Comedy Saved Me with Actor and Comedian Adam Ferrara

Summary

Podcast Title: Takin' a Walk
Episode: Comedy Saved Me with Actor and Comedian Adam Ferrara
Release Date: July 28, 2025
Host: Lynne Hoffman
Guest: Adam Ferrara

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Introduction

In this engaging episode of "Comedy Saved Me," host Lynne Hoffman sits down with the multifaceted actor and comedian Adam Ferrara. The conversation delves deep into Adam's journey through the world of comedy and acting, exploring how humor has been a pivotal force in his life and career.

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Early Inspirations and Journey into Stand-Up

Adam Ferrara credits legendary comedians like Richard Pryor and George Carlin as pivotal influences in his decision to pursue comedy. Reflecting on his childhood, Adam shared a formative experience that ignited his passion for comedy:

Adam Ferrara (05:51): "Look what this man can do. He didn't even have an intro. He just walked up and grabbed the mic and started talking."

This moment, watching Pryor perform, left a lasting impression on Adam, planting the seeds for his future in stand-up.

Adam's foray into comedy began in earnest when he attended an open mic night on Long Island in 1988. Despite initial self-doubt and an unexpected surge of support from his family, Adam discovered his knack for making people laugh, which became a cornerstone of his identity.

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Transitioning to Acting: Balancing Comedy and Drama

Adam seamlessly navigates the realms of both comedy and drama, highlighting the distinct disciplines each requires. He emphasized the importance of discipline and timing in both fields:

Adam Ferrara (16:03): "When you're on a sitcom with a live audience, you still have two of you working to get the laugh."

Adam shared his experiences working on notable TV shows such as "Rescue Me," "Nurse Jackie," and "Law & Order," illustrating how his comedic background enhances his dramatic performances. He discussed techniques like breath patterns to evoke genuine emotions, demonstrating the intricate connection between his comedic instincts and dramatic skills.

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Personal Insights: Marriage and Conflict Resolution

Beyond his professional life, Adam opened up about his personal life, particularly his marriage. He shared a refreshing approach to conflict resolution that underscores his comedic yet grounded nature:

Adam Ferrara (21:32): "That's the best way to fight. That takes time to get to know someone, to be able to get there."

Adam humorously recounted a recent quarrel with his wife, showcasing his ability to blend humor with heartfelt sincerity. This balance reflects his broader philosophy on life and relationships, where laughter serves as a bridge over turbulent waters.

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Podcast Insights: The Healing Power of Humor

Throughout the episode, Adam emphasized the healing and transformative power of humor. Drawing parallels between his podcast experiences and his career, he highlighted how humor can create profound connections and facilitate personal growth. He recounted touching stories, such as his friendship with Louie Anderson, illustrating the mutual impact of shared laughter and understanding.

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Techniques in Comedy and Acting

Adam delved into the practical aspects of his craft, discussing methods to evoke genuine emotions in performances. He shared insights into improvisation and the importance of situational awareness both on stage and set:

Adam Ferrara (18:07): "You start the breath. So the body's already in that emotional state."

These techniques not only enhance his performances but also provide valuable lessons for aspiring comedians and actors.

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Conclusion: Letting Go and Embracing Creativity

Wrapping up the conversation, Adam touched on the importance of letting go and allowing creative works to take on a life of their own. He reflected on moments where his comedic creativity transcended scripted boundaries, underscoring the spontaneity and authenticity that humor brings to his work.

Adam Ferrara (30:42): "Cause when you make any kind of creative thing, there's a point where you have to let it go and it takes on its own life."

Adam's journey is a testament to how humor can be both a tool for personal resilience and a medium for artistic expression.

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Notable Quotes and Moments

• Inspiration from Richard Pryor:
  "Look what this man can do. He didn't even have an intro. He just walked up and grabbed the mic and started talking." (05:51)

• First Laugh on Stage:
  "It's like puncturing a golf ball, you get that pain... and then they make you come back." (09:20)

• Conflict Resolution in Marriage:
  "I'm gonna walk out of this room in 15 minutes. I'm gonna come back, kiss you on the head and tell you I love you." (21:42)

• Healing Power of Humor:
  "When an artist can express a feeling you can't put into words, those are the things that make you go, ah." (14:09)

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Final Thoughts

Adam Ferrara's candid conversation with Lynne Hoffman offers a rich exploration of the symbiotic relationship between comedy and acting. His insights into personal resilience, professional discipline, and the therapeutic nature of humor provide valuable lessons for listeners. Whether you're an aspiring comedian, actor, or simply a fan of heartfelt storytelling, this episode of "Comedy Saved Me" delivers a compelling narrative on the transformative power of laughter.

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Connect with Adam Ferrara:

• Website: adamferrarapodcast.com
• Social Media: @AdamFerrara

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Note: All timestamps are approximate and based on the provided transcript.

Transcript

[Lynne Hoffman]

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[Adam Ferrara]

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[Adam Ferrara]

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[Lynne Hoffman]

Uh huh.

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[Lynne Hoffman]

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[Adam Ferrara]

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[Lynne Hoffman]

Now.

[Adam Ferrara]

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[Lynne Hoffman]

It's a lot like marriage. You know, my wife and I, you know how you judge success in marriage? You stay mad at each other in a shorter period of time. That's it. That's how you judge success. We're going to yell, we're going to scream. It's going to be now it's over in a sentence. I'm leaving. No, you're not. You want eggs? That's it. That's the whole thing.

[Adam Ferrara]

I'm Lynne Hoffman and welcome to the Comedy Saved Me podcast. Now, if you like this podcast, I want to recommend another podcast I host called Music Saved Me. It's a podcast that explores the healing power of music. Now on Comedy Save Me, we delve into the lives of comedians and explore how laughter has transformed their journeys. Adam Ferrara. That's the correct way of pronouncing it.

[Lynne Hoffman]

Lovely. I would like you to say, you know, Emperor Adam Ferrara, but that would be a lie.

[Adam Ferrara]

King Adam Ferrara has performed on Comedy Central and tonight's show and he's nationally known touring comic. He's also got a new podcast called 30 Minutes yous'll Never Get Back. Welcome Adam Ferrara to ComEd. By the way, I love the open to your podcast.

[Lynne Hoffman]

Yeah.

[Adam Ferrara]

Because you. It's Alexa.

[Lynne Hoffman]

Yeah, it's Alexa. Yeah.

[Adam Ferrara]

It's awesome.

[Lynne Hoffman]

Thank you.

[Adam Ferrara]

That's a way to save money on imaging.

[Lynne Hoffman]

Yeah, sure. It's easy. All right, let's do this.

[Adam Ferrara]

Thanks for coming on the show.

[Lynne Hoffman]

Thanks, man.

[Adam Ferrara]

What comedians, let's start here. What comedians inspired you to start your career in stand up? And how did their influence shape your style of comedy?

[Lynne Hoffman]

12 years old was going to a party with my parents. My father did kitchens and bathrooms. So we would go to people that had a lot more money than us because my father would, you know, fix their houses and. Oh, please come. And then they would always have a party when everything was done and they would come and this was, you know, they had pools and stuff. So it was. It was like the party would be like a Sunday afternoon kind of thing with all the kids and all the families and the neighbors. And that's how my father actually got a lot of business. People saw how what a good craftsman he was. So it was one of those parties. I was about 12 years old. And it's one of those parties where you pull up and you get the warning from your mother in the car. Like, now your father does business with these people. Behave yourself. Don't clog the toilet. Don't eat everything. Don't hit your brother. Right. Basically, don't be how you are at home. So that was the warning we would get. So all the adults were in the basement watching Richard Pryor, the Santa Monica concert. And the kids are outside playing, running around.

[Adam Ferrara]

Awesome.

[Lynne Hoffman]

We couldn't see because of the language, so they went upstairs for coffee. I snuck into the basement and there was a vcr and I rewound the tape. And Lynn, I stood there. I just stood standing up watching this. I. I remember saying out loud to nobody, I'm all alone in the basement. I went, look what this man can do. Look what this man. He didn't even have an intro. He just walked up and grabbed the mic and started talking.

[Adam Ferrara]

Yeah.

[Lynne Hoffman]

And I didn't know I wanted to be a comedian, but I just. In my. In my little brain, this met. This, this registered. I don't know what this is, but this is important. This is important. And I stood there watching it, and just the. I didn't know what I was watching. But the pathos at that time, just the way his. The way he would bring you in. And so then I, I. The Columbia Record and Tape Club.

[Adam Ferrara]

Oh, oh, how can you forget that? And K Tel and all.

[Lynne Hoffman]

Yeah. The worst business model ever in American business history. You get 10. 10, 10 albums for a dollar. A penny. A penny. And you're like. But then you got to join the club. And no one ever joined the club. So we just kept getting albums and sending pennies in. And then when they stopped sending us, sending us stuff because we've exhausted them, we would send it to our neighbor's house and then run to get there before they came home from work and steal the album from our ne house. And then we go to the Tri County Flea Market in Long island and sell them.

[Adam Ferrara]

Hey.

[Lynne Hoffman]

So all the guys I remember my first albums I got was the who. Who's next? Neil Young, Live, Rust, Billy Joel, the Stranger, and then George, Colin, and Richard Pryor album.

[Adam Ferrara]

Wow. And what more do you need than that, really? Even today?

[Lynne Hoffman]

Yeah. Those are my prized possessions. So I would listen to those albums and just The. Just. The rhythm of what. Of how. The rhythm of how the guys were speaking. And then between that and music, there was a. Subconsciously. I was getting a rhythm of things in my head. And then I was doing the. The material. Carlin and Pryor on the school bus on my way to school to keep from getting beaten up. So.

[Adam Ferrara]

Oh, my God.

[Lynne Hoffman]

Yeah, it was a survival. It was a survival technique, so that's great. So I was doing School Bus, and I. So I was actually doing it, and. And the kids were laughing, and that's how I got, I guess, seduced into what this world was. Because you really didn't know. It wasn't a job. It was just something that. That, when you're a kid, grabs your attention. Okay, so then cut to. I go to college. I'm the first one to go to college in my family. My. My entire. Since they came over from Italy, there's. I'm the first one ever. And I didn't want to go. I told. My father goes, you're going to go to college. I go, why do I got to go to college? Because you can. I said, it's a big deal.

[Adam Ferrara]

Yeah, big deal.

[Lynne Hoffman]

Okay. So, you know, I said, all right, well, nobody else went to college enough. He goes, yeah, they're stupid. So I just. I went and I went to college. I got out, and then I told my family, well, we've done one of your things. Now I'm gonna try one of mine. And I never knew I was gonna do this as a profession. I went to an open mic on Long Island, July 13, 1988, Wednesday night. And I made the mistake of telling my mother. Now, my mother was the original Twitter. She would tell everybody. So the entire neighborhood came out. So they sold out this little club, the Eastside Comedy Club, on a Wednesday night on an open mic with all my family and friends in my neighborhood, because everyone thought I was funny. I didn't. I didn't have any awareness at all. I was just surviving as a kid, you know, surviving school as a kid, and then going to. I always worked. I worked at a fence company, so I was working on my hands because they come from blue collar people. And then I came home. I just wanted to try this thing. And the first time I got the laugh on stage, I got that. That rush Cherry High. And I went, oof. And I didn't. It was. Wasn't. I didn't. I wasn't cognizant enough to know that it was the same feeling of one I was seeing prior. But it was Like, I remember going, well, this is important. I didn't know how long I was gonna last, but I wanted to chase this feeling. So it was the first time. You know, when you hit a golf ball, right, you get that pain.

[Adam Ferrara]

I've done it once.

[Lynne Hoffman]

Yeah. And then they make you come back. It's like the first ones for free kids, you know, and then you keep changing it.

[Adam Ferrara]

So it's like a drug dealer.

[Lynne Hoffman]

Yeah. But it was the first time I ever felt. I'm going to use the word complete because I don't have a better word, but I belong here is also a statement that kind of registers in that because I grew up with guys that work with their hands, my father could build anything, could fix anything, and I love cars, but I can't fix them. And I never had the. If then go to state, where I was comfortable doing stuff. I mean, I could change the oil. I can gap a spark plug, and I can. I could smack the solenoid to get the start of the crank, but I can't pull ahead, you know, I don't know how to do all that stuff. Even on the construction site, I don't know how to do. I couldn't be a lead guy on the job, so always felt less than in my family. Soon as I made everybody laugh, boom, that feeling went away. So that's when I started. I told my parents, well, we've done one of your things. Now we're going to try one of mine. And I was on Long island, and I had a car. The biggest reason I worked a lot is because I had a car. I was funny. I had a car, and I had a good work ethic. So because my father was, you know, small business owner, you just work. You work. That's it. You're like the ox in Animal Farm. I'll work harder. And you. And you have situational awareness on the job. Don't say anything when they're talking. Don't, you know, keep your mouth shut. When you know, you just. You just kind of know.

[Adam Ferrara]

Yeah.

[Lynne Hoffman]

So I knew. I knew to look at the terrain. The Art of War, Sun Tzu. The first thing you do is evaluate the terrain. What's the ground you're traveling on? So I knew what was important by just listening. What was important to booking agents, what that had these little bars and this little stuff. Because this was 88. So it's just when. Right before your VH1, right?

[Adam Ferrara]

Yeah.

[Lynne Hoffman]

Everyone was getting their TV show because producers figured out comedy was cheap.

[Adam Ferrara]

Did you ask me If I remember VH1.

[Lynne Hoffman]

You were on VH1.

[Adam Ferrara]

Oh, I'm like. Like, I'm not that old.

[Lynne Hoffman]

No.

[Adam Ferrara]

Yes, But I was on VH1.

[Lynne Hoffman]

Marconi came out with the radio. No. Yes.

[Adam Ferrara]

Do you remember when Edison made the light bulb?

[Lynne Hoffman]

Yeah, yeah, yeah. You were on VH1, correct?

[Adam Ferrara]

Yes, I was.

[Lynne Hoffman]

Yeah. So when you guys had, you know, I think Rosie was hosting Bobby Collins started, and then Rosie o' Donnell was hosting their comedy out. So we got to do all that stuff. I was on TV way before I should have been Lynn, because they. They. We had the access to it because they were. They were producing it, so they needed product. I was funny. I knew enough to be on time. What happened was I was on Long island, and a lot of the headliners that would work these little clubs in the peripheral of Connecticut and New Jersey lived in Manhattan. So the deal was you drive in, you pick them up at the improv. I think it was on 44. Pick up at the improv, you drive them to the gig, you drive them back, you drop them off at the improv. Well, I was always on time, picking them up at the improv. Car was clean. I was Uber, before Uber. I went there. I got, I got, I got, I got. I was on time. I got everybody to the gig on time. I knew enough as an opening act. Don't be dirty. Don't wreck the room. Stick to your time. Bring them up. So, okay, I brought them up, then I would drive them home. Then we're outside the Improv, they're ready to get out. I go, listen, you're going to get in my car to get a cab to get into another car to take you home. Save the cab there. I'll take you home. Where's home? And I would drop more.

[Adam Ferrara]

Gosh.

[Lynne Hoffman]

So especially the female comics, they felt comfortable with me, so they requested me a lot because I knew. I knew how to. I knew what the job entailed.

[Adam Ferrara]

You were probably a gentleman, too.

[Lynne Hoffman]

I try to be. I'm trying here with you. I don't think you're buying it, but I try here with you. Oh, my God, I'm in line and Cinco, I'm playing with you.

[Adam Ferrara]

Sitting on your front steps. How could I not?

[Lynne Hoffman]

I'm playing with you.

[Adam Ferrara]

I know, I know.

[Lynne Hoffman]

Anyway, so that's why I worked so much as a kid, and that's why the long answer to your question was I would say Richard Pryor, George Carlin. And then all the guys that I got to work with and all the guys, I saw how they were Doing it at the level I wanted to be at, if that makes sense.

[Adam Ferrara]

Isn't that. Wouldn't you say that sort of similar to like when, you know, people who are wanted to be music stars. Saw the Beatles for the first time when you saw Richard Pry.

[Lynne Hoffman]

Absolutely, yeah.

[Adam Ferrara]

And then you mentioned something about music too, which is interesting because I obviously I host another podcast about music and. And how that can be healing and it's interesting. I've had a few people on now mention the fact that it's not just the comedy, it's like a combination of comedy and music that's like even more of a secret sauce for making you feel good.

[Lynne Hoffman]

I think what I think was, I think when an artist can. I'll use the word articulate, but even if you can paint something that can express a feeling you can't put into words or you can't express yourself, those are the things that make you go, ah. You know when you hear a song, you know that. I've been thinking about that for months. You know when you hear a song like that, like, I want to be sedated. I've been thinking that for years. Thank you, Jordyn.

[Adam Ferrara]

Now you just.

[Lynne Hoffman]

Yeah, now I just. But yeah, I think that's what the healing power of any kind of art form is, is if when you say touches you and reaches you and speaks to you, is allows you to express something you don't know how to express and then there's released for that. Does that make sense?

[Adam Ferrara]

Yes, absolutely. And there's so. And there's so many things too to touch on. It's almost like you can get into the scientific aspect of it and the actual breathing and the vibrations and all of that connecting.

[Lynne Hoffman]

I'm trying to stop doing that. I'm stop overthinking. I mean, this, this is what. This is where I'm at. I'm. I want to stop overthinking. I've had it with me is as soon as you break shit down to go, now I can do it this way. You feel good. Yeah, shut up. Feel good. It's going to go away.

[Adam Ferrara]

I like that. I like that. How is. Shut up and feel good. Don't try to figure out why. Just. Just shut up.

[Lynne Hoffman]

Yeah.

[Adam Ferrara]

And laugh. You've. You've hosted some television shows and have acted in some pretty awesome comedies like, for example, Top Gear usa. And you were also in Rescue Me, which huge on fx, so you don't miss an episode. How has comedy helped you be able to transition between roles? Because a lot of comedians Go into acting. And I'm not quite sure why it makes sense because you're playing a part, but.

[Lynne Hoffman]

Well, they're two very different disciplines. They're two. Especially drama. It's. You have to. Well, why did I go into it? I was offered the parts and I took it. Why? I have a mortgage, Lynn. This is why. How much? I'll do the gig.

[Adam Ferrara]

You want me to do what?

[Lynne Hoffman]

All right, I can do that. I was very fortunate to get roles that cultivated both comedy and drama. One of the first major role I got, well, I did a couple of multi camera sitcoms. That's the ones with the audience.

[Adam Ferrara]

Yeah, that's so.

[Lynne Hoffman]

That's so much fun. And that's really fun because it's almost like a tiny little theater piece every week because you start with nothing at a table and then you bump it into furnitures all week. And then you actually have a performance in front of an audience, you know. And the best, the best was when you were on a Tuesday schedule. Because I've been on both. I've been on a Friday shoot and a Tuesday shoot. I prefer the Tuesday shoot because you get the weekend to process every. All the rehearsal you've done during the week. Friday, you start cold Monday, Friday, then you go home and you sleep through Saturday. That was one discipline that was different because you actually have to let somebody in. For me, my experience when I'm on stage is the audience is this big ball of energy that you're interacting with. And then between me and them, we're going some other place. You know, all that stuff's coming through me and coming through something higher than me. And that's the way I see it in my head. When you're on a sitcom with a live audience, you still two of you working to get the laugh. So it's the space between the two actors. It's the space between the actors. That's where the energy and the currents flowing. So you have to play your part to be that part of the whole, to make that reach the audience and come back and you get a buzz that way too. Single camera acting is the same thing, but there's no big reinforcement. You know, as soon as you do something funny, there's nobody laughing. So you're like, yeah, that must be interesting.

[Adam Ferrara]

That must be challenging for someone who feeds off an audience.

[Lynne Hoffman]

I need some reinforcement. Somebody better love me now or shit's gonna get broken.

[Adam Ferrara]

So we need a fluffer.

[Lynne Hoffman]

What's the brother gotta do? Get. Get some reassurance up in this.

[Adam Ferrara]

So can someone Fluff the comedian, please.

[Lynne Hoffman]

And then after that is drama where you really have to be in this space. And. And there is, believe it or not, there is a connection to the. Your. For me, there is a connection to your fellow player, your other actor in a different. In a different place. Especially when it's a highly charged emotional place. I had to cry on camera a couple times, which is just annoying.

[Adam Ferrara]

How do you do it?

[Lynne Hoffman]

What.

[Adam Ferrara]

What's the secret?

[Lynne Hoffman]

I look at the credit card statement.

[Adam Ferrara]

Oh, I am. I thought you're gonna say onions.

[Lynne Hoffman]

There's a. Well, there's a breath. I mean, getting into the plumbing of how stuff works. There's breath patterns that you know when you, when you cry. Your body doesn't know the difference between what's real and what's not. Your body just responds to input. So there's the breath pattern of crying is. Is staccato inhaler. Any emotional. On the outhouse. So you just start, start cranking up the machine that way. And then you can go back to any kind of sense memory stuff you.

[Adam Ferrara]

Got to get so you don't even have to think of anything. It's breath.

[Lynne Hoffman]

You start the breath. So the body's already in that emotional state. It's like, oh, we're going here now. And then, wow, Turbocharges. You throw something in there. Since my father died, I can cry like that. Like that. I can cry. So. And I had to do it a couple. And when you're a guest star, you're only going to get two takes. And if you're first up, they're going to shoot you first because the, because the regulars like, I'm not up yet. Let's do the master later. So you're only going to get two. That's just the way it works. So I had to cry a couple times. The funniest one was when I was on Law and Order and when Jesse Martin was on lawn or I was a kid. And we went through, we went through the rehearsal and we shot at Chelsea Pierce in New York studio. So crew has the set.

[Adam Ferrara]

How cool is that?

[Lynne Hoffman]

Yeah, after you do that, the crew has the set. So we're up on the roof, Jesse and I, and we're having a cigarette. I was smoking that. Jesse gives me a cigarette, he lights it. He looks at me, goes, man, I don't envy you having to do acting shit at 8:30 in the morning. I said, thanks. You're not helping, Jess. You're not helping at all. Then I had to cry again on criminal minds again. 8:30 in the morning, first shot up, sound guys eating an egg burrito, which I can smell as I'm trying to get emotionally to get to be in the FBI office because my daughter was abducted, and I got to break down in tears, okay? So I got to get there. You know, I got to think they're shooting me first so I can get there. What I discovered on that shoot, it's not. The issue is, for me is not getting there. The issue for me is getting back. Because once I open that door, floodgates, you know, now my nervous system is like Chaz Palmintary in Bronxdale now. You just can't leave, okay? You know, all the shit you've been shoving down, now it's coming out.

[Adam Ferrara]

Hi. That is so hard.

[Lynne Hoffman]

Yeah.

[Adam Ferrara]

So that must work the opposite way for you, too, in comedy, because once you get that role going, it just flows from there, too. So you. You could go in either direction.

[Lynne Hoffman]

Once you get that role going and it flows, the discipline there is to stay out of the way. Once you're out of the way, you got to stay out of the way. Don't help it. Don't try and make it better. Ride it. You got to ride it. And that's pretty much to be an observer. I mean, I don't know. I don't like to use the word God, because that's how wars start. But if you find that place where you're sitting and you're observing yourself, that. That state of grace, whatever that grace is for you, My discipline now is just to remain there, just to dwell there, just to be able and not try and make it better, not try and fix it, not try to input any kind of will on it. Just sit there. And then success is judged by how long I can do that. And then when it's ended, it's supposed to end there and not have any judgment about why it ended and why it doesn't continue. It's a lot like marriage. You know, my wife and I. You know how you judge success in marriage? You stay mad at each other in a shorter period of time. That's it.

[Adam Ferrara]

I like that. That's awesome.

[Lynne Hoffman]

That's it. That's how you judge success. We're yell, we're going to scream. It's going to be now it's over in a sentence. I'm leaving. No, you're not. You want eggs? That's it. That's the who.

[Adam Ferrara]

Oh, my God, That's.

[Lynne Hoffman]

So I told my wife the other day, we had a fight the other day in the bed in the, in the bedroom. She goes, I'm not the enemy, so I don't think you're the enemy. But right now, you're killing me. I'm gonna walk out of this room in 15 minutes. I'm gonna come back, kiss you on the head and tell you I love you. But right now, I'm leaving. Came back in ten. I love you.

[Adam Ferrara]

That's the best way to fight. That is the best way to fight. But that takes time to get to know someone, to be able to get there. Right?

[Lynne Hoffman]

Yeah.

[Adam Ferrara]

How long have you been married? Oh, now you're thinking about it. It must have been a long time.

[Lynne Hoffman]

Yeah. Jesus performed the ceremony.

[Adam Ferrara]

I'm going back.

[Lynne Hoffman]

Here's the thing. I looked at my wife and went, she's pretty. Then everything went black. I woke up and I had a mortgage, so that's all I remember. I was shanghaied.

[Adam Ferrara]

Obviously. When you know someone that long, you. That, that is, that is the best way to fight fair. And it's the best way to know that you're going to be married forever. That's so awesome. I love to hear that.

[Lynne Hoffman]

I'm going, no. My wife is stunning. She could walk out. She could start again in a half a block.

[Adam Ferrara]

My wife, oh, you know, it's, that's so funny. You and my husband would get along well. He's like, hey, you got all these guys lined up. Whatever. If someone, something happens to me, you'll be fine.

[Lynne Hoffman]

My wife turns the corner, it's like, all right, here's the new life. Hello, Lionel. Who's Lionel? I don't know.

[LifeLock Representative]

We'll be right back with more of.

[Lynne Hoffman]

The comedy Save Me podcast.

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[Lynne Hoffman]

That's my son. Isn't he terrific?

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[Lynne Hoffman]

Welcome back to the Comedy Saved Me podcast.

[Adam Ferrara]

How do you think your stand up routines have evolved over the years? And what does personal experience for you have to do with, you know, when you craft some new material for your shows?

[Lynne Hoffman]

The evolution of it now is I'm writing more stuff for me. I've never been an observational comic. I've always been a student of the human condition. And I got to the point where my first hour I did for Comedy Central, I did a couple of half hours and then I did an hour and my dad got diagnosed with cancer and I did a bit about me bringing him to chemo and I wrote the bit and I wanted to see. And I was, I was shooting Rescue Me at the time. So I was, I was playing with what I could do, you know, what, what can I do on stage? So I want, I emotionally take the audience way down to a point where it's like I sit in the silence for a minute and then the punchline is like a right cross that brings him back. And then you go to a jib shot and there's the applause break and then you go into commercial. Because I built the thing because we had commercials at that time. So that's cool. It was a different format. So I figured out I got from the network where's the commercial breaks, how much time? Because what I didn't want is I didn't want people cutting my act in the middle of a joke and coming back after the Nabisco commercial to finish the joke.

[Adam Ferrara]

So that's so cool that they gave you that, that heads up so you could build the show around the commercials.

[Lynne Hoffman]

And I gave it to me. I asked him and demanded it. That's what I, this is what I need because I gotta, I gotta, I have to idiot proof the best I can. I work too hard so I have to have someone else cut it. So I gave them the way I wanted the special to be with the times that I knew they had to work in. And then they always want extra time so they could, they could craft it. So what I do with extra time, I just, I just cursed up A storm and sang a Beatles song because I knew they were never going to get the rights to it. And I knew they wouldn't put the filthy stuff on this, that I had to use what I wanted to give them.

[Adam Ferrara]

So that's great.

[Lynne Hoffman]

Yeah. So. But in that bit, in again, that's the terrain. Know the terrain. You're cutting in. There was a bit I wrote about my dad going through chemo. And it did what I needed it to do in that moment. It ended that section in an applause break. And I got to experiment a little bit, like what I can do as an actor. And so. Okay, that's good. And then after it aired, I got a call. My manager called me and said, how much do we want? Someone wants to license that bit as a teaching tool. That El Drama. And NYU professor Eddie Freefeld, by the way, big comedy fan. We've become friends. And he wrote, I think he did the Mel Brooks book. I know he did the James Burroughs book, the Sid Caesar book. Oh my God, Mel Brooks. I might have misspoke, but I know he did Burroughs and Sid Sears and he teaches at NYU and Yale. And they want to, they want to license that bit because the emotional changes you do in 30 seconds. I said, really? You go, yeah. How much you want to go? Free. Free. Take it. Go show it to the children in the village. Maybe someone can benefit from this. Cause, you know, we write these things, we, me and you, like we're sitting there writing an opera. But when you make any kind of creative thing, there's a point where you have to let it go and it takes on its own life. Let it live in all its many bearings. Is Stephen. I think it's a Xenophon prayer for it was in the book the War of Art from Steven Pressfield. When you let go of something, you lose control of it. It becomes what it wants. Wrote that thing, I'm like, all right, I did it for this reason. But now it's serving that purpose. And that's when I knew something was bigger than me coming through me.

[Adam Ferrara]

That's. That's huge. And also when you're talking about it's like birthing a child, you know, it's your thing, you crafted, you made it. And now you just let it go to the world. But the hardest part is being judged on that, which I'm assuming is what stops so many people like they self sabotage because they're too scared of what people will think of what they do. And then you've got a college calling you, telling you we would like to have you.

[Lynne Hoffman]

Yeah. Yeah. And when you have a kid, you have no control over what kind of person it's going to be. And. And, you know, after all I've done for that little bastard, you can't take care of me when I'm old.

[Adam Ferrara]

Can you send him over here?

[Lynne Hoffman]

Yeah, please. I need somebody to wash me.

[Adam Ferrara]

Oh, my God. It's so refreshing to talk to you. And I know that you're. You're a busy guy, and you're a guy who's in demand, and. And it's. It's really just so refreshing to hear from someone who's been doing it for. For as long as you have. You've worked on both comedy and drama, as we've talked about. Is there a moment that you were using your comedic skills to sort of enhance a dramatic performance or vice versa? You know, going back and did. Did comedy ever play a role in any of the work that you've done elsewhere?

[Lynne Hoffman]

Oh, sure. Oh.

[Adam Ferrara]

And how did you not. How do you stay focused? Because, you know, you get people cracking up, and then everything takes a turn.

[Lynne Hoffman]

Well, it also depends on the environment you're working with, like, Rescue Me. And there was another show called the Job with a cop show with Leary, kind of the same creative team, and that's the environment you work in. So it's, you know, know the terrain, know your situational awareness. You're allowed to do that. Then when you go on another set, you know, and they're not used to that, you. Whoa. You know, you. You see, the yelling and Rescue Me was loud. It was loud. You know, it was loud and raucous. It was very much a guy show. And Dennis's trailer was the barracks. We all hung out there. ESPN's on. We're all yelling and smoking. The smoke coming out of the trailer, it looked like someone elected a pope. Just smoke coming out of the trailer.

[Adam Ferrara]

Are they gonna come out for the shoot? Yeah.

[Lynne Hoffman]

It wasn't a healthy set by any means. And then I started doing Nurse Jackie, and that was more of a feminine energy.

[Adam Ferrara]

Yeah.

[Lynne Hoffman]

And it was more of a healthy set. We had a juicer, and we had ashtrays on Rescue Me of a juicer on the set.

[Adam Ferrara]

They wanted to be healthy.

[Lynne Hoffman]

Yeah. And they're not used. They're not used to some guy just messing around like me. And so that was a very happy house, too, because I got to bring that energy, was accepted. And sometime, you know, when you're the guest star, you're there for two days, you're company, you know, when they asked me to join the cast with the Jackie, then you become family. It's a big deal. But you got. You also have to know, in answer to your question, when comedy clicks. And it's also when you work with somebody. I just did Elsbeth on cbs, and I played a restaurant owner and Alyssa Milano played my wife. And we had done a movie together, a movie called Little Italy where we were husband and wife. So we were together for six weeks. We were improv, and we were having fun. So we had a shorthand between us. And when you ask about comedy, coming into the drama, there was a beat. We got into an argument. And the beat. It didn't end clean, you know, it just ended. It didn't end clean. It needed something. So I guess because of our rapport and our chemistry. Milano. I said something, she came right back, and they used it in the show.

[Adam Ferrara]

Did she know that you were doing that, or was it you were just evoking?

[Lynne Hoffman]

I improv'd it once in rehearsal. She laughed, and then she goes, oh, and I can do this. And then we shaped the. We shaped it, but we improv it in commercial, in rehearsal, and she came right back. And then we just shaped it. So in answer to your question, she didn't know, but once she saw it, oh, great, let's do that. That's cool. And, you know, and we did it. And then it's out of your hands, Lynne. Then it's out of your hand. Then it's the editor's and director's choice.

[Adam Ferrara]

Yes, yes. And that's a whole.

[Lynne Hoffman]

Anytime you're a guest star, the script supervisor's coming over going, I have to deliver the words that are on the page. Can you just do that, please?

[Adam Ferrara]

Can you stop ad libbing?

[Lynne Hoffman]

Yeah, we don't. We have that now. Put the other one in. This is my job.

[Adam Ferrara]

No, but it's. It's really cool that you've been able to carve out this career for yourself as well as. As the comedy, too, because you've been on so many really cool and influential shows during my life.

[Lynne Hoffman]

I'm very grateful. You think there'd be more money. I'm telling you. Right.

[Adam Ferrara]

It's shocking, isn't it, what people think when you say that you do these things in television and they're like, oh, you must be rich.

[Lynne Hoffman]

Yeah. Yeah, okay.

[Adam Ferrara]

Yeah, right. Your podcast, by the way, I mentioned up front, the open is Alexa. I don't know if I should be a little annoyed at this, because I do that for my bread and butter. Imaging voices for television and radio.

[Lynne Hoffman]

Well, here's what it is.

[Adam Ferrara]

Cheap.

[Lynne Hoffman]

I made it up. That's just the voice that was on the computer, and I typed it.

[Adam Ferrara]

Oh, you made it sound just like Alexa. That was awesome.

[Lynne Hoffman]

I made it up. It's not Alexa. I made it up. That's so cool.

[Adam Ferrara]

Well, the podcast is. You have guests from all kinds of backgrounds, which I think is really cool. What insights have you gained about the power of humor through the conversations that you have been having on your podcast?

[Lynne Hoffman]

I will, too. It's. Again, I was talking to. Before he passed away, Louie Anderson was a friend. So sweet. And, you know, we met years ago, and, you know, you say hi, and then life takes you. And before Louis died, I didn't realize how ill Louis was. He called my mother. Cause my mother watches him on the. In the afternoon. He was on a game show. So he actually called my mother for Mother's Day, and he told me, like, we had a conversation off there, because I could see that this wasn't what I thought it was.

[Adam Ferrara]

You hadn't seen him up until that point?

[Lynne Hoffman]

I haven't seen him. I knew he was ill, and we, you know, happy Thanksgiving, Merry Christmas kind of thing. But then when he said he did it, we kept putting it off, and I said, okay, Lou, whenever you can. So we did it. And I'm lucky. I was so grateful I had that moment with him because he said he didn't acknowledge what was happening. I think it went unsaid. He goes, I can't believe that we get to make other people so happy. And I can't believe it took me this long to see it, you know? So he's. He. I think it registered how much he could make other people happy. Sorry. My mother. You talking about Lou?

[Adam Ferrara]

Oh, you just. You talked about her, and poof, there she is.

[Lynne Hoffman]

Oh, that happens all the time. My mother, please. That's a whole other story. So I think, in answer to. In answer to your question, I think it's a gift for you. For you. When you could recognize it's a gift for other people first. And then you try to survive on that, I think. Or that's your job. So you try to get. And as you get older, there's the expansion and contraction to a life cycle. You go out and you get. And then when you get older, you got to get back, you know? And then you get back, you're like, there's that moment, like, what about me? And you realize, putz, it's been here all along. Putz. This is the gift. I don't know why God speaks Yiddish to me, but he does. Putz.

[Adam Ferrara]

I love it. I love it. I'll take it.

[Lynne Hoffman]

So I think, and again, I don't know, but I think that that's if you can see that or you can, you can have a felt sense of that. That's, that's how the gift of humor affects everybody.

[Adam Ferrara]

Well, that's a beautiful story and I'm glad that you got to have him on that one last time. And.

[Lynne Hoffman]

And now, now's the Italian disclaimer, Lynn. But what the do I know?

[Adam Ferrara]

Hey, Adam, thank you so much for coming on the podcast and, and for your gift and power of laughter.

[Lynne Hoffman]

Oh, good to see you. Thanks for having me.

[Adam Ferrara]

Yeah, you too. And. And what. Where can we find you online, first.

[Lynne Hoffman]

Of all, at Adam Pereira. All socials. F E R R A R A. All of them. So, Adam Ferrar, I will make you laugh. Check out my podcast. It's free. It will make you laugh. It's called the Adam Ferrar podcast. 30 minutes. You'll never get back. Listen to Lynn. Watch Lynn. She's pretty, she's smart. It's a good way to spend some time.

[Adam Ferrara]

Oh, my goodness. Well, thank you so much. On that note, I'll see you soon and take good care of yourself and I'll see you on tv.

[Lynne Hoffman]

Hope so. Be well, kid.

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[Adam Ferrara]

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[Lynne Hoffman]

Ah, but do you know what our.

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[Adam Ferrara]

Sometimes you feel like a nut, sometimes you don't. Almond choy's got nuts and something even.

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Yes, Almond Joy is made with almonds and jo.

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You're great at protecting your own personal information. You probably even use things like two factor authentication, strong passwords and a vpn. But as much as you try to be in control of how your information is protected, there are lots of places that also have it it and they might not be as careful as you are. That's why LifeLock monitors millions of data points every second for identity threats. If your identity is stolen, a LifeLock US based restoration specialist will help solve identity theft issues on your behalf, guaranteed or your money back. Plus, all LifeLock plans are backed by the million dollar protection package, meaning LifeLock will reimburse you up to the limits of your plan if you lose money due to identity theft. You might not be able to control how others handle your personal information, but you can help protect it with LifeLock. Save up to 40% your first year. Call 1-800-LIFELOCK and use promo code IHEART or go to lifelock.com iheart for 40%.

[Adam Ferrara]

Off terms apply untold Stories Life with a Severe Autoimmune Condition, a production from Ruby Studio in partnership with Argenics, is back with Season four. Join me Martine Hackett, as we explore the realities of life with myasthenia gravis or mg, and chronic inflammatory demyelinating polyneuropathy or cidp. We'll uncover the stories of resilience and self advocacy in the face of uncertainty. From overcoming misdiagnosis to finding empowerment in small victories, these are moments that change us. Here's a glimpse of what's in store.

[Lynne Hoffman]

Whenever I go to my specialist, he mentions the R word Remission. Is it possible? Like is it over? But also knowing it's never really over, but just being able to say, hey, there's light at the end the day of of the tunnel. Stay the course. Don't give up on yourself. Every single person living with the autoimmune illness has a life worth living, and it's up to you to define that, to capture that, and to go guns blazing.

[Adam Ferrara]

Follow and listen to untold Stories on the iHeartRadio app or wherever you get your podcasts. This is an iHeart podcast.