone and write him a check, and someone's house burnt down. Or he would just follow up and just, someone's got a tragedy. Sinatra would just write him a check, not tell anybody, just. And Norman Lear tried to do that. So, you know, I like that type of thinking.
- [42:42]
A
Yeah, I love that. Yeah. I feel like if you. If you feel like you're a part of the solution, even a small part.
- [42:49]
B
Yeah.
- [42:49]
A
Then the big problem feels a little bit smaller.
- [42:52]
B
Yeah. And, you know, so you can go and go fund me or something and help out in some way. The hard part is you go and go fund me, and there's 2 million people with really difficult problems. So that gets in your head.
- [43:02]
A
How do you choose who deserves it?
- [43:04]
B
So you can make yourself crazy, but you still have to find a way to do it if you have the means.
- [43:09]
A
What was the biggest creative risk you feel you ever took?
- [43:13]
B
I don't think of any of them, really as creative risks. I usually just try to only work on things that I think can be really good that I care about. So it's not like there's any one decision. I just think I want to be proud of everything I tried to do. And if it fails, I'd like to feel like I understand why I thought it could work. And I. And I like for things to have a good heart and to say something positive.
- [43:41]
A
Yeah.
- [43:41]
B
I want to be aware of what I'm putting into the world.
- [43:45]
A
It's almost easier to deal with failure when you really believed in what you were doing to some degree. Because if you didn't believe in it and then it fails, then you're like, like, well, I didn't believe in it anyway. I knew it would fail.
- [43:54]
B
Well, it's a miracle that anything works because everything in comedy is an experiment. There's no precedent that lets you know this will definitely work. So you're always on the verge of massive humiliation and failure. And then that's just the spirit of it. Like, I guess this will work. And sometimes things work for some people, but not other people. You go, oh, this does work, but for way less people. And then some things, you know, out of the blue, like the entire world loves Bridesmaids. Right. And it's the same efforts that everyone puts on and then just sometimes things, you know, connect in a big way.
- [44:28]
A
Yeah. Such a great movie. Such a great movie. Absolutely. There's something you say in the book, you say in your book, Comedy Nerd, you say, when I stopped performing to pursue my writing career, on some level I betrayed myself. The truth was I didn't believe in myself. So that's a part of that story too, was that there was a sense of belief lost.
- [44:48]
B
Well, as a fan, I was aware the difference between me and the people that I was hanging out with. And, and I, and I also felt very self conscious. I look back and I think, oh, I was, I think I was pretty in my head. I didn't really know who I was. I didn't have a strong point of view. You know, some comedians are very like, surreal. Some comedians are very angry and they tell you how you should do this or that and I was always right in the middle. I was just more talking about things I was confused about and I didn't have solutions to anything and I wasn't that weird. So when I first did stand up when I was young, I was on all the talk shows and did all that stuff. But I knew on some level, oh, I'm not reaching the heights of some of the people that I admire. And then I started doing stand up again about 10 years ago and it's much more fun and I have a lot more to say and I don't feel as pressured to, to feed myself with it. And so I could really be experimental and have fun.
- [45:42]
A
I love knowing though that you could be that uncertain, confused, and have some self doubt and still find your way. Yeah, there's something beautiful about that.
- [45:51]
B
I mean, the stand up is very confrontational because every time you go on stage you're like saying to people, you, you should listen to me, I'm worth hearing. And you're also saying I'm entertaining. Like, this should delight you for 20 minutes. There's a certain amount of confidence and arrogance to do it at all. Some people do it out of neediness. Like, they so need the approval that even though they're terrified, they'll do it anyway, you know, to get it, like, crack or something. But it's like writing. Like, sometimes, like when I don't want to write, I realize, oh, I'm not writing today, because I feel like I'm going to find out today that I've lost it. You know, like, by literally.
- [46:27]
A
Do you have that now?
- [46:28]
B
Yeah, because every time you sit down to type, you're like, this better be good. And I'm going to find out how good I am right now. And that's the most unhealthy way to do it. Like, that's the opposite of flow state is like, that the critical voice is just there the whole time.
- [46:43]
A
And you have the pressure to be good right now, in this moment. What do you do with that thought?
- [46:47]
B
Sometimes I have to play tricks on myself. So if I'm gonna write a scene, the thing about, say you're using a program, like, Final Draft, and it looks all pretty. And so when you type, it has to be good because it's so formatted, it looks so beautiful. It looks like a screenplay. So sometimes I have to write without the format. So I'll just open up a Word document. Now, if I'm going to write a scene, I'll say, okay, take the next 15 minutes and just babble with no punctuation ideas for the scene and just keep going. And maybe do an experiment. You're not allowed to stop typing for 10 minutes. Just anything, lines of dialogue, things that could happen, crazy stuff. And try to get in a state of just pure spewing, and then take a break and then read it with a highlighter and go, was anything in there good? And usually there is. You know, it may be very little, or maybe it's like the whole thing's garbage. But this one idea is so good, I can't believe it. But you kind of have to let your. Your subconscious speak.
- [47:53]
A
Yes.
- [47:54]
B
Get out of the way.
- [47:55]
A
Yeah. And. And get that perfectionist out of the way that was blocking you and saying every line you write down has to be almost like this final line that will make it into the scene.
- [48:05]
B
It's like if you were trying to think, what would a woman say to break up with me? And you just sat for 10 minutes. And just wrote the speech of why she's breaking up with you over and over again. And maybe the 20th time you did it, you'd have reached some bizarre place in your brain and it would be something you never would have thought you've written from just some old injury. Because I really don't even understand how the brain works. But it certainly stores up a lot of stuff.
- [48:30]
A
Yes.
- [48:30]
B
And it pops out if you keep coming at it from different angles.
- [48:35]
A
Yeah. Do you believe there are a set of rules to good comedy or there are no rules?
- [48:39]
B
I don't really understand any of it. I'm not one of those people that can really lay out why things work or don't work. I tend to try to think pretty simply about, if I write it as a drama, that if the construction would work, if there were no jokes, that it won't be hard to figure out a way to make it funny. So I try to not chase the joke, try to chase the emotional story and then look at it like, how can I make it funny? Because I think all the situations in life which are painful are really close to funny. That's why in movies, there's so many movies where it's just like someone's breaking up with you. And it might be funny because you start crying. It might be funny because you start screaming. It might be funny because you run away. So I just trust that, that sense of why things are funny that are challenging or awful, that it'll just come. So when I think about Knocked up, and Seth's trying to talk to Katherine Heigl and she wants to tell him that she's pregnant with his baby. And so the idea is before that, she's just asking him questions about his life because she doesn't know anything about him because he had a one night stand. And everything in his life sounds like the worst information. If he was the father of your child. Yeah, he has five grand in the bank. He thinks it'll last two years. He got it because his foot got run over by a postal truck. And just on and on and on. So. So. But on another level, you think, well, that's what you would do. So if you were to have lunch with someone to tell them that you're pregnant, you might in the warmup go, how's your life? And try to get some info out about, what am I in for here?
- [50:22]
A
Yeah, that's the emotional need of safety and certainty.
- [50:26]
B
And she's not getting any safety. And he's oblivious, which is funny. He doesn't know what he's walking into a buzzsaw. And so it's inherently a very real situation. But for some reason, with certain people, it's funny.
- [50:38]
A
I love how much you love the scenes and even the characters you've created because I find sometimes creatives get quite jaded when something's passed on. You don't feel that way through the book Comedy Nerd. Through talking about it with you today, through all the interviews that I watched in preparation for this. I don't. You don't sound. When you talk about your characters in your movies, it's like you're in them and we're in them and like it's fun. Like, how. How is that stayed? And have you seen other people get jaded? How have you held on to that joy of what you created?
- [51:07]
B
Usually when it's done, I feel disassociated from having been a part of it. It's just a feeling like that world exists. It's almost like it happened. I don't think of it as the construction, and I know about all the construction, the levels and the rewrites and the rehearsals of how we got there. But when the movie's done, I feel like it's a real world. Like it's in another dimension and those people are there.
- [51:33]
A
Yeah.
- [51:33]
B
And they're still going, you know, And I like them. Like I, you know. You know, for all of them. Like, I like the, the characters. I spent so much time with them and. And if the movie came out really well, a lot of times I don't, you know, I don't watch them just because I work so hard. There's no part of me that's like looking to experience it again. So I don't have that, that, that viewing of a movie that other people get because I know the story. I'll never really get to see the movie the way someone else gets to see it because I just know what happens. And I've slaved over like the music queue and the sound effects. But recently I went to see the 40 year old virgin for the first time in 20 years. We did a screening.
- [52:13]
A
Wow.
- [52:13]
B
At the Academy Museum. And I had literally forgotten 80% of the jokes. I didn't remember any of it. And it was the first time in my life it felt like I wasn't a part of it and I could just enjoy it. And I was laughing. I was proudly like, wow, look at these lunatics go. They're really funny. They're going hard, everybody.
- [52:32]
A
I love that. I love that. What? What's a joke? You could make 20 years ago that you can't make now.
- [52:37]
B
I think. I think people are sensitive to how we define people, how we goof on people. You know, when I rewatch this stuff, there's not like a ton where I'm like, oh, God, why do we do that? But there's a few where you think, yeah, today I wouldn't have done that joke, you know, making fun of people for just being themselves, whatever that is. But a lot of the times we were talking about people who get made for fun of. So when I worked on Superbad with Seth and Evan, we were talking about how in every Marx Brothers movie, they would always have a really rich guy punch Harpo Marx in the face, like in the first 10 minutes, because then Harpo could do anything to them and they represent rich people or power. But because they did something really mean to him, Harpo had free reign to cause massive chaos. And so when we were doing Superbad, they had one of the kids spit on Jonah by the 7:11 type place. And that was it. Then whatever Jonah does, I know where he is in school. I know how he's treated grades, and I kind of want him to succeed. I want him to have something nice happen to him. So I always look at it that way.
- [53:49]
A
Yeah, I love that. What's your take on the impact of AI and ChatGPT on writing creative block? You're a fan. Do you feel it's going to be useful for writers now? Do you feel it's a hindrance? Where do you land on the conversation?
- [54:03]
B
I think that the. The danger of it is it allows you to shut off part of your critical thinking. And so if you really were into it, I think that you'd be losing something while gaining something. So if you think about GPS and you go, I kind of couldn't drive around LA because I don't know where anything is anymore.
- [54:27]
A
That's me.
- [54:28]
B
Or I don't remember anyone's phone number anymore. I think that if you were asking a machine to do certain work for you, like, oh, fix my letter, it seems kind of good. But at some Point, if your ChatGPT went down, you might not be able to do the letter. And so that's the thing that makes me nervous. I think it's very helpful for research. Research. So I'm writing a movie that takes place in college and I'm trying to think of classes to go, oh, what's an interesting class about music? That is really, really helpful. But if you start going, write me the scene about that class, I think that you're in danger. And then you have to ask yourself, well, why do I do it? I mean, if you were just in it for the money, I guess you could use it as a tool. But if you're also in it to learn about yourself and through creativity, have some self knowledge and it's an expression of you, then you don't want it in your world that way.
- [55:26]
A
Yeah. It's almost like how hard your hand hurts when you try and handwrite now because you're not used to it anymore, and you're like, wait a minute, if I don't go to write something now.
- [55:36]
B
No, there's no cursive. And they say that you're more creative when you write in cursive than when you type.
- [55:40]
A
Absolutely.
- [55:41]
B
And so we've kind of eliminated this thing, which probably led to a lot of, you know, beautiful expressions of how people are feeling in letters and notes. And when people would write novels, you know, longhand. Mel Brooks. I'm doing a documentary on Mel Brooks. He would write all those scripts of the legal pad.
- [55:58]
A
Yeah. And there's all the research around how doodling helps our brain connect ideas. And when we'd be on the phone, we would do while we would talk to someone, and it would help us.
- [56:07]
B
And you get in the flow state.
- [56:08]
A
Yes.
- [56:08]
B
I mean, and so, okay, so now no one doodles. How much creativity have we lost as a result of it? But I'm scared of all the AI stuff. I mean, I go on YouTube and I just watch videos about what could go wrong every night, all night. Because I'm always terrified by the fact that the people who are in charge of AI are also scared of it.
- [56:29]
A
Yes.
- [56:30]
B
So even the people who are doing it, they're like, it's great. It's going to change your life. It may solve some diseases. It also may decide to murder all of us and not want us around. But I do think it's also going to be good at teaching you how to play the guitar.
- [56:45]
A
Yeah. Great trade off. Great trader. Another line that stood out to me, Judd, in your book, you said, I learned later in life through therapy that I had projected all of my childhood divorce drama onto the network executives who'd rejected or abandoned me.
- [57:02]
B
Yeah.
- [57:02]
A
And so I want to dive into multiple parts of that. Let's first start with. I think you've talked about how you've done therapy for, like, 20 years.
- [57:08]
B
Yeah.
- [57:08]
A
It's been a big part of your journey. Walk me through how the questions have evolved in therapy. 20 years, 10 years, 5 years, 0 years today.
- [57:17]
B
It's amazing how many new things you learn as you get older that you didn't quite understand before, because on some level you understand that there's a lot of projection happening in your life. But in maybe the last five years, I think I learned a lot more about trauma responses to things and the ways that we just change our whole way of dealing with everything based on trying to avoid past pain. And that was something I didn't learn about for the first two decades of therapy. The idea that a lot of the time we're just in a fight or flight or freeze response to everything. I had a therapist say, when you walk in a room, say you're walking into a party, the first thing you do, you might get anxious and you scan for threat and then your brain assesses the threat and they might go, oh, looks like these people seem nice enough, we can enter the party. And then he said, the thing you're supposed to choose is opportunity. And okay, I'm going to actually go try to talk to that person. Maybe something nice would happen if I talk to them. And in some way we're doing that all day long. We're like scanning, where's the problem? Where's the problem? And I think that's something that has been very destructive for me as someone who's always looking to solve problems in a very OCD type way. Like, what's the problem? How can I solve it before it happens? And then you realize that you're consumed all day long running potential problems. And so that's been a big thing. Like, how do you let go of a mind that wants to look for trouble?
- [58:51]
A
How do you.
- [58:54]
B
I mean, obviously it's some version of mindfulness, some version of noticing the process and having some higher self separation to go, oh, I'm doing that thing again. And can I connect it? The one who's observing is me. And the rest is just kind of mental clutter. But it's really hard. It's really hard.
- [59:15]
A
It is really hard. Especially if you get caught in those cycles and they just repeat themselves round and round around and you're back in square one. What was the particular aspect, the one that I quoted the. You're talking about projecting all of your childhood divorce drama onto the network executives. Talk to me about that exact.
- [59:30]
B
Well, I feel like there's always healthy and unhealthy reasons to do most everything. And that's what's tricky. Right? So on one level you're like, I love to be creative, I love comedy. But in your unhealthy part, you feel like, I want validation, I want to succeed, I want safety. Like, if I succeed, I'll have safety. Maybe I'll have love. And so you have both this very pure creative love for something and then this trying to protect yourself through it. And so then you're doing work. Let's say you hand in a script and then someone says, I hate your script. The studio hates your script. So in your mind, you could go, oh, are they correct? So maybe I should read it again. Or you could go, why are they trying to murder me? Why are they trying to destroy me? And then you're mad at them because you've given them so much power and. And now you're irrational. You're just in. They don't care about me. How come they don't see me? How come they don't understand me? And then you have just that insecure. What if they're right? What if I'm terrible at this? And so you're projecting all these old wounds and needs onto a creative relationship. But I didn't know that because I was just a young person.
- [60:45]
A
Yes.
- [60:45]
B
So, you know, when people would give me notes that I did agree with, I really felt like, oh, you're trying to destroy me. And to learn how to have those conversations in a healthy way took a long time for me. There was literally a moment where I went, oh, I'm treating the head of the network like it's my mom. I'm mad at her in the same. I felt like I'm mad at her in the same way I'm mad at my mom when she's not there for me. And I need to take that energy out of this. But it is a fight or flight response. Oh, you don't like it? Well, if you don't like it, I'm not going to be able to eat. And now I need to fight you. And it's heated, right? And so as you get older, maybe your testosterone levels dropping helps as well. You just go, oh, that's what that is. Okay, take a breath. What are we really talking about? What's their note? And you may decide you completely disagree, and, oh, maybe let's not do the project together, or maybe I'll take it to someone else. But you can't be rational till you come down and go, oh, everything. I'm filtering this through has nothing to do with what we're doing.
- [61:50]
A
That's such a great note. And I love the visual of you saying, I'm treating the network exact like my mom and I'm thinking about just the moments in my life where my reaction has been totally based off of a trigger response or a trauma response, that now you're turning this scenario into something that it totally isn't. And it's coming from something in the past and something you've experienced and feels real, but this isn't that.
- [62:15]
B
Yeah. You're having a tantrum like a kid. And it's also embarrassing to realize that you're wired that way. Like, oh, man, I'm just so basic. Yeah. I mean, I would just be so hurt when Freaks and Geeks was basically about to be canceled. And they would give me notes, and the notes were usually notes which would have made the show not as good. It was like I was at war and my back went out. I had to have, like, back surgery because I was putting myself under so much stress. I had made it so important. And the hard part is, you know, can I work just as hard and not make it emotionally important?
- [62:55]
A
Can you? With creative tasks? That's a great question. Like, can you? Because Freaks and Geeks was super successful. Because you pushed yourself to that limit.
- [63:04]
B
And because we didn't give in.
- [63:06]
A
Correct. That's that. That's the give in part. So important. And so I'm like. Like, have you found that you've been able to not give in but not emotionally carry all that load and still create something that successful? Is that even possible?
- [63:21]
B
Yeah. Yeah, you can. And you realize it. Like, oh, I didn't get emotional, and we had a good conversation. And, you know, it's. But it's. It takes a lot of years to see it.
- [63:33]
A
Yeah.
- [63:33]
B
Because what it is, it's because it's a trigger response. It happens fast, like your emotional reaction. So do you have that extra five seconds to go, oh, I'm getting heated. And you still have those moments where you snap, and then, like, years later, you'll wake up in the middle of the night, oh, I feel so bad about yelling at that guy. And it just happens out of nowhere. And it's usually around the idea of, are we about to ruin the work? For me, it's always about, is the work gonna be good? It's never about the release or the success. It's always. My only thing that makes me crazy is if I think someone can get me to ruin it. That really kind of freaks me out. And that's not healthy, the level to which it freaks me out. And I worked for people like Garry Shandling, who were so sensitive, and they really felt like, you're trying to destroy Me. And I always thought, oh, I feel so bad for them, that that's how they experience this. And then I realized, oh, I do it. I'm doing it in my own way. I have a variation of this need for the work to be good, and why? For who? Can I make it so people can enjoy it? Or is it so I can make a living and people like me? Can I separate the healthy from the unhealthy? I always think about Ram Dass talking about. I guess it's part of the idea of all Dharma's dreams that you live your life and then you also realize that life is ridiculous and meaningless. And so you still have to be in the game and you still have to do your best. But can you hold at the same point? Like, this is all so silly?
- [65:07]
A
Yes. Yes.
- [65:08]
B
And when I think about that, I do better.
- [65:11]
A
Yes.
- [65:11]
B
But it's really hard because you're trying to care and not care. Have attachment and non attachment at the same time.
- [65:17]
A
Yeah, absolutely. It's like, how do I realize what I'm doing is valuable and at the same time, embrace my insignificance? And it's like, it sounds beautiful and it is possible. But I hear what you're saying. There's a level of focus and due diligence that's healthy. And then it's only as healthy when it's matched with detachment as opposed to when it's so addictive. And we're going through our first set of TV and film projects right now that I've ever done in my life. And I have that same feeling because everything you're saying, I'm like, wow, I can so relate to it. Because up until this point, also, a lot of what I've created has been fully, like, it's never been funded by anyone else. We've never worked with a studio or a production company. It's all us. And so I have a lot of. And as time has gone on, I've built more confidence and conviction in my intuition that I'm aware of what I believe will work and what won't. And I've sat with it for long enough, and I've done this for 20 years and all the rest of it. And then someone comes and gives me a note that I'm like. Like, I. I know that's not gonna work. And then we incorporate in the pilot. We make the pilot. And then the only feedback we get from the audience and everyone is, we didn't like that bit. And I'm like, I told you. Like, I knew it. And so then what do you do with that? Because it's such a human experience of.
- [66:34]
B
Well, it's always picking your collaborators.
- [66:36]
A
Yeah.
- [66:36]
B
Everything in my career changed, you know, when I started working with the Universal Studios and Donna Langley, because her and the executives there, Peter Kramer, Eric Byers, they just got it. And so then most of that goes away because you have a good relationship, but also they get what you do and they understand your process. But I had a lot of relationships with people, like with Freaks and Geeks, where they told me, we don't like the show. It was funny. There was a documentary about freaks and geeks, and they interviewed one of the executives who canceled it. And you thought in the doc he would admit that he made a mistake, but he didn't. He was, like, kind of still proud of it. And so I think a big part of it is, who should I collaborate with? How you know, part of it is picking the person that you can have a healthy discourse with. And that's tricky because sometimes you don't know everybody, and only by going through it do you go, oh, I like that person. I'm going to bring them the next one. Or, I need to run away from that person.
- [67:45]
A
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- [68:47]
C
Hey, everyone. Ed Helms here.
- [68:50]
B
And hi, I'm Kalpen, and we're the hosts of Irsay, The Audible and iHeart Audiobook Club.
- [68:57]
C
This week on the podcast, I am sitting down with Jenny Garth, host of the iHeart podcast. I choose me to discuss the new Audible adaptation of the timeless Jane Austen classic Pride and Prejudice. This is not a trick question. There's no wrong answer. What role would I play?
- [69:18]
D
You know what?
- [69:19]
A
I can see you as Mr. Darcy.
- [69:21]
B
You got a little call in first.
- [69:23]
C
Okay, that's really sweet. I appreciate that. But are you sure I'm not the dad? I'm not Mr. Bennett.
- [69:31]
B
Here.
- [69:33]
C
Listen to Earsay the Audible and iHeart Audiobook Club on the iHeartradio app or wherever you get your podcasts.
- [69:43]
D
In the heat of battle, your squad relies on you. Don't let them down. Unlock elite gaming tech@lenovo.com Dominate every match with next level speed, seamless streaming and performance that won't quit. So you can push your gameplay beyond performance with Intel Core Ultra processors for the next era of gaming. Upgrade to smooth high quality streaming with Intel Wi Fi 6e and maximize game performance with enhanced overclocking. Win the tech search power up@lenovo.com Lenovo Lenovo.
- [70:27]
A
How did you get better at doing that and making that process quicker? Is there ever a way to get better at knowing that earlier?
- [70:34]
B
No. I mean, you just have to, like, meet them and then treasure it.
- [70:38]
A
Yes.
- [70:38]
B
Just go, oh, okay, I'm going to stay here because. And to value that because it really is a special thing when it's, when it works and people give good notes and they, they understand you and they're excited for you and they encourage you. So I try to remember there's those people and then go back to them as often as they'll have me.
- [70:58]
A
Yeah. If, if, if fear and doubt would disappear from your life and mind tomorrow, what would you do differently?
- [71:04]
B
I don't know. I mean, what I would do differently is, is, you know, just probably be happier. I don't know so much about, like.
- [71:12]
A
That's a great answer.
- [71:14]
B
Just like in life, I would like to have life lightened up.
- [71:17]
A
Yes.
- [71:17]
B
You know, a few years ago I was just feeling terrible, and then in my mind I just heard the phrase lighten up. And I thought to myself, wow, you're in comedy and you're so heavy. Like, you just really need to lighten up. Why do you look at everything in such intense terms? But that only works because, you know, if I remind myself of it, I can lighten up. But what if I go like a year and go, oh, I forgot to say lighten up. In the last year, I forgot to. You know, I'm one of those who, like, I'll write all these things down. Like, like, I'll have like a piece of paper and, you know, one of the things I wrote right down a lot is just try to do better today. Like, just look at today. Don't look at the long arc of it. Like, okay, what am I going to do today? Will it be fun? Can I make it fun? And at the end of the day, go, that was a good day.
- [72:07]
A
Yeah.
- [72:07]
B
And if I think about the next year, I'm usually in meltdown.
- [72:11]
A
Yeah. You reminded me of this beautiful story where a student once asked the Buddha, what do you gain from meditation? And he says, I didn't gain anything. And then the student says, so then why do you meditate? And the Buddha says, well, I don't meditate because of what I gain. I meditate because of what I lose. I lose fear, lose anxiety. I lose insecurity. I lose envy and ego. And it's what you're saying. It's like, hey, if there was no fear and doubt anymore tomorrow, how would you feel? And you said, happy. That's a beautiful answer, actually, because it's. It's. It's not something that's blocked you from taking action, but those are emotions that make living and breathing a lot harder.
- [72:49]
B
Yeah. Because your mind's just going. Like, I. I like to meditate, but I just don't do it enough. And every time I do it, I'm thrilled. After, I'm like, that totally worked. I feel better over the next five hours. And then I might go 11 days not doing it again. And I don't. And I always think, what is the part of my brain that's fighting doing it? Because clearly there's something resisting just being present and quiet. And it doesn't make any sense now, because I like it.
- [73:15]
A
Yes.
- [73:15]
B
But there's a little part that's like, don't do it.
- [73:17]
A
Yeah.
- [73:18]
B
You know, I guess some people go, you know, that's your ego. And your ego doesn't want to be destroyed. So it's trying to figure out a way to get you not doing that.
- [73:26]
A
Yeah, absolutely. Earlier, that's reminding me of. Before we started taping, you said something to me. You said, it's. It's surprising of the things we're not addicted to. And then I asked you if you ever did drugs. And the reason for my question was, I feel like there are so many people today who feel their creativity is dependent on something recreational or whatever it may be. Your life, as you explained it to me before we started taping, was not like that. You were scared away from drugs. And you can share that.
- [73:54]
B
Well, my grandfather produced the first Janis Joplin album, Big Brother in the Holding Company. And so my entire childhood, they always talked about the fact that. But she was the Best singer who ever lived. And she took drugs and died. In fact, that's why it's in Freaks and Geeks when Joe Flaherty says, what happened to Janis Joplin, she's dead, was because that was this mantra. And so all of that really, really scared me. And then the few times I did it when I was young, usually I would just get paranoid or I never had the great experiences that would make me go, let's do more of this. There was one moment where I did try to buy some pot and my brother found out who's older than me and told the guy not to sell it to me. But I always think, if my brother didn't tell that guy, you better not sell pot to my brother. Maybe I would have found the, you know, the. The part of me that loves it.
- [74:47]
A
Yeah.
- [74:47]
B
So I got a good long run of that. I never loved drinking. I would always get tired and fall asleep. I think it's just my chemistry doesn't get that kick out of it where I like, I know people who, who'll say, oh, I wrote that entire series you love high. And I'm like, I literally can't write one joke. The second I'm high, I'm just like, let's just watch Great British Bake Off. I'm not in creative mode, but thank God, because that's just a random thing. Because I think if I loved would have been a real problem. But I was very aware that I wanted to succeed and I thought, but that's not gonna help me.
- [75:28]
A
Yeah, yeah. You've said you read a lot of self help books. I was wondering if you had to pick three that have really had an impact on your life and a lesson you've learned from each, what would they be?
- [75:38]
B
I mean, the three that I go back to all the time. One is called the Untethered Soul by Michael Singer.
- [75:46]
A
Yeah, great book.
- [75:47]
B
And I'm always going back to that book. Although there's tons of YouTube videos of him talking. They're all great. And with anything really good, usually they're saying the same, just in a different way. It's one idea and it's just kind of rewritten to find another way to get you to soak it in. And his thing is that he feels like people have these energy blocks. Something happens to you, like say someone punch you in the face at a party, and so then you think, all right, I guess I'm the guy who doesn't go to parties. And that by the time you get older, you have a hundred of These or you have a thousand of these. And everything that you do is avoiding certain things, certain types of people you didn't get along with once. And so I guess he described it as like. It's like if you had a thorn and instead of pulling it out, you put, like, a metal thing around it, and then you realize you needed a bigger metal thing, and then you would go to the party and you couldn't let anyone bump into it, as opposed to just taking it out and to just, like, live with the pain of it and to let the energy, whatever that experience was, move through your body and see it. And I find that's really helpful. And those books are great.
- [76:56]
A
That's a great answer.
- [76:58]
B
I always read Pima Chodron books. Just all of them. When things fall apart, start where you are. She's amazing, and I think she writes better than almost anybody about Buddhism. And she talks about tonglen meditation, and I guess there's a lot of slogans. But. But the thing she mentions is that she does a type of meditation where you try to breathe in someone else's problem and then breathe. So you take it in, and then you try to send out fresh, clean air. Like you breathe in there like dirty muck and take it on and then give them clear, fresh freshness. Right. And. And then you might run. Okay, I'm going to do that for the person I hate now. I'm going to do it for myself. I'll do it for my friends, and I'll do it for all my enemies, and I'll do it for everyone in the world. And that's a beautiful piece of meditation that really changes your chemistry when you do it, because you're always trying to help yourself. So, like a pure, giving meditation just changes everything.
- [78:13]
A
Absolutely.
- [78:15]
B
And then the third one, there are these books by this guy named John Wellwood, and they're relationship books. They're just some of the best written relationship books. But he basically talks about how in your relationships, they're meant to bring everything to the surface and confront you with it. So in your relationship, in your marriage, it's all going to come up, and you have to look at that as a sacred thing, that you both help each other with what comes up. And it's not like I'm so mad at you for telling me that I do this, but really the relationship is that we're in this together and that these things are going to keep bubbling up. And can we figure out how to address them and address them in a positive way? There was another guy named Harville Hendricks, who had books about this where it really was to embrace it when it comes up and not be annoyed. Like, yeah, no, this is the whole point of the relationship is that you're going to tell me how annoying I am.
- [79:17]
A
Yeah, yeah. No, those are beautiful recommendations and I hadn't heard of the last well words, so I'll have to go and grab a couple of copies of that. But no, no. Beautiful examples and beautiful lessons. So, so deep and profound. When did your fascination with that work start? Like, when did that begin? With all of this reading and writing, I mean. And it sounds like you're a voracious reader on the other side too.
- [79:40]
B
My parents never talked about religion ever. Not positive, not negative. They just didn't talk about it. And so even though they're very nice people with good values, there wasn't a system. So I think I really had a hole there and an existential dread from the idea that there was no structure to the universe or how I should think about the meaning of life. And when I met Gary Shandling, he would recommend these Buddhist books to me like Feather on a Fan or Turning Problems into Happiness. Turning Problems into Happiness was based on the idea that anytime anything bad happens, you're supposed to be happy because it's giving you an opportunity to work on something. Oh, I could work on patience or fortitude or something. I had never heard anything like that in my whole life. That's what you're supposed to do. Like, wait, problems are good. I never ever had heard that. And, and so I became interested in those, those books. And then probably at some of it, it's almost like mental hoarding. Like, I, I would just buy so many self help books and I think sometimes it's hurt me because it's just too much and then I just drown in it. Like, oh, I'm supposed to not want anything, but I'm also supposed to list what I want so I can manifest it. You know, I'm supposed to be here now, but don't live in the future. But I have to plan for it, you know, like. And I just started passing out.
- [81:06]
A
I love it. Me too. I get that it's. Yeah, you've got to be selective and focused on what you pick up. I feel like there's always been this. I don't know whether it's a myth or it feels like something people have said for a long time and therefore we feel it's true. And I guess you're the right person to ask, but comedy's often. Or humor's often been seen as hiding something or carrying a certain weight behind it or pain behind it or a coping mechanism. Is that true, and what is it for you?
- [81:35]
B
Over the years, what I realized is a lot of times when I'm writing is I'm trying to figure my own thinking out. Like, what am I thinking about this? I'm just trying to explore myself. Maybe a struggle, maybe a question. So I would. You know, some people say, you know, you write the movie to figure out why you write the movie, and you're not even sure what you're working on. So in my career, I've been a person who's worked on projects about high school and about college and about getting somebody pregnant and about maintaining a relationship and about getting sick and about. So I feel like I hit these major life turning points because I feel like, oh, I really need to work this through. But when I'm doing it, it I'm not conscious of that. And then maybe later I'll go, oh, I must have been thinking about these issues like friendship and the value of your work. When we were doing Funny People, you know, my mom had been sick, and I noticed that when she thought she was going to get better, she was happier than when she thought she was going to die. When she had cancer, she was always happier than when she thought the medicine was working and she was going to get better, all her neuroses would come back. But when she thought she had no hope, she kind of dropped everything and became this very much more serene person. And so I thought, oh. So I started writing a movie. You know, it's an Adam Sandler movie about him having an experience like that. But at the time, I didn't realize that's what I had done. It took, like, a while for me to. To go, oh, this movie isn't about me and comedy. This is about my mom and what she went through.
- [83:24]
A
So you'd say that comedy heals pain, not hides it.
- [83:27]
B
Well, it certainly is a road to understanding yourself. Sometimes when I'm working with a writer, if I'm overseeing a writer, I'll say, I feel like a lot of these movies are about a problem, usually an emotional problem. And then you think, what would have to happen to the character for them to hit bottom enough to make a change? Because in life, usually you make a change because something happens, usually something that's not great. And so in a movie, there's usually some sort of bottom. Even in the silliest movies, someone crashes. And then I always say, and what would health look like, so if they figured it out and at the end they were doing better, what would better look like?
- [84:07]
A
I like that. And I guess, do you feel after you've made something that you feel better, like, when you do have that reflection?
- [84:14]
B
Yeah, yeah. Sometimes at the end of it, I have a good feeling. When I worked with Pete Davidson on the King of Staten island, we talked a lot about sacrifice, because I was thinking, oh, I've never worked on a movie that's about being there for other people. Most of the movies are about emotional situations and people having meltdowns and fighting with other people and just trying to make their lives work. I've never made a movie about people who are willing to risk their lives for people. Other. Other people. And I think, you know, we all felt a great responsibility to. To show, you know, the lives of first responders and to be respectful and to show the challenges of that for families. And so, you know, when it came out really well, I. I was especially proud of it because I wanted to do right by all those people.
- [84:58]
A
Yeah. Yeah. That's beautiful. That feels like a really nice three. Like 360.
- [85:03]
B
Yeah, we met all those, you know, the firefighters, and a lot of them lost a lot of people in 9 11. And, you know, we knew, like, how sacred this space was that we were. We were talking about.
- [85:12]
A
Yeah, your movies have made people laugh, made people happy, made people, you know, have great memories around them. Like, would you say, are you happy?
- [85:21]
B
Am I happy? That's the right question. I mean, I think I'm always trying to figure out how to be happy, and I think I ebb and flow. I think I have periods where I get, like, really lost and caught up in my head and in things. And then every once in a while, like, it clears up for a little while, and I'm like, oh, yeah, I feel good about how everything is and what's going on. I feel in between tragedies, you know, like. Like, oh, this is a good period. But then sometimes I just lose it. Like, I lose touch with the thing that makes me feel like I understand where I am in the universe. Because sometimes, you know, especially now as everyone's talking about computers and everything changing and the world is changing, where we're like, is something happening right now? I can really get thrown and just obsess on it all day long. Like, what's the point of all of this? What are we doing to just. It's almost like feeling really happy and loose in my mind sometimes feels like I'm not doing what I should be doing to make something positive happen.
- [86:32]
A
Interesting.
- [86:33]
B
And that's not really fair on myself, but it is the feeling like I can't just be like wee. Because like, look, have you seen what happened today? Like, what are we supposed to do about this? And it's, you know, like a deep kind of guilt that is again, some sort of fight or flight response and a childhood thing too. Like, you know, just stay on top of things. You know, don't, don't let anything slip by you as a survival strategy. So like actually being happy sometimes feels like a violation of my survival strategy. Wow. And that's a big thing to like, can I let go of that? And sometimes I can and then sometimes I totally can't.
- [87:16]
A
Yeah. And it's so interesting how. Thank you for going there. Because it's so interesting how those things that make you successful and make you organized and make you great at what you do, they. Everything comes as this double edged sword of stopping you from having an experience. And then at the same time there's a beauty to how you feel because it's wonderful that you feel a sense of responsibility and empathy and compassion because those are all good things you want to feel. At the same time, you don't want it to steal your joy. And so it's such a. Yeah, it's interesting living in that, in that landscape. And as I was listening to you, I was thinking that I think happiness is never not being lost. It's knowing that you've been lost and found multiple times. And so that ebb and flow that you spoke about, it's almost like knowing that, oh, I've been lost before.
- [88:05]
B
Yeah.
- [88:05]
A
And there's, there's joy in that and there's happiness in that. In that this is the, the journey back and forth. But I love what you're saying about needing a overarching structure and overarching almost belief. Have you, have you ever discovered anything, read anything that, that feels that way, that started to kind of scratch that itch or, or is it something you seek?
- [88:25]
B
Well, kind of like the meditation thing that you're talking about. You know, this idea of returning when you're lost. It is the experience of meditation. Like you're, you're trying to not think and then suddenly you realize, oh, I've been thinking for 12 minutes in my meditation. And you're not supposed to beat yourself up about it. You're supposed to celebrate that you realize to return to your empty mind again. And that every time you return it's good. And even if you only let's say in 20 minutes of meditation, you were running stuff for two giant hunks and you only got back twice. That you should celebrate it as the greatest success. That, that is a way to look at all of life. Life is suffering, yet we soldier on. Right? And it just, it's a mix. And it's always going to be a mix. It's always going to be up or down, up and down. But I've never really gotten the exact way to kind of keep returning to something that feels good. But I did do ayahuasca a couple of years ago, and it was a really, it was a wild experience. And most of it was about, like, trying to let go because I really felt like I was like not letting go, not just being open. Like, that's my issue. And, and then at the end, after this, you know, long experience, you know, you're like, you're vomiting, you're, you know, you're, you're, you know, you've gone through it. I don't recommend this to anyone, by the way, because it's crazy. And I feel like I don't know if it's safe for people, you know, so it's not anything you could say to do.
- [89:59]
A
Yeah.
- [90:00]
B
But the end of it, like, I had this, like, image of Jesus, which is weird because I'm Jewish and so it's not like the thing that I would think of. And suddenly I see Jesus on the cross at the end of this, like, eight hour trip. And in my head I'm like, oh, I get what that is. He's there for us and we should be there for each other. And the whole idea of it just like, landed with me. And I thought, oh, I guess that's it. It's just like being there for other people. And that's the one thing that I try to go back to.
- [90:31]
A
Wow, that's beautiful. Where did you go to do ayahuasca?
- [90:35]
B
I did it in the state of California.
- [90:36]
A
Oh, okay. Okay.
- [90:37]
B
I'm pretty sure it's illegal, but it definitely was, for me, very meaningful.
- [90:45]
A
Did you ever do it again? Oh, no.
- [90:47]
B
I had done it one time before, but I got really scared and took very little, which is a mistake because if you take very little, you're not having the experience. But the shaman is, because the shaman takes the ayahuasca also. That's part of it. So then suddenly I'm not high and the shaman's singing to me for eight hours and I'm not really even feeling anything. So then you just got to watch someone dance and sing with a drum.
- [91:10]
A
Yeah.
- [91:11]
B
So I went back again, and then I committed properly to doing the whole thing.
- [91:15]
A
Yeah. Wow.
- [91:16]
B
Wow.
- [91:16]
A
I mean, that. I mean, that's a pretty special experience. To see Jesus and to have that as a take home. Yeah, that's pretty powerful.
- [91:24]
B
Yeah, no, it really was. And I tried to take it seriously and. And hold on to it. And the funny thing was that after ayahuasca for about six, eight months, I would wake up and it was as if my mind had been working on problems all night. And when I woke up, it was like telling me what it had figured out. And so I would just, like, wake up to these, like, messages. And so I'd be, like, asleep, and then I would get up and in my head I would hear, you're not doing any of the things that you ask Leslie to do. Oh. Oh, you know, things like that, you know, like, all that matters is love or, you know, whatever it was, but, like, it was different every day.
- [92:04]
A
Day. Wow.
- [92:05]
B
And it really felt like I was stepping into a conversation, you know, that was happening.
- [92:10]
A
Wow.
- [92:10]
B
And then it finally faded, and then.
- [92:13]
A
You realized it was just Leslie saying.
- [92:15]
B
Whispering in my ear.
- [92:17]
A
That's amazing. What? You've been married for 28 years.
- [92:21]
B
27.
- [92:22]
A
Yeah, 27. You've been married for 27 years. What's the secret to a 27 year marriage that looks happy and fulfilling and wonderful?
- [92:32]
B
Marry Leslie, man. That's the main thing. I mean, it's, you know, it's a lot of work. And you do realize that, you know, so much of it is, like, the courage to be honest about what's happening, what you're feeling, what you're going through, and, you know, to really be there for each other. But we really enjoy each other, you know, like, you know, we love each other, but we're also, I think, kind of engaged and amused, and we're creative together and we love our kids. And I think that we have a really, you know, nice relationship, you know, with them. But at the same time, it's like the work of, you know, what's coming up, you know, you know, what. What am I struggling with? You know, what? How do we make life work? You know, our kids moved out and it's like, all right, what's life now? And you're just in this very beautiful partnership to, you know, make the best of this life.
- [93:19]
A
Yeah. How is that curiosity, that musing, that amusement stayed like, what. What has it been that you've practiced to keep that alive?
- [93:30]
B
I think it's. It's just Her. I don't think. You know, I don't think it's. There's, like, work there. You know, I think, like, in life you can get distracted and you can get kind of pulled into things and. And consumed and off track, but it's really about kind of getting centered and. And present, which, you know, is hard if you're a hyper, vigilant person and you're just worried about everything being good, you know, to kind of clear it all away and be there. I mean, that's like the, you know, the work of a lifetime to figure out how to clear it all away and just be there.
- [93:59]
A
Yeah. Were there moments where you fe. You were moving at different paces in careers, work, life, family, and you always had to find a way to stay connected?
- [94:08]
B
I mean, I think, like, we always, you know, supported what we were doing in work creatively. I think that we realized that, you know, we're not always going to work together, but when we do, something really special happens and we get to a deep place and, you know, it's very, like, funny and real and people feel it that we're talking about things that are. That are meaningful. And she's so funny and creative and comes up with these amazing ideas. So it's a real collaboration when we decide to do that kind of work together. And then we're always supportive. On if I'm doing a project, she's watching cuts and giving me notes. We try to just help each other do a good job.
- [94:46]
A
Yeah. Yeah, she's fantastic. I mean. Yeah. Whenever you guys work together, I feel like you're spot on. It is magic. And that must be just such a bonus because there's. You obviously have this loving relationship at home. You're having this great relationship at work. And to hear that it's her and that there's not necessarily a work behind it sounds. I mean, it sounds wonderful. It's like.
- [95:10]
B
Yeah. I mean, it's terrifying also, because you put yourself out there.
- [95:13]
A
Yeah.
- [95:13]
B
And so if you go, okay, we're gonna make a movie as a family and the kids too. On some level, it's crazy because it's like, well, if this goes bad, this is a worldwide humiliation. So I would really feel the pressure as the ca. Captain of it, to not make anyone, you know, look terrible or, you know, and. But I also think it made it better because I just. I just cared at such a high level. They obviously cared and did an amazing.
- [95:40]
A
Job, but I think it did the opposite.
- [95:42]
B
It really, like, focuses you, and then you're having kind of an amazing conversation about what do we want to say?
- [95:48]
A
Yeah.
- [95:48]
B
You know, about life, about relationships, about marriage, about kids. And so, you know, for years, we have common purpose. And I think that was the best part about it, was really all of us as a family moving towards the same goal.
- [96:05]
A
Yeah. That's so special. I love seeing that. And I know you were recently, you know, just seeing your daughter have her moment. Both of them have their moments. It's like, it must be so fulfilling. What do you think was the most important lesson you taught your children when they were young that you see them mirroring today?
- [96:20]
B
Leslie and I tried to tell Iris and Maude the most important thing is to care about the work and be passionate about it and to be proud of what you're saying in it, and that all that matters is that. And that you shouldn't take any work just for your career. You shouldn't try to figure out how to get successful. It'll always come because you have something to say, something that you want to express that you feel good about. And. And we talked a lot about just having the courage to take the risk because it is scary making things, and you do have to gird yourself for rejection and careers, which have highs and lows. And so in a way, you're saying you can handle this, or maybe you don't want to do this. Which we also said to them many times, if this isn't fun for you, because it is hard. It's hard on the people who have a creative life.
- [97:18]
A
Yeah.
- [97:19]
B
Because, you know, you can go through periods where you're like, no one understands me anymore. And then suddenly it's better again. And it's. It's. It's like being an adrenaline junkie, in a way. And you don't. You don't want them to experience in that way. You want them to be proud of. Of what they're contributing.
- [97:36]
A
Yeah.
- [97:37]
B
But it's hard to explain that to kids. Like, you know, it's all about, you're making a contribution. What. You know, because it, like, took me decades to realize, like, every once in a while, someone will walk up to me and tell me they like something that I did or it made them laugh. It's easy to not take that in. But when you do and go, oh, that is the only reason why I did it. Because this person I bumped into has watched it 11 times, and it's the thing they turn to that makes them happy. That's actually the only reason to do it.
- [98:03]
A
Absolutely.
- [98:04]
B
That and to be able to eat.
- [98:06]
A
Yeah. On eBay every find has a story. Like if you're looking for a vintage band tee. Not just a tee, the band tee from the last show your favorite band ever played. You wore it everywhere until your ex started wearing it, which was cute. Until they dumped you and took it with them, which was not so cute.
- [98:35]
B
You.
- [98:36]
A
Anyway, now you're on ebay. And there it is. Same tea from the same tour, still living in your memory rent free. Forever. See, the things you love have a way of finding their way back to you. But ebay isn't just forgetting whatever your ex stole back. It's also for that rare championship foul ball you caught, then heroically gave to the kid next to you. And where else are you going to find your first cop? The one you wish you never saw sold, but now finally get the chance to take back home. For good this time. Shop ebay for millions of finds, each with a story. EBay. Things people love.
- [99:19]
C
Hey everyone. Ed Helms here.
- [99:21]
B
And hi, I'm Cal Penn and we're the hosts of Irsay, The Audible and.
- [99:26]
C
Iheart audiobook call this week on the podcast I am sitting down with Jenny Garth, host of the iHeart podcast. I choose me to discuss the new Audible adaptation of the timeless Jane Austen classic Pride and Prejudice. This is not a trick question. There's no wrong answer. What role would I play?
- [99:49]
D
You know what?
- [99:50]
A
I can see you as Mr. Darcy.
- [99:52]
B
You got a little call in of me front first.
- [99:54]
C
Okay, that's really sweet. I appreciate that. But are you sure I'm not the dad? I'm not Mr. Bennett.
- [100:02]
B
Here.
- [100:04]
C
Listen to Earsay the Audible and iHeart Audiobook Club on the iHeartradio app or wherever you get your podcasts.
- [100:14]
D
In the heat of battle, your squad relies on you. Don't let them down. Unlock elite gaming tech@lenovo.com Dominate every match with next level speed, seamless streaming and performance that won't quit. So you can push your gameplay beyond performance with Intel Core Ultra processors for the next era of gaming. Upgrade to smooth high quality streaming with Intel Wi Fi 6e and maximize game performance with enhanced overclocking. Win the tech search power up@lenovo.com lenovo.
- [100:45]
B
Lenovo.
- [100:58]
A
How do you try and let people down lightly when you're rejecting them? I imagine people are pitching you crazy ideas all the time. What have you learned? You've told us about how you deal with rejection. What about when you're rejecting other people's ideas?
- [101:11]
B
I. I think you know, being direct with people and also trying to be constructive with people. You Know, I remember working for James Brooks on this cartoon, the Critic, and when he would listen to people's pitches for stories, he always gave them a lot of time. And even when the idea was terrible, he would kick it around from all these angles to see if the room would find something in it. Like, maybe it would lead to some other inspiration. And that really had a big effect on me because someone would pitch something and I would think, this is the worst idea. We go on to another idea. And he would go, but what if this and what if that? And he never seems annoyed. He seems fascinated by the thought. And, like, could it work if he did this? Does she have to be a that? And I think when you do that to people, even when you say, you know, I don't want to make your movie, but you give them, you know, the time to say, here's why I'm not passionate about it. Here's what's interesting about it. Because the truth is, you know, I've turned down things that became big hits, and that's happened to me. It doesn't mean I'm right. It just means that I don't connect to it.
- [102:19]
A
Yes.
- [102:19]
B
You know, someone else might.
- [102:20]
A
What was one of the ones that got away that you may not have loved, but went on to do something great?
- [102:26]
B
I don't know. I can't think of one off the top of my head. You know, usually. Usually it's because I don't move fast enough. Someone sent me a script and it took me too many days to read it, and then they sold it to somebody else.
- [102:36]
A
Yeah. Yeah, that's. Yeah. But I like what you said that it's not about. Because it's not about whether it's successful or not. It's about whether it's meaningful to you or not. That is such a great metric, because if it becomes about what's successful, I mean, there's going to be a million things that are successful, and you're going to miss out on all of them, because there's so many things that are successful every year. But if it's meaningful to you, you want to be involved. And I think that's such a great lesson. I find when I speak to anyone who's creative, you know, we had Rick Rubin in here, and it was talking about music in that way. And when I'm talking to you, I'm like. I feel like I'm understanding comedy in. In a different way. Because this isn't just. It's never been as simple as, oh, yeah, we're just trying to just trying to make that person laugh. It's like there's. There's so much more. There's just so much more deep intention behind what you're creating and how you're doing it.
- [103:29]
B
It. Well, I love Rick Rubin's book.
- [103:30]
A
Yeah.
- [103:31]
B
And, you know, years ago, Gary Shandling said to me, you should get to know Rick Rubin. He's like, I think, I don't know. I think there'd be something there. And so I got to know Rick, and he would show me music, and I put some music from the band the Aved Brothers in this is 40 that he had played for me. And then one day he said, they're about to do a new record with me. You might want to do a documentary or something. I, I. And I thought, well, maybe I should do it, because Gary said, you know, Gary was my mentor, and I'm gonna follow that. I'm gonna follow that through as if it's like a message from Gary. And then we followed me. My friend Michael Bonfiglio followed the Avett Brothers around for a couple of years and made this movie called May It Last, about them making a record with Rick.
- [104:20]
A
Okay.
- [104:20]
B
And it was about two, these two guys who are just good guys. And it was a funny thing because we were making this documentary, and we're like, where's the drama? Because it's like two good guys making music and working with Rick. And we realized, well, that's the point of the movie. It's almost like a meditation on creativity. And they're like, some people aren't assholes. Some people are kind of great. And we thought, oh, that's kind of a beautiful thing. If we could figure out how to make this, you know, fascinating about a band being good to each other.
- [104:53]
A
Yeah.
- [104:53]
B
And so I always think about. About Rick.
- [104:56]
A
That's so funny. I didn't know that. I loved what you said there. You talking about, obviously, Gary being one of your mentors. How important have mentors been in your life?
- [105:04]
B
Gigantic. I mean, the entire, the entire thing. When I look back, I'm so grateful, you know, that, you know, I bumped into Gary at a comedy club, and he asked me to write jokes for him for the Grammys and then hired me at the Larry Sanders Show. Then he asked me to co run it the last year. Then he asked me to direct it. I never directed before, and, you know, so he was like a real angel who just believed in me and kept giving me opportunities. And now I look back and go, wow, those are giant opportunities. I didn't know Anything he really taught me.
- [105:34]
A
And how do you explain those. How do you make sense of that now when you reflect on those huge moments that he gave you when you were learning the ropes?
- [105:42]
B
I mean, I remember, like, he. You know, he wanted to hang out when. When I was young and writing jokes for him, and. And he was living with Linda Doucet, and. And I would go over there and, like, just eat with him sometimes and watch tv, and he was beginning to develop the Larry Sanders show, and he would show me auditions and. And scripts, and I remember thinking, why is he doing this? You know, like, it was hard for me to go, oh, he's just a good guy. Like. Like, this is so weird, because he's the. He's, like, the most talented, funny guy in the world, and he likes having me around. And then later in life, I thought, you know, he never had kids, but I feel like that was, like, his way of doing it was, like, through me, that it was like an experiment in fatherhood. And I think that, you know, when he was a kid, his brother died when he was little, and his parents never really talked about the brother, and it was discouraged that they just kind of moved on in a very, kind of early 1960s way. And it really hurt Garry, and it made him very sensitive in a lot of ways after that. And I thought that he was nice to me in the way he wished his parents were to him. That's what I thought he was doing.
- [107:01]
A
Wow. Wow. So in one sense, you were able to give him a gift, too.
- [107:05]
B
Yeah. Yeah. Like, I think he was trying to prove it was possible to be purely giving like that.
- [107:12]
A
Yeah.
- [107:12]
B
I never knew it at the time. I just thought, oh, Gary's a great friend. He's so. He's so sweet. But then later, other people would tell me, like, oh, Gary, you know, felt very paternal with you. And I thought, oh, yeah, because I. I went through all my emails after he died from him, and every email where I asked him for something, he said yes for, like, 10 years. I just, like, scrolled through, and I'm like, he said yes every single time. And other people would be like, he says no to me, to everything. And I just started crying. It was just such a beautiful thing to scroll through, like someone just consistently just being there.
- [107:52]
A
That's so beautiful.
- [107:53]
B
And asking for not that much in return other than to not screw up the Larry Sanders Show.
- [108:00]
A
That's special. What's beautiful is you've done that for so many others, too. I feel like that seems to be something you live on yeah, and it's.
- [108:07]
B
The fun part, too. I mean, it's, you know, I like to do it. A lot of it is from Gary. But also it's really fun to work with somebody who is very inspired and needs some help understanding what they're doing. Yeah, but they're doing something amazing, and you can help them. And you go, oh, yeah, I could give them some of the wisdom that I learned over the years, and this person can actually pull off the thing that they're trying to do.
- [108:35]
A
Yes.
- [108:35]
B
Like, they're good enough without me, but I can make this way easier if I say, watch out for this, watch out for that.
- [108:40]
A
Yeah. That's beautiful. Judd, it has been amazing learning from you. I feel like I've gained so much wisdom about whether it's the comedy industry, whether it's about resilience, whether it's about breaking through barriers, believing in yourself even when you don't all the way through to just how much work that you've done. We end every on purpose interview. The final five. These questions have to be answered in one sentence maximum, although I break that rule often, so we'll see how well we do. But, Judd Apatile, these are your final five. The first question is, what is the best advice you've ever heard or received?
- [109:15]
B
Don't live in here. Live in here. Ram Dass said that to me when I interviewed him for his podcast. He goes, hear bad here. Good.
- [109:26]
A
Tell me about your interview.
- [109:27]
B
Then they asked me to interview him, and it was over. Zoom. And in the middle of it, Gary Shandling. I invited Gary Shandling to sit in, and halfway through, he showed up, and the two of us were just trying to make him laugh, saying dumb jokes. We were like, are you mad at Eckhart Tolle? Because you're the be here now guy, and he's the now guy, and he was just laughing. But he also said, you know, I am loving awareness. And, you know, he said a lot of things that were really reducible, that anytime I think about them, you know, deeply affect me. And the other thing I noticed about it, I have a photograph of me and Gary. You know, it's like a still of our side of the zoom. And in the. In the photograph, Gary looks purely happy.
- [110:17]
A
Wow.
- [110:17]
B
And I thought, I don't know if I've ever seen Gary look happy and serene, like how he looked when he was talking to Ram Dass.
- [110:24]
A
Oh, that's beautiful. I love that. Question number two. What is the worst advice you've ever heard or received?
- [110:30]
B
Stop crying. And I'll give you or I'll give you a reason to cry. Is that advice.
- [110:34]
A
I said that to you.
- [110:35]
B
That was like a parental thing when I was a kid. But someone said to me, and they meant it in the best possible way, but I probably took it the wrong way. They said, you when you're doing your TV pilot and they give you notes, if the note is wrong, don't do it. Because if you screw up your show, they won't say, you know what, let's make your show anyway, because I gave you that bad note. But I took it to really fight and I would just refuse to take certain notes out of self protection. I took it too seriously. I didn't realize that there's a real give and take take. And you have to respect the people that you're working with. And later on I realized if the people who are trying to help you, if they think you think they're idiots, they'll try to destroy you. That there's a lot of ego involved in this exchange for people when they take a risk to tell you what they think of your thing and that you have to be very respectful to their mindset and their ego in the same way. I'm so sensitive.
- [111:40]
A
Wow, that's profound. Question number three, what makes a good friend?
- [111:47]
B
It's funny because I was talking to David Milch, who's one of my mentors, and he was talking about he had a friend when he was a kid growing up and he said we would just laugh so much, they were like 12 and they would crack up. And he said, you know, that way you behave with your friends, where you never ever have to think about what you're going to say to them because you just know they're going to get it. You know they're okay with it. And so you're in this crazy, joyful flow. And then he said, that's what I think writing should feel like. And, and that's how I think friendship at its best is that feeling of total relaxation, confidence, hilarity, connection.
- [112:39]
A
Yeah, well said. I love that you have so many great friends in the industry outside, and it's beautiful to hear that. And I couldn't agree more. I feel like I'm around my best friends when I don't have to filter anything. And we can hash it out if we have to. But yeah, there's no filter. Question number four, what's something that you used to value that you don't value anymore?
- [113:02]
B
Well, I'm a hoarder, so I've always saved everything. Like I'VE really saved everything.
- [113:07]
A
You can tell by the book.
- [113:08]
B
Yeah, the book. It's 570 pages of scanning of my, like, childhood autographs, my James Garner and Jack Klugman autographs. Like. Like, I saved things when I was 10. Like, I was the Smithsonian. And you know that thing where, like, oh, there's an article about you in a magazine, and instead of getting one copy, you get 20, and then you put them in a box and you can't throw it out. Like, you literally can't throw it out. And when I put this book together, I thought, I need to let go of this stuff because it's mentally unhealthy. And also, if I could let go of it, I could probably connect more to the spirit of all of it. I shouldn't need to hold on to. To, you know, some.
- [113:55]
A
I'm glad you did.
- [113:56]
B
Yeah. So I scanned it all and put it all in the book. So now I should throw out, like, seven storage spaces worth of crap.
- [114:03]
A
But you haven't yet.
- [114:04]
B
I haven't yet, but I'm really working towards, like, not needing it anymore.
- [114:08]
A
That's great. I'm glad you didn't. I thought it was remarkable. I mean, the amount of stuff you've saved and scanned and shared in the book, it's unbelievable. I wish I. Yeah, I wish everyone was able to tell their story that visually, because that's what takes you back to that time. It's so hard to do it through imagination. And you saving all of this means we don't have to.
- [114:29]
B
Well, I thought, I want to go through all my stuff. I scanned everything, and then I had 400,000 photos. So I spent a year laying the whole book out with no writing. And then I took about six, eight months. And I tried to do the book with a lot of little essays and captions so that it felt like I was explaining the book to you.
- [114:51]
A
Yes, yes.
- [114:51]
B
So if you open any page, it's me going, oh, let me tell you what that is. And I think it's a fun read because of that, because you could open to any page. And I also have all the projects that failed and explained what they were and why they failed. And it's not just success things.
- [115:06]
A
No, Absolutely no. I think that was the best part about it. It's so real. Even today, you've shared so many things that I feel are not the highlights. There's so much. Fifth and final question. We asked this to every guest who's ever been on the show. So if you could create one law that everyone in the world had to follow. What would it be?
- [115:24]
B
The thing that it's such like a corny bumper sticker. But every time I hear it, I think, wow, if people really live this, it would be meaningful, which is you don't know what anyone is going through. Be kind. And I did this documentary about Mel Brooks for HBO that's going to be on in January and he's 99 years old. So I said, what do you tell your grandkids? What advice do you take from this century on earth? And he said, be kind. And I think that's it.
- [115:54]
A
Yeah, well said, Chad Apathel. The book's called Comedy Nerd. We're going to put the link in the description to go and grab your copy. I want you all to clip on TikTok and Instagram the pieces that really resonated with you, that connected with you, the stories that you're going to remember and share again. I learned so many nuggets of wisdom from Judds today. And Judd, I'm so grateful that you not only lived your life, shared it in this beautiful visual way with all of us and I hope I get to spend a lot more time with you because this was too much fun. So thank you so much.
- [116:25]
B
Thank you.
- [116:25]
A
So grateful to you and really appreciate it.
- [116:27]
B
All right, thank you. Take care.
- [116:29]
A
If this is the year that you're trying to get creative, you're trying to build more, I need you to listen to this episode with Rick Rubin on how to break into your most creative self, how to use unconventional methods that lead to to success and the secret to genuinely loving what you do. If you're trying to find your passion and your lane, Rick Rubin's episode is the one for you.
- [116:52]
B
Just because I like it, that doesn't give it any value. Like as an artist, if you like it, that's all of the value. That's the success comes when you say I like this enough for other people to see it.
- [117:03]
D
The Chase Ink Business Premiere card is made for people who make things happen like me. I'm Sam, founder and CEO of man, a product design company that makes everyday products design Smarter. I get 2.5% cash back on purchases of $5,000 or more, plus unlimited 2% cash back on all other purchases, which helps us make more smart ideas into a brilliant reality.
- [117:22]
B
The Inc. Business Premier Card Chase for Business make more.
- [117:25]
A
What's yours?
- [117:25]
B
Real business owner compensated for their participation Cards issued by JP Morgan Chase bank and a member FDIC subject to credit approval terms apply.
- [117:34]
A
What kind of man would let this happen?
- [117:37]
B
To his family.
- [117:39]
A
Inspired by shocking actual events, I'm working.
- [117:42]
D
On a story about the Murdochs. Their abuses of power are playing out in real time.
- [117:47]
B
Starring Academy Award winner Patricia Arquette and Jason Clark. It's only cheating if you get caught. Hulu Original Series Murdoch Death in the Family.
- [117:58]
A
New episodes Wednesdays on Hulu and Hulu.
- [118:00]
B
On Disney plus for bundle subscribers. Terms apply. Doug Here we have the Limu Emu in its natural habitat, helping people customize.
- [118:11]
C
Their car insurance and save hundreds with Liberty Mutual.
- [118:17]
B
Fascinating. It's accompanied by his natural ally, Doug.
- [118:21]
A
Limu is that guy with the binoculars watching us?
- [118:24]
B
Cut the camera. They see us. Only pay for what you need@libertymutual.com Liberty Liberty Liberty Liberty Savings Fairy Underwritten by Liberty Mutual Insurance Company affiliates excludes Massachusetts.
- [118:33]
A
This is an iHeart podcast.