Transcript
David Remnick (0:00)
This is World Trade Center.
Jerry Seinfeld (0:02)
Bomb one World Observatory. Observatory straight up the block for West Boulevard and make that right. I basically just think it would be.
Narrator/Producer (0:11)
Interesting to look at the emergence of a criminal economy.
Jerry Seinfeld (0:14)
And also, I'm always amazed that there.
Interviewer (David Remnick) (0:16)
Aren'T more profiles of her out there, this really subversive, strange thing in rap.
Jerry Seinfeld (0:21)
Especially, and see what their lives are like on both sides of the border.
Narrator/Producer (0:26)
From one World Trade center in Manhattan, this is the New Yorker Radio Hour, a co production of WNYC Studios and the New Yorker.
David Remnick (0:35)
Welcome to the New Yorker Radio Hour. I'm David Remnick. Today's episode, I hope, is a little treat. A live interview I did at the New Yorker Festival in the fall with somebody I've admired for quite a long time. When I went out on stage to introduce him, though, I was. I was almost at a loss for words, as you'll hear, because this guy, if you'll excuse the cliche, it happens to be accurate, needs no introduction.
Interviewer (David Remnick) (0:59)
Welcome to the New Yorker Festival. I'm David Remnick. You know who that is? That's Jerry Seinfeld. And no flash photography, no recording.
Jerry Seinfeld (1:09)
Why not?
Interviewer (David Remnick) (1:10)
You want him to flash away? All right. You feel like Jackie Kennedy or something?
Jerry Seinfeld (1:14)
That's ok. Yeah.
Interviewer (David Remnick) (1:14)
All right. Get it out of your system now. So you've got this new special on Netflix, Jerry before Seinfeld. And one of the amazing confessional parts of it is that you begin talking about the construction of a joke, your first joke. What made you think you could do this thing, be a comedian, just from being funny in the house?
Jerry Seinfeld (1:41)
I really didn't. The truth is, I really didn't think that I could, and I didn't really care whether I could or I couldn't. I had. I just got to this point where I was so in love with it that I just decided, what's the difference? You know, what's the difference? It seemed much more important to me to do the thing you want to do than success or failure. This is 1975, you know, and we were still a little bit of the, you know, vapors of the 60s, where you did what you believed in. And it wasn't a success culture. It was more of a soul culture, I think.
