THE ADAM BUXTON PODCAST - EP.43 - NICK KROLL

Episode Date: May 11, 2017

Adam talks to American actor and comedian Nick Kroll about what constitutes a ‘douche’, James Franco’s film about cult classic ‘The Room’ (Nick isn’t in it, he just saw it), why Broadway is great even though theatre can be so shit, the point of improv, his role in Garth Jennings’ film Sing and other important stuff. Visit adam-buxton.co.uk for related links, merch etc. Music and jingles by Adam Buxton. Thanks to Seamus Murphy Mitchell for production support, Matt Lamont for convo editing and to Acast for hosting this podcast. Download their app and check out their many other excellent shows. Hosted on Acast. See acast.com/privacy for more information.

I added one more podcast to the giant podcast bin. Now you have plucked that podcast out and started listening. I took my microphone and found some human folk. Then I recorded all the noises while we spoke. My name is Adam Buxton. I'm a man. I want you to enjoy this, that's the plan. Now, what is that? It's like a light aircraft up there. Well, it isn't like a light aircraft. It is exactly a light aircraft. I couldn't tell you what kind, though. It looks like a child's toy. I personally wouldn't like to fly in it.

It's a nice day, though, for a bit of flying, if that's an option. It's absolutely beautiful out here. On my walk with Rosie the dog. If you're a new listener to the podcast, welcome. I'm your unctuous host. Rosie is my dog. She's a Whippet Poodle Cross. She's up ahead on the track. And this is the tree where this bird lives. And the bird flies in between this tree and the one next to it.

And because I'm ignorant, I can't tell you what kind of bird that is. But I recognize its call. And it's always just there up on its own. Enjoying a bit of bird bants there. This is the kind of day that I will really miss when I'm dead. It's a cheery thought. I was listening to the radio the other day and he thought. I was listening to the radio the other day and the sports news came on and they were talking about this guy who's a rugby coach, I think. He's called Dai Young. That is a good name. Well, I guess rugby's a dangerous game, isn't it? But you'd be better off fronting a punk band with that name. What he should do, of course, is find someone called Liv Long and marry her, and then it'll balance out.

Let me tell you about this week's podcast, number 43, which features a conversation recorded on my recent trip to Los Angeles with the American actor and comedian Nick Kroll. He invited me over to his house for a rambly chat. We talked about all the important stuff. Douches and what exactly defines a douche,

as in the slang, not the actual sanitary product, I'm glad to say. We also ended up talking quite a lot about the actor James Franco. You know James Franco. Started out starring in Freaks and Geeks on US TV, Judd Apatow's TV show, and has gone on to appear in a variety of indie and mainstream movies over the years, including Danny Boyle's film 127 Hours. I think he was nominated for an Oscar for his portrayal of a man who got his arm stuck in some rocks and decided to cut it off with a penknife. It's what I would do. The reason we were talking about James Franco was that Nick had just returned from the South by Southwest Music and Film Festival

when I spoke to him, and he had seen James Franco's film, The Disaster Artist, which was a big hit, I believe, at the festival, and it chronicles the making of the 2003 cult film The Room, directed by Tommy Wiseau. We talked a bit about that and about the film industry's treatment of failure in general. You know me, I like talking about failure. I think it's interesting.

We also spoke about Nick's recent Broadway comedy show, Oh Hello, which he wrote and performed with his friend comedian John Mulaney, playing a couple of characters that started life on Nick's Comedy Central sketch series called Kroll Show. So Nick told me how he got to know John Mulaney and how their first Broadway show turned out. And he also explained a little bit more about the whole world of improv. So I'll stop crapping on. I might just, I might just lie down in the grass in this field, pluck myself a dandelion clock and lick it like a lolly while I'm staring at the clouds. Here we go!

Ramble chat, let's have a ramble chat. We'll focus first on this, then concentrate on that. Come on, let's chew the fat and have a ramble chat. Put on your conversation coat and find your talking hat. Yes, yes, yes. La, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la large chili pepper. It looks like one, but it has the bland consistency of a regular bell pepper.

You think that's bland? Try one from the UK. Aren't you known for your agricultural output? Well, in parts of the UK, you can get some delicious bits and pieces, but I'm talking about supermarket food and your average supermarket carrot, pepper, whatever it happens to be is a pretty tasteless proposition yeah i would picture being like go and pick up a box of peppers is what i picture an english mom telling herself how's your english accent surprisingly bad yeah what do you do when you when you need to do a brit what's your go-to accent i mean there's a disney

villain version of it that i'm i think most comfortable with a kind of mustachio yes yeah yes yes of course and something like that is the most comfortable uh chris guest in the princess bride the six-fingered man i'm gonna i'm gonna jump right into the credits i'm gonna start dropping some credits right now i love it i was I was in a film called Sausage Party. Oh, I liked it very much. You were the douche. I was the douche. But the original version of the douche, when I did the table read of that film, this is a major motion picture.

Highest grossing, R-rated animated feature of all time. I wrote that down and handed it to you to make sure that you would say that. Did I read it properly? You read it beautifully. Thank you. that down and handed it to you to make sure that you yeah did i read it probably you read it beautifully thank you beautiful but it was originally when i did the table read i knew seth a little bit and those guys and they asked me to do it and it was like oh they couldn't get ian mckellen or patrick stewart for the read because the original douche was like a british douche yes how dare you know like of that sort of elk have you ever heard of brian blessed i know the name

brian blessed he was the the head of the hawk men in flash gordon yes that gordon's alive he was that guy i love yeah that particular quality voices are lovely it's a it's only actors have that voice. Yes. Yes, of course we will. And you know who I mean by Matt Berry? Yeah, of course, yes. So he minds that scene brilliantly.

Is that how he speaks in life? A little bit, yeah, a little bit. It's a sort of slightly more cognified version of those characters. But the quality is... Yeah, he's got a very rich oh it's a it's a luscious a rich timbre yeah it's gorgeous so we when the first we did the first table read of it they had me do it that way and then they were like oh maybe we don't have to fucking deal

with ian mckellen or patrick stewart we'll just have kroll do it because that's the order you go and this is gonna hurt sir pat sure but it goes But it goes, Sir Ian, Sir Pat, Nick. Sir Crow. Sir Crow. Lord Crow. Knock on wood. Yeah. I'm going to get that night ship soon.

The night ship. I'm still waiting. So I recorded the movie. I did a bunch of sessions over a number of years as the douche, as this sort of like English villain. And then what they realized was like what they were making was a Pixar movie, but their villain was like a Disney villain. You know, it was like more of so on the last session, they rewrote my character as the douche, which was, you know, ostensibly Bobby Bottle Service, a character that I had done and had rewritten it as what a modern douche is. Right. Someone maybe who would vacation in Blackpool.

Have I done that right? Have I succeeded? No, not quite. I don't know. I mean, I'm still, like, in America, how would you define a douche in US terms? Apart from, obviously, a female sanitary product. Yes. In US terms, apart from obviously a female sanitary product.

Yes. I mean, a douche is, I mean, there's so many examples and I... Trashy or... Trashy and showy and like people who like unironically loved entourage at the end. That's very specific. Yes. that's very specific yes oftentimes aspirational and showing their wealth or or the appearance of wealth and in any manner they can okay right right right so sort of flash and a lot of flash so there was a show in the u.s called jersey shore it was a reality show and then they did a they i remember seeing the british version of it it was like tanned. Yeah, Essex. The only way is Essex, probably.

Yes, something like that, yes. Yeah, yeah. It's less of a class thing in the US, though, isn't it? It is. Like most things, it's less of a class thing, theoretically. And yet, then, it is very much broken up into class at some point, but not in the same way that it seems to be in the UK. But, yeah.

The entourage at the end. I've just got to deal with that, first of all. What was the deal with Entourage at the end? Because it started off, it's one of those shows I feel as if I completely got the wrong end of the stick from the very beginning. I thought that it was this brilliantly counterintuitive show that, know most programs most films would talk about the bad side of fame and point out how meaningless and shallow the whole pursuit of fame is here was a show though that celebrated it unironically and i thought that that was a sort of conscious clever

move on their part and it actually seemed like it had worked it was an enjoyable show to watch and you sort of vicariously enjoyed the the good life for sure through these guys and it seemed like whenever there should be a beat where one of them got addicted to something or things went wrong it didn't happen things just went well yeah yeah it was a wonderful and that's how i i remember you know it was like that hbo sunday night remember, you know, it was like that HBO Sunday Night Block where you had The Sopranos, Sex and the City, Curb Your Enthusiasm, and Entourage. And they were all very different and all very enjoyable for different ways. And I remember genuinely enjoying it.

And then I remember poor Entourage. It was like the last season of Six Feet Under. I don't know if you watched. That one season just got so heavy. And then like, oh, yeah. You know, like Entourage comes on and you're like, boy, like you all of a sudden. And it was like season six. Yeah. Now you're just back from South by Southwest, aren't you? I am. How was that? It's I love it. What were you doing there? What was I doing there? I was presenting the Texas Film Hall of Fame. No big deal.

I was introducing my friend Sarah Green, who's a producer, who was getting inducted, as well as Jeff Nichols, who directed this movie, Loving, that I was in this past year. Second movie I've dropped of my career. I didn't know you were in that. I'm in that film. I still haven't seen it. Want to see it. I'm a big fan of Jeff Nichols. The best.

I mean, I love the movie movie but i love his films and so sarah is is his producer and so they were both being inducted in the he lives in austin and she's spent many many years there working with jeff and terence malick and so i went down for that and then got to just hang out and did a few shows comedy bang bang and and uh i did a conversation with nick offerman two nicks on stage one a fuller beard than the other he's got a great beard and he's a real man and he works with wood harrison ford slash jesus yes yes true truthful smokes less weed than both of them and i saw some movies what did i see uh malik's movie song a song oh that's uh he even filmed some of that at south by southwest yeah a ton of it is in he's in austin is the focus of it

and a lot of it was filmed on stages at south he started doing it about 500 years ago yes yes he did and he so what sort of bands are in there hootie and the blowfish doing there yeah it's um peter frampton uh no but there is cool i mean there are moments with patty smith and with iggy pop and but i heard that no one actually plays anything or is it just the protagonists that don't play anything yeah they don't really uh gosling plays you you see him playing a bit and and tinkering and writing and playing a bit. And Rooney Mara, you don't really see play very much. Right.

We should say for people who don't know what we're on about, this is a film, Terrence Malick film, that's about a relationship between these two musicians, right? Yes, more or less. It's really, it's sort of Michael Fassbender and Ryan Gosling fighting over, directly or indirectly, over Rooney Mara. And Fassbender and Ryan Gosling fighting over, directly or indirectly, over Rooney Mara. And Fassbender is quite devilish, and Ryan Gosling's more of a charming romantic. And it was cool to be in Austin to watch a movie about Austin. And then I saw The Disaster Artist, which is James Franco's new movie that Seth Rogen produced about the making of The Room, the Tommy Wiseau movie. Right. Have you seen it?

I've seen bits of it. Never seen the whole thing. Should one see the whole thing? One should see the whole thing. Right, okay. One should see The Room because it is truly the best worst movie ever made as it is sold. I mean, it is, and I would assume your fans and people who are listening to this, my gut would get quite a bit of joy out of it. I would say most of the podcasts would be familiar with The Room.

But if people aren't, where would they start with that? Well, you can buy the DVD from Tommy Wiseau, who's the man behind it. And I believe the only place you can get it is not on Amazon. It's from like theroommovie.com or something like that. When did he make it? He made it in the early, I'd say the early 2000s. And I remember just driving down in Los Angeles, you know, there are always like small billboards for movies that are getting no real distribution, but somebody's put up some money so that they can have a billboard. His was up for about four years i mean the picture of tommy is one of the funniest images even to the font i mean you'll everything

about it is wrong he shot it on two cameras simultaneously shot it on film and on hd and so most of the framing is off center because he literally had cameras next to each other filming the same scene. Right. What was the point of that? He didn't know which one he wanted to eventually use. Keeping his options open. Very wise. So obviously the movie, this movie is truly wretched.

But in so, it's beautiful and very pure. And the guy Tommy made the room with was this guy, Greg Sestero. And Greg eventually wrote a book. He's the best friend in the movie. And he's like the line producer and cast director. Greg wrote a book about his experience of making the movie. They then took that book and have adapted it into a film starring James

Franco as Tommy Wiseau and his brother Dave as Greg and the journey of them meeting and then making the room and I truly enjoyed it um and I mean Franco directed the movie as well but he directed it as Tommy he stayed in character the whole time oh my god which you know is like it's like taking daniel day lewis to the next level yeah but everyone who worked on it i think had fun doing it and i thought the final product was great and i think franco truly identifies with luiso as like someone who i think earnestly goes and takes chances and makes things and people make a fun of him for it and so i think there's there's a real humanity in the final product, but it's also fucking hilarious.

And if you know The Room, I mean, there's a ton of the movies in it and you see it. The actual original bits or do they recreate? They recreate it at the end of the movie. You see some of the recreations side by side. Oh, okay. You know.

Did you see the Meryl Streep movie about the singer, what's her name? Florence. Foster Jenkins. Yes, I did not. Yeah, worth seeing. Yeah. You got some similar themes there

with an extremely talented performer, Meryl Streep, playing this woman who was sort of deluded, quite rich and able to indulge this passion she had for music, despite the fact that she had no real talent for it. Sure. But because everyone around her was keen for her patronage financially they they encouraged her yeah until at a certain point it was impossible for her to ignore that people were just laughing at her yeah and there's a moment when Meryl Streep realizes this that people have just been making fun of her and

and actually this thing she loves doing she has no real gift for and it's heartbreaking you know yeah and it's sort of brilliant to see someone as talented as Meryl Streep playing this person who really doesn't have any talent right but doing it in a way that is not at all sneery or or mocking you yeah it's similarly you you watch that unfold in the disaster artist and what was crazy is that the room became a cult hit he kept it in theaters and then people started going and then it became like a rocky horror picture show where people would go and you know there were things that were happening in the movie that they then everyone would chant together or people would you know have props and things like that and tommy would go to these screenings and speaks at the end and but

he's now changed the narrative to saying he made a comedy oh right okay you know so he but so i think what was trippy was watching the disaster artist with him at the premiere he had not seen this movie uh-huh this was his first time seeing And presumably within the narrative of the disaster artist, it's not a comedy. No. No. It is an earnestly made film. Yeah. Was he happy with that?

Well, so we then, he was, it was unclear. They called everyone up on stage. He didn't speak afterwards. But we all ended up back at the hotel later that night. And Franco rolled up with Tommy and Greg. I was I mean I was I was very stoned as well and pretty drunk but I they everyone sat down and I found myself shaking uncontrollably like the adrenaline or excitement of being in a room with two guys who had made a movie about two guys and all of them there and then Seth and James talking to Tommy and

asking what did he think of the movie and Tommy being like 99.9% I endorsed this movie. It was just so surreal. It felt so crazy and meta and then it just was a joy. But it was, I literally found myself shaking. Like I was a, you know when you were like a kid and you're about to make out with a girl for the first time and you're just. I've read about it.

I'm thinking like when I say kid, I mean like, you know when you're like 21 and you're having your first kiss and you're like all of a sudden you start to get shaky. You're like, I don't think this is horniness. I think this is just adrenaline and excitement and fear. And that's what it felt like sitting at this, just watching. Also, Tommy makes, he has a line of men's underwear that he makes and jeans. So if you get into Tommy, go check out his underwear and jeans, his line.

He's very interested in men's underwear. Excellent. Yeah. And they are passionately made, but absolutely useless. Presumably. They're very funny. It turns out that they're a comedy. They were made seriously, but they're actually hilarious.

Yes, exactly. Blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah I really love talking to you so much. With James Franco, though, as you said, he's an interesting character because he treads that line between being sort of taking himself quite seriously and being able to laugh at himself yes and I mean I've never not being an American and not being out here I've never really I'm sorry uh I've never really been aware of him doing anything embarrassing I think most of the stuff that would be considered embarrassing gets filtered out before it reaches us in the UK so we only see the good stuff i was aware of the fact that when he hosted the oscars that was supposedly embarrassing i think that was a yeah i mean i think that was and i watch this i was a part of the roast of james franco oh yeah comedy central so now we're getting into tv credits i've moved

over to mention some tv credits and i did not know him before that but i was asked to do it and it was it was fun because it was the one way i would do a roast i think because it was like we're not making fun of some albatross or some dinosaur of the business who is like clanging for one last like you know wants to be back on tv or needs a million dollars it was like a relevant current person which is like kind of what the roasts were back in the day when it was like Dean Martin and Sinatra and Don Rickles and all these guys who were still quite actively in their careers and doing stuff. So, yes, it's a peculiarly American tradition. I don't think we have anything like that. No, the English just quietly roast each other constantly.

Yeah, we just internalize it and then bitch behind people's backs. Yeah, or directly with sharp, very, just the thinnest blades that you can't even realize until later you realize you have a deep paper cut of emotional brutality. That's right. The withering of James Franco. That's what it would be. But in researching him, you know, at the time it was at the height of him doing everything i was just talking to him about being uh on broadway which i recently which i'm going

to ask you about but he had done a mice and men and so we were talking about what that schedule is like of doing a broadway show or as the west end might be more analogous for you but so that you can understand what I'm talking about. Thank you very much. And he, you know, it's a pretty grueling schedule. It's eight shows a week in six days. Right. You do a matinee on Saturday.

We were doing, we did a matinee Saturday, Sunday. Some people do Wednesday, whatever it was. He said he was flying back to LA to teach a class at UCLA or might have been San Francisco. On his day off from Broadway, he was flying across the country to teach a class in screenwriting or filmmaking or something. What a maniac. That's like a seven-hour flight. Yeah.

So that's the kind of what was less embarrassing of the wasn't the work he was doing. It was the idea that he was going back to school taking class writing a poetry book writing a play uh making films with the classes that he was teaching it was just a he seemed to be making a ton of art and being experimental and being taking chances and so when you know it's it was the kind of thing where it was fun to make fun of because it's like, ha ha, how unironically you want to make art, you fucking piece of shit. But as I was sort of trying to write jokes about it, my respect actually grew for him, which is like, oh, you unironically want to make art. Yeah. Or you're interested in something you don't care whether people will say like, what's he doing doing this like, you know, experimental art?

What was he doing making an art exhibit? You know, he's an actor or whatever it was. And so I think that's what he sort of got made fun of more than the actual physical work that he did. Yes, yes. I never saw him at the Oscars. What was the deal? He was paired with Anna Hathaway to host the Oscars. And it was, I think, at a point when the Oscars was was the deal he was like it was he was he was paired with Anna Hathaway to host the Oscars and it was I think at a point when the Oscars was feeling particularly irrelevant and

so they thought they'd bring in two younger actors to come in and host it so you had two hot young actors and I think what it turned out to be though was it felt like you're watching the the girl who was the president of the drama club being paired with the kid who was like smoking cigarettes out backed and and the gay drama teacher was like he should be in the play too you know and so you just had these two very different energies and i think his misstep there which i don't i mean i'm not one to judge or to publicly say something on a digital platform that can be pushed out into the world into ears across the globe god forbid his one misstep from the rest of his career is that he felt a little too cool for school and that when in reality he's not at all i mean he's a he's a

very genuine kind of performer and it just felt like a moment where he was like oh i've agreed to do this and now i'm retreating because i'm feel right. So he was all kind of a little bit slurry and like, yeah, exactly. And that's not his actual vibe as a, as an artist. Okay. Um, in, in this business, when your friends do something that is, that doesn't work, how how do you handle it what's your personal policy on on that whole thing is it to be always supportive by default with a friend and just say yeah it was fine it was fine you know you don't say too much about it to incriminate yourself but you say yeah it was good it was interesting that bit really worked that was fantastic or do you feel you owe it to them to be absolutely honest and say you know

what i'm your friend and i think that you shouldn't have done that first off if people ask you for notes or or your real thoughts that's one thing i mean i think what happens often is that people ignore the work when it's not good or they say congrats you've done it or whatever it is and you can i feel pretty capable on the receiving end of what the level of compliments i feel like you can gauge a compliment yeah right i i specialize in my own version of self-hatred of gauging how genuine a compliment feels yes um i think oftentimes stuff goes unmentioned you know what i mean and the truth is is there's so much stuff now that i just assume no one is watching or listening to my stuff and that people expect this the same lack of of engagement engagement from me yeah no

they're people are busy. That's the thing, is you can't assume that everybody's seen everything. But I, you know, when someone has a big public failure, if they're a friend, I try to be there for them and let them know

that I think that they're funny and that I want to work or whatever it is that they do and that I want to work with them. But you reserve the right to trash them on a podcast. Of course. Of course.

But I also think what i have learned is making anything is incredibly hard making a film good or bad and again i think that's one of the great things about watching the disaster artist is it makes you it just makes you appreciate how fucking hard it is to make something. So even if I don't love a piece of art a friend makes, a show or a movie, a TV show or whatever, just the physical act of completing something like that or seeing what they were trying to do, I think there's always positive stuff to be found in that because it's just incredibly hard. Absolutely. Yeah, that's the thing, isn't it? It's difficult for people to understand that i think when they're just watching it because you see the finished thing and it seems so obvious

how you would fix it sometimes yeah and i you slowly are a part of things where you're like wow there's some of the most talented people i've ever met in the room working on this yeah over time and they did not figure it out. Yeah. Right, let's go again. What don't you fucking understand? Kick your fucking ass. Let's go again. What the fuck is it with you?

I want you off the fucking set, you prick. No. You're a nice guy. The fuck are you doing? No. Don't shut me up. No. No.

I like this. No. No. Don't shut me up no no i like this no no don't shut me up i like this fuck sake man you're amateur seriously man you and me we're fucking done professionally you mentioned uh broadway there oh i did did i yeah you slipped that in oh look at me uh You've been on Broadway for the last few months. Well, back in January, you finished your run. Is that right? Yes. Is that your first time doing a show on Broadway? Yes. And that was Oh, Hello.

That was Oh, Hello. With John Mulaney. With my friend John Mulaney, the deeply unfunny John Mulaney. Wow. It's nice of you to, you know, take him along, give him a break. Yeah. How did your relationship with him start? And where did those characters start?

He and I met in college, university. Where was that? Georgetown. Georgetown University in Washington, D.C. And we met when I was a freshman. I did this thing called the funniest act on campus. It was a competition of standup. I'd never done standup before.

And the whole bit I was going to do was pee my pants on stage and say, you know, I thought I was going to be so nervous, but I'm so relaxed. And then pee my pants. It did not work. I was going to bring a water balloon. And then I forgot the water balloon and it just,

I bombed in the same competition. The guy who won that competition was Mike Birbiglia. Oh, yeah. Who's a quite well-established stand-up and storyteller and filmmaker now. And he then cast me in a sketch show at the end of my freshman year. He did piss his pants. He did piss his pants. He did it for real, though.

For real, constantly over a number of years. And I want your listeners to know that, the podcast, that Mike Birbiglia is a peepee pants boy and that shouldn't be forgotten he's a wee wee man he's a little wee wee man and he's a peepee boy this is not true by the way this is a an ironical riff this is one of these classic riffs where i trash my friend uh but mike cast me in this improv group, sketch group. And then when I was a senior, I cast John Mulaney as a wee freshman. And we just hit it off immediately, became very close friends. And when I graduated, I moved to New York and he would come to New York and he lived on my couch one summer.

And we would do, you know, open mics and we started writing little pieces together. And then we started doing these characters. I would host a show in the East Village. I was hosting with my friend, Jesse Klein, another very talented comedian and writer. And then she moved to LA and I asked John if he wanted to host the show with me. And we started hosting as these characters who were two Upper West Side men, turtleneck blazer, NPR listening, I guess the, you know, coffee breath, tote bags, Woody Allen, Alan Alda obsessed. Right, okay.

Because John sounds a little bit like Alan Alda. Yes. Yeah. So it's, that was always our way in, was it's like two divorcees from the Upper West Side were obsessed with Alan Alda. And you know that it's a, hopefully I believe the English,

I mean, knowing a Woody Allen film, that kind of guy who where, you know, we were obsessed with the idea that like, you know, an architect in his late forties in like corduroys with like balding, like women could be like, he's irresistible. Yes, yes. You know what I mean?

It's that kind. Going out with a much younger, much more attractive woman. Yeah, like that we would yeah go to a dinner party with our friends and a and a 14 year old girl and nobody would blink an eye yeah we became very obsessed with that kind of man and so we started hosting a show as them this stand-up show and our friends would do a set and then we would interview them and just fuck with them you know and it was like you know jiminy glick had come out and martin short's character yes yeah who's brilliant i i don't he he's not that well known in the uk that character but it's so great it's so deeply fun it's

it was and i think the uk has a stronger tradition of it with like alan partridge and sasha with with ali g and all those characters where the interviewee becomes the straight man to the character doing the interview yeah where you're punching down yeah um but it's the most fun and like so we had you know we we basically did our version of that and we would interview our friends our stand-ups and they would have to deal with it anyway then we stopped doing the show I moved to LA John became a writer on SNL and then I got a sketch show then we stopped doing the show i moved to la john became a writer on snl and then i got a sketch show and we started doing those characters on my sketch show on crawl show and they developed a thing called a prank show called too much tuna where we would prank

unsuspecting guests at lunch with too much tuna fish also pointless i still am not exactly clear what is funny about where did Where did that come from? You're just trying to think of the lamest prank. Well, no, it came originally. Actually, John and Jesse, my friend who I'd mentioned, we were all at lunch one day, and she got like a salade niçoise, and it came, and there was just a ton of tuna on it. She was like, this is too much tuna.

And we were like, that's a funny talk show where it's like, welcome to Too Much Tuna tuna i guess today is adam adam and then the plates get serving and this is well this is too much tuna you know and it so it started there and then i told that to my writers room and the writers were like oh that's funny it was one of those things where you know you have a bit with your friend and you're like all i do is think of bits to produce and that one was just like well that's just for us and then everyone's like oh that's funny then we turn that into a prank show where they prank people with too much tuna fish a big mountain of tuna yeah and we did it on crawl shows a kind of recurring sketch and we uh you didn't ask for the history of this but no I thought you'd give it to him. No, I did, actually. I specifically asked for the history. Okay, great.

So then we were promoting season three of Kroll Show, and we did a In Conversation With at the 92nd Street Y in New York. You have YMCA's. But the Y is a real mecca for these kinds of guys, you know what I mean, who would use the pool and play racquetball and go to like lectures you know they could make the our characters could make up a whole weekend at the y i don't know if we have an equivalent in the uk really though i mean there must be but it's it's sort of a public private you know it's a it's like a club it's a club but it's a theoretically

largely public in its own capacity. And it's a very New York thing of the past, really, more than anything. So we appeared live as those characters and got interviewed by Willie Geist, who's one of the co-hosts of the Today Show. And we just largely improvised for an hour and a half. We gave him some questions, and he had questions, and we just fucked around and and it was a big it was like 900 people we hadn't performed the characters live in seven eight years and it was deeply fun and then everyone was like what do you what's next and we both immediately said oh hello on broadway and it was a joke and then we sort of took a beat

and we were like this is not a joke because oh hello was that was the name of the sketch and the character was called yeah oh hello you know and it was that was the name of the sketch for whatever reason that's how you know yeah and so we we said oh hello on broadway and it was a joke but then it got very quickly very serious because what we had been bandying about for a long time and what our influence on those guys more than anything was sort of carl reiner and mel brooks the 2000 year old man and nichols and may yes um except we have no straight man between us but it was sort of that something about the banter of those two guys on stage live enjoying each other and that sort of

patter that more classic kind of patter so we then were like well let's go to broadway and our everyone in our life who on the works i was like you don't have a fucking script and we're like oh uh-huh okay so then we booked an off broadway theater the cherry lane theater on the in the west village and an amazing beautiful storied old theater we booked it for a month three months out and we were like oh all right we got three months to write a play um which we wrote in la and then brought to new york and teched it for two days with our director who had not seen it basically until we got to new york this guy a Timbers, who's a truly amazing director. He's directed David Byrne's two musicals

in New York, Here Lies Love and Joan of Arc, and did Bloody Bloody Andrew Jackson, and has done just a bunch of theater, classic theater, but is a really sharp sort of subversive mind. And I guess to like, and as I talk about

all this process, it's, I think, actually more similar to the process of going to Edinburgh or putting a show together. Right, okay, yeah. But it's not as common here. Yes, in America, comedians generally do specials, which will just be like jokes. Yes, or they get a sketch show.

Right. And we used to, I think, do more like our live sketch show that hopefully will get us a deal to develop to do something. But now you just don't need it as much. Yeah, and the template in the UK is much more you do a show about something and it's an hour long. And you do a new one every year, which seems like a nightmare. I did it once and I just thought, nah, that's enough for me.

Well, but also your stuff is nah, that's enough for me. Well, but also your stuff is quite, you there, it's labor intensive to, I feel like having watched you perform, it's quite labor intensive. Yeah. Although the thing I did first in Edinburgh in 2005 was a character.

Uh-huh. And, um, I crowbarred in some of my videos and bits and pieces into this character who was, uh, you know, he's kind of a, uh, East European, um, uh, animator. Uh-huh. videos and bits and pieces into this character who was uh you know he's kind of a uh east european

animator and he was quite pretentious and you know uh wrote a lot of poems and got quite angry sometimes and then you know what to show you this thing that he had made you weirdly look like you could be a eastern european yeah well i grew a big that's when i first grew a beard was for this thing to age myself up a little bit and then after that when i got back from edinburgh and i shaved it off it was it was so alarming i'd got used to it for a whole year you know and it was a big old fucking did you like it pirate beard i quite liked it i mean it was a bit out of control. It was a bit mad looking. There's an actor called James Nesbitt in the UK.

And I found myself next to him in a urinal one time. And he looked over and went, Jesus fucking Christ, that's grotesque. That's a bad James Nesbitt impression. But he, yeah, it was just total contempt. I think he knew who I was. And he was shocked by how I looked with this giant beard. But anyway. By the way, you said urinal. We would call it a urinal.

A urinal. A urinal. Yeah. Urinal sounds like you're buying a record. Well, yes, you put the stress on the first syllable, don't you, for urine. And I suppose we do as well. No, I don't know. You don't say urine? I don't say, we don't you for urine and i suppose we do as well no i don't know you don't say urine i don't say we don't say urine and we say i want you to urinate my mouth

you do that thing with the characters for the oh hello characters of doing contractions yeah so instead of saying cocaine yeah so instead of saying ted cruz and james brown it's james brown you want to do a little cocaine with ted cruz would be the yeah it was a very mulaney said early on he said cocaine and it just like it literally we were it was this was when we were sort of you know formulating these guys and he said cocaine and it just like every synapse in me exploded being like that's the funniest fucking word i've ever heard yeah and it became a major and then we just built it out kind of from there and it's a show about uh two men who are being kicked out of their rent control department um and then and it's by gill and george and they're playing two characters named gill and

george and then the play breaks down but we set up the play as like all the things that we quote unquote love about plays you know like one-sided phone calls where the one character says all the information out loud so that the other person knows or the dim lines the the last line you say just as and then the the lights dim and you're sitting in your seat and you're like is that the fucking end of the play um and then in the play we end up you know using a bunch of those those tropes yes did you did you go to the theater a lot before you did that or would you see plays i sort of do i mean it's like a weird thing of like we love plays and i have a ton of contempt for plays i find plays embarrassing just how in a way i found

sketch shows embarrassing at some point where it's like we're all gonna pretend we're like we're not in the same room right now like oh they're in a chinese restaurant okay or like oh they're in a victorian home okay it's like no some guy just farted in the crowd. Like, we're all here in the room. We heard that guy fart. We're not going to talk about that? But again, once we were in New York and we eventually went back and got on Broadway, and you all of a sudden can appreciate how hard it is to make a play or go to see musicals,

which aren't inherently my favorite, but then you see a musical and you're like, holy shit, I can't believe how hard this is to pull off yes and there are moments because of that thing that you just mentioned the ludicrousness of everybody sat there in the same room but when it works it is sort of magnificent that human beings are able to do this for each other yes you know what i mean i found yeah like i saw a curious incident of the dog in the night yes like you see a show like that and i was blown away by the entirety of the production of the performances the set the music i mean i just was in awe of it um and so there were things like that that were inspiring or i I saw a play downtown by this woman, Annie Baker.

And it was a three-hour play. And there was three characters in one set. And you're just like, oh my God, I can't believe I'm walking into a three-hour play. But it was... I wouldn't have done. But it was... And the play is in real time. Yes.

So scenes take a long time to play out. Like you're watching people clean a movie theater. And it's three people who work in a movie theater. And you watch scenes in real time. But for whatever reason, it was so beautifully written and directed and acted that it was riveting to watch. But while that's happening, a woman in the crowd opened a plastic container of blueberries and started eating them. Was this a real woman? It was a real woman.

So I'm watching the play, but then I start watching this woman eat blueberries. So she's not a plant? No, she is not a plant. She's just there. And then I watch an older man, like our Oh Hello Age guy, watching the woman eat the blueberries and getting so furious with this woman who's crinkling her plastic as she eats her blueberries and you know nudging his wife who's now being drawn into this and so much of what the show is about is really also the experience of just going to the theater so much of your show yes yes yes so there's like you know the experience of what it's like to

go to a theater and bring your little plastic candies and yeah and what it's like to sit and listen to people you know so people taking phone calls yeah exactly which we encourage people to do did you really take calls text people um get selfies yeah yeah anyway it was we did it off broadway and then we toured it around the country and then brought it back to broadway and we did like 138 shows 140 shows god that's a lot it was the most fun and how big was the theater that you were doing it in in the end it was 900 950 something like that that's a load we just saw a lot of tickets yeah shows on in the in the West End and on Broadway often close after only a few weeks because it's so difficult to fill those theaters. Yeah, we got very lucky. The confluence of various things that led us to it.

Just the timing of it. It was the fall. We also interviewed someone live in the middle of the show. We would quote unquote prank someone with too much tuna in the middle of our show. Yeah. unquote prank someone with too much tuna in the middle of our show yeah um which was a great way to get friends and crazy special guests and heroes to come do the show what kind of people did you manage to get in there oh man i mean friends like you know someone like a guy who i jason manzoukas a good friend who i've worked with for a long time or paul rudd or or um schumer amy Paul Rudd or Schumer, Amy Schumer or Chris Pratt,

then to like heroes like Seinfeld, Colbert, David Letterman did our final show, Steve Martin, Michael J. Fox. Oh my God. And everyone at Yitzhak Perlman, like we had every kind of person. Barney Frank was the first openly gay congressman. Alana Glazer from broad city

so and both contemporaries yeah heroes everyone how extraordinary and what would you say to them i mean how would it work for them would they have to do any prep no it was they would come backstage before the show we chat with them for five ten minutes and we basically say thanks for coming so basically we'll just most of almost everybody came out of the crowd they would watch the show and then and there was something i think joyful for the crowd to be like oh wow this person has been sitting here watching the show with us and then now they're on stage and uh we would bring call them from the crowd halfway through the show and uh we would sit and interview them and we would say like well we'll just chat for 10-15 minutes and then

uh a tuna sandwich will appear. And it would be dropped from the rafters. And we would say, what has just descended from this prop that we stole from an old Chihuahua production of Angels in America? And then it would be a huge mountain of tuna with a piece of bread teetering on top. And we would talk about the tuna sandwich. And then the only thing they had to do was say that's too much tuna and when they'd say that we would calypso music would come on and we would celebrate and then we would send them off the stage and so it was very loose and silly and

people played it differently some people were angry i mean faux angry and yeah it wouldn't take shit from us and others laughed and you know it's an interesting thing when again you go back to that when the the interviewee is the straight man of sorts well how far will you know do they try to be funny or not for the most part people would sort of allow us to sort of run wild but sometimes they would equally run wild with us and it was like everything you'd for me and everything i'd ever wanted show business to be it was live every night we got to change jokes that weren't working and polish things and then you'd have interesting people coming to see the show or being a part of the show and then you'd go and have a drink

i drank like a thousand martinis yeah it must be hard to sort of keep yourself relatively together when you've got that sort of routine and and the excitement and the pressure of doing the show then coming off stage you you need to sort of unwind a little bit don't you yeah i mean that's why i would smoke heroin i was never shooting it because i just needed to unwind absolutely but i wasn't an addict i'm not an addict you should rub it into your gums oh i do every day or into your rectum yeah i put it straight up into my rectum if you spray it oh into your rectum a mist yeah a mist it'll get right into the bloodstream nice heroin mist yeah and my butt is not as motivated as it used to be but it's hey whose is that's right you You wait. You're a young man.

But it was a true joy to do. So you destroyed Broadway. We destroyed it it was the it was yeah it was it was the most fun thing i've ever done and i am willing to say possibly the most fun joyful gratifying thing i will ever do professionally does that make you keen to develop another project for the theater i think john and i would like to maybe work on another one or we're going to continue to work with these guys. Our goal is to do these guys until we are the age that they are. Yes, you could be like Steve Coogan. I mean, Steve Coogan is now approaching,

I think he's sort of more or less in the zone for optimum Alan Partridge. Right, just with minimal... Minimal makeup. Although he's pretty fit and uh he's sort of fitter and better looking than partridge would be i suppose yes i talked to steve for this podcast and um he was saying that he doesn't feel pressure to to churn out new stuff yeah they only do things when when they sure like well when you're when you become iconic that takes a little bit of pressure yeah i suppose yeah yeah but also there are so many different models and i don't know if it's

the case in the uk but because of like streaming services there's become more models for through which to make content when you want yes that's right you don't have to make like a show you're like i'm inspired to make this special for this year or something like that and i think that that is inspiring yeah and people you know your your fans will find it yeah and not daunting you know so like i just watched the lonely island and comedy bang bang you know the michael bolton valentine's day special on netflix so if you ever you should watch it's very funny and it's got a bunch of great cameos and it's they just decided to make a bizarre piece of content it's got a bunch of great cameos. They just decided to make a bizarre piece of content. It's an hour, and it's really a joyful thing to watch.

Did you do the whole improv thing when you were younger? I did, yeah. I studied in college. We had an improv group, and we studied with the Upright Citizens Brigade in New York. And then when I came to New York, I studied there and started working. And if you look for sure on the comedy landscape right now on television and film you and you could point to i would say if you know half to three quarters of the people

on those shows or movies or have some history in at ucb that seems to be the way for a lot of comedians to go as you as you've just said um in the states it's beginning to come through a little bit in the uk the whole improv thing but it's not nearly so common what's the average like what kind of things do you do in the classes then um you know there's exercises that are probably not different from what you do in a class you know any sort of acting class and improvisation but then but what happens is mean, there's a couple of things. One, there's the basic premise of like what they would say is teaching the game of the scene.

You're like, what is the funny thing about the scene? And you get trained to then figure out how to write three more versions of it, heightening just like any joke we would do. You try to heighten the joke and find different ways of playing that joke. So there are skills like that. But more than anything, it's like community. I mean, they taught incredibly useful pieces of

how to improvise and then how to write, sketch and things like that. But also you're just going to be able to go to a place and meet other funny people who are weird and interesting like you or interested like you. And it's just the difference between your classic improviser sketch comedian and a stand-up is that just the concept of collaboration people who are seeking other people to collaborate with versus being an island but what's been interesting i think as stuff like podcasts and all that we've seen a meshing of those worlds where quote-unquote improvisers are writing because everyone eventually has to write and classic stand-ups or individual acts are realizing they can collaborate and do different things with different people so i think those lines have blurred a lot more than they have in

the past can i go to an improv class now that i'm nearly 50 of course does it happen though oh yeah do you get oldies turning up well yeah i think you I think you, I mean, you're not an oldie. You're a goodie. No, I mean, that's kind of the beauty. I mean, what was fascinating about taking the classes is, and I don't know what it's like now. I mean, I took classes now almost probably about 15 years ago when I graduated college. And, you know, you'd have like crazy people. You'd have performance artists who were just there and like weird new york freaks you had medium funny people and then you have the people who have become the biggest comedy

acts in the country all in the same room doing the same show and you sort of realize you find the people who you're like oh but i think the beauty of it and those classes too is that you have people of all ages and i mean there are movie stars taking ucb classes uh-huh now right who have become stars and then gone and started doing the classes yeah they're they're like i want to learn how to improvise like how does that guy do that thing yeah yeah and they've then been like you know they've done a movie with someone who's improvised and then they're like i want to learn that and all of a sudden you show up in your class and it's like, oh, there's a movie star in my class who wants to understand the act of it. And it's muscle.

It's muscle like everything else, you know? It's like, because I was an improviser and then did stand-up and character work and then was drawn more to that side of it. I was performing at UCB, but I wasn't on an improv team. I was just doing characters and stand-up and all that stuff. And we'd do bits on people's shows. But it took me a while to get back

to actually doing improv. And that muscle needs to be exercised. Just like masturbation. Yeah. And that's why I combined the two on stage. I would improvise masturbation scenarios. Quite right. There's not too much of that sort of stuff around these days, is there?

Like extremely gross acts as part of an art performance. There was that puppetry of the penis. Yeah, but they weren't like, that wasn't a sexy thing, was it? Did you ever see puppetry of the penis? I did not. Did you? I did a TV show with a guy who was in it for a while. Uh-huh.

And he showed us some of his moves in between takes. Uh-huh. And it was pretty impressive. Yeah. Yeah. He was really stretching his... The boundaries of... How was his hog?

It was very unthreatening uh-huh that was one of the nice things about it sure it didn't look remarkable that's what that's what most people have said about me yeah but and i wonder if they've said this about you incredibly pliable well i remember early i was saying in new york early on you know there was a mix of you do open mics and there was a real crossover between experimental performance art and standups. Everybody just looking for a stage to perform on. So there early on, I definitely remember doing shows where I, there was guys doing stuff with their penis. It wasn't puppetry. The penis was just playing with their dicks on stage or, you know, a guy, I remember the first, he he would the guy who hosted this show was not a

comedian exactly and he would do contests throughout the show and give out what he said was quote disturbingly jackable porn uh-huh and then i was coming up and doing just classic stand-up and we were all in the same room together yes and it was a yes i mean you know it's always it's always good for a little uh frisson of shock isn't it yeah i mean there was gg allen do you remember of course flinging his feces yes to the audience i mean he was a punk yeah but it was i've never been up for that personally if if i hear that someone's going to be lobbing their turds i generally stay away no yeah i i watched a video of him but i did not get to see him live no no i have a i have a limited tolerance for performers who have deep contempt for the

crowd the first lesson i learned it took me a while to learn it and the only piece of advice i give to people who want to do comedy or whatever is just get on stage and make the audience feel like you're in charge and sometimes that means having a contempt for them um but sometimes it just means like everything's going to be fine I find sometimes when some people have a seemingly a contempt for the audience and and lash out the audience is like what yeah i don't like it when comedians in a confident way put the audience down for not laughing enough yes um because actually it's it's doing the opposite of what they want it's revealing to the audience that they're insecure about the amount of laughs they're getting correct now one of the things nick i i met you first um a couple of years ago in in dublin yes at the comedy festival it was

a great pleasure and i got to uh take a selfie and and text it to our mutual friend garth jennings yes and because you were in sing yes you were gunther i was gunther the dancing european pig euro techno pig yeah yeah and garth brought me in i had done a european character on my show and i think he responded to my that version and then we changed it quite because the the european character on my show turned out to be a cannibal um a murderous cannibal what was the name of that character euro guy he never got an he was just a european was his name he was sort of like you know who i let's uh for breakfast would do like two or three cigarette and then a bowl of heavy cream and then uh for lunch it's two three bottle red wine and then a two pack marlboro

cigarette and um and then for dinner we'll do something healthy like four or five sausages so what became gunter it was quite different but event on on the show i was quite inspired by uh i can't remember his name the german guy who um got online and to become a cannibal that's right ermin ermin muselaughter and consume you. He wanted to, he got online and said, is there anybody interesting being slaughtered and consumed? And someone got in touch. Someone got in touch and he did it. Yeah.

Gunter, however, the dancing pig in the children's film I played for Garth. Yeah, he's not like that. He's not that, but it was very fun. It seemed to be that the Gunter poster was the most ubiquitous around the world. It was very weird. I went skiing and there was a giant Gunter staring down at me at the ski lift. Yeah, it was very, very bizarre. Because the movie is like Matthew McConaughey and Scarlett Johansson and Reese Witherspoon.

Big, huge movie stars. And there were Gunter posters. Less a testament to me and more to, I think, just a positive dancing pig. Yeah, people like pigs. People love pigs. I love to eat them. Yeah. Wait.

This is an advert for Squarespace. Every time I visit your website, I see success. Yes, success. The way that you look at the world makes the world want to say yes. It looks very professional. I love browsing your videos and pics, and I don't want to stop. And I'd like to access your members area and spend in your shop. These are the kinds of comments people will say about your website if you build it with Squarespace. Just visit

squarespace.com slash Buxton for a free trial. And when you're ready to launch, because you will want to launch, use the offer code Buxton to save 10% off your first purchase of a website or domain. So put the smile of success on your face with Squarespace. Yes. Continue. Good panting there, Rosie. It's a lovely day, isn't it?

Are you feeling hot because you've got your coat on? I've got my coat on. I've got my black woolly coat on. Can you not take it off? No. It's on there all the time. Permanent fashion item, isn't it? Fair enough.

Nick Kroll there. Thank you so much to him for giving up his time. Very much enjoyed meeting Nick. And before I say goodbye today, a couple of bits of business. Due to popular demand, we have released a second unsigned edition of the Ramble Chat posters that I told you about a couple of weeks back and which sold out very fast. It's a four-color screen print. I believe it's around A3 size or something like that. You'll be able to see on my blog if you go to adam-buxton.co.uk and click on the merch button, you'll find a few bits and pieces, including some more of these posters, which were created by artist Luke Drozd.

And as I said, they sold out very fast when they were first available. Secondly, I've got a few shows coming up, the Bug Bowie specials. shows coming up the bug bowie specials uh so that's a celebration of bowie's music videos and other assorted visual odds and sods along with commentary from the youtube community on a couple of occasions and bits of animation that i've had created and uh you know there's serious bits and stupid bits you don't have to be a hardcore Bowie fan to enjoy it I don't think I'm doing it at the Brighton Festival at the Brighton Dome on Tuesday the 23rd of May but I think that's sold out I'm doing it in Oxford though on Wednesday the 24th and in Birmingham on Thursday the 25th and I believe there are still tickets left for those

shows as I speak I'll put details once again on my blog adam-buxton.co.uk in the badly maintained events section so maybe I'll see you at one of those shows hope so hey Rosie you want to come and lie down with me So maybe I'll see you at one of those shows. Hope so. Hey, Rosie. You want to come and lie down with me? What are you doing? Why are you lying down? It's the middle of the day. It's a work day. I know, but it's... We're lucky we can do this.

We should take advantage of this good weather while we can. It's weird. You're weird. You should go home, send some emails, do some important grown-up things. I will in a bit. All right, listeners, take care. I'm not going to yell, because it'll spoil the moment and Rosie will run off.

I love you bye oh not I do love you Rosie but don't kiss me all right see ya Like and subscribe. Like and subscribe. Like and subscribe. Please like and subscribe. Give me like a smile and a thumbs up. Nice like a smile and a thumbs up. Give me like a smile and a thumbs up. Nice like a smile and a thumbs up. Like and subscribe. Like and subscribe.

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