Ted Audio Collective.
You're listening to How to be a Better Human.
I'm your host, Chris Duffy.
Today, we are talking about improvisation, creativity, and living in the moment.
In some ways, that can be a very scary and tough skill to learn.
But in other ways, it's what we do all day long, whether we like it or not.
I mean, there is no script in our daily lives.
Well, that's not exactly true because for me, I am literally reading off a script right now, but you probably don't have a script.
I'm imagining that as a podcast listener, that is an unscripted interaction.
And you know what? I'm going to go off script myself too.
Ding dong. You know, the irony is I actually did write all of those noises into the script.
So even when I said I was going off script, I was still just staying on script.
But you get the idea.
You understand. And today's guest is someone who actually does go off script.
He doesn't just fake it by putting unscripted noises into the script.
Reggie Watts is a comedian and a musician.
And there's no one else quite like him.
He is one of the most celebrated improvisers performing today.
And that is for a very, very clear reason, which is that he is so good at it.
Here's a clip from Reggie's TED Talk, which was fully improvised on the spot.
Thank you, ladies and gentlemen.
Certainly, it's a pleasure to be back here.
All of you guys here.
Certainly, it's a special show here.
You know, TED is one of those places that makes me feel like I'm somewhere.
And that means something these days.
Now, people ask me, why start like that?
I don't really have an answer, but all I can say is that I'm really motivated by something called improvisation.
Many of you are familiar with improvisation because you've heard the word, and sometimes that's enough.
But what is it really?
Improvisation. Why am I speaking like this?
How do I really sound?
I don't know. But I try as much as I can to be as truthful about who I am in the moment, even if I'm using different voices.
I know that there are times when some of us are wondering what is truth and what isn't.
But here's a quick summary.
Truth is the intersection of two different things that are constantly colliding for no other reason than the fact that they need to collide in a moment of perception.
Why does perception come into it?
Because that's super cool, and no one loves perception more than people who are conscious.
We're going to be right back after this break with a fully unscripted, unpredictable, in -the -moment conversation with the man himself, Reggie Watts.
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I'm Gretchen Rubin, the number one best -selling author of The Happiness Project.
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Each week we share fresh insights and practical solutions, such as follow the one -minute rule, choose a one -word theme for the year, or design your summer.
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And we are back. We're here today talking about creativity and improvisation with Reggie Watts.
Hi, you're listening to Reggie Watts, and you're also experiencing me as well.
And this is me. I hope you like that.
So, let's talk about this new special.
It's called Nevermind.
It starts with you walking into a rehearsal and singing a song that is basically every 90s and early 2000s, one -hit wonder at once.
And it's such a great joke.
I just immediately started laughing.
And when you play the song, and then it goes from that to you being late for another rehearsal, going to yet another rehearsal, singing a completely different genre of music and then being late for the special.
And you come into the special and you just start there.
What is it that you were trying to communicate?
Like, what is the tone that you want to set when you start your special like that?
You know, whenever I do my specials, I usually have some kind of a weird beginning of some sort.
Like, I just like the idea of doing like a bit that kind of bookends or sandwiches, the experience.
I've been wanting to do this for a long time where I just like set up a bunch of bands in a rehearsal studio.
Like, and I just go from room to room.
And I don't know the songs they've written.
They've only been instructed to write a song that I will improvise the lead vocal on.
I love that. And so I just walk in and they're just like, one, two, three.
And whatever the song is, then I just have to like improvise that song and just go bounce room to room, like maybe like five genres or something like that.
And so this is kind of like a light version of that idea.
And I thought it was cool.
And then I was glad that Fred could do it.
I thought he's just perfect how he's just very nonplussed and lackadaisical.
And I just like imagined this, like, you know, we're just doing this spin doctor sounding stupid song.
And then he's like, oh, you're late.
You know, we keep doing late until I get to the special.
I thought it was just kind of like a dumb way to start the special.
But also kind of just put it a little bit in the spirit of, give a little bit of a hint of the kind of 90s -esque spirit, even though it's not like hardcore, like we didn't like go hardcore cinematic, hardcore wardrobe.
You know, like we didn't go hard hardcore, but it gives you enough of the idea that it puts you in the spirit of it.
It totally does. And I mean, you have this big celebrity, Fred Armisen, and the way that you're using him, as opposed to him being like, everyone, you're gonna love this special.
Just wait, like instead of him giving some sort of endorsement, he is kind of rushing you around saying like, you've already messed this up, and you continually are messing it up and being late to things.
So there are two kind of sections or moments in the special that I want to bring up now, because I think they tie into other big things from your themes, from your career and the way that you make work that I want to talk about later on.
The first one is that you have a lot of jokes about technology and kind of delivery mechanisms in the special.
And part of that is because the special is thematically set in the 90s, the late 1990s, but you have jokes about like the machine that you use to loop.
You have jokes about like compact SD cards.
You have jokes about like laser discs.
They're both very funny on their face, but there's also something really funny about the fact that you are so focused on the actual system that is being used to deliver the jokes themselves.
I think a lot of times comedians or artists try and make the infrastructure invisible and you are drawing so much attention to the infrastructure.
I just think it's funny in a way to be like hyper transparent, but also kind of earnest.
I mean, the idea behind what I'm doing when I'm talking about that subject matter is to just pretend like the audience knows exactly what I'm talking about and just being very procedural about it and just keep going and keep going and just assume that they know what I'm talking about.
I find it humorous as I'm doing it.
I'm like, what is this guy doing?
I'm saying that to myself while it's happening.
Every time that I've ever seen you perform, you have this real confidence to yourself.
And I think part of that confidence seems to be about not feeling like you have to make every single piece of yourself for everybody.
It's okay if the joke is for the group of people that already understand this piece and you can, by getting specific, you end up being universal.
By making the joke that is just for the people who have been in a studio with an audio engineer, it actually ends up being hilarious to everyone.
But that takes a real confidence in yourself and an ability to not conform to what maybe other people would tell you to do.
So how did you develop that?
Or what advice would you give to people who struggle with that when they're trying to make their own work or just living their own lives?
I think the easiest way to describe, or the easiest way to kind of enter that state is you're doing it for yourself.
You're up there and you're entertaining yourself.
You're the first audience member.
What I'm doing on stage is what I'm doing on stage, but also it's coming from the perspective of the audience.
I'm doing the show for me, but I also know that I am concerned about the audience's wellbeing.
So I know that if I just focus on me, I trust that what I'm doing is for the audience anyways, so I'm not gonna go too indulgent.
I am also listening to the response of the audience as well.
So yeah, so sometimes I'll try things and maybe they don't hit as hard as I want, and I'll just adjust based off of what's going on.
Or I know that if I continue, maybe people aren't getting it at first, but I can keep building something, and eventually it'll probably turn into something good.
So it's really just kind of trusting that you are taking the audience into consideration and that you're also doing what you think you would wanna see in a show.
When you were just starting out and you're trying to figure it out, figure out what was your voice or what was your thing, how did you find that and how did you stick to that?
Or did it not feel like that at first?
I don't know. It's weird.
It sounds lame, but I've always felt like me whenever I've performed, whatever I'm doing.
Whatever it is that I'm into, I see it very clearly.
It almost like everything reveals itself as I'm imagining it or as I'm performing it.
And it feels like it's always kind of been that way.
Even if like in the early days, I was kind of ripping bits.
I was sampling bits and pieces from Eddie Murphy and Bill Cosby or whatever was around at the time with Monty Python.
I was building an identity through that kind of sampling, but I felt like when I found things funny in other things that I was watching, whether it's Monty Python, Holy Grail, or something like that, when I was laughing at that stuff, I didn't feel like I was laughing because they were funny.
I felt like I was laughing because I found it funny.
If that makes any sense.
I was gonna say, can you talk more about the bad idea of building an identity through sampling?
I mean, yeah. I mean, I think it's just like, you know, you're watching things and you're getting exposed to things and you get super stoked about, you know, you know, you catch on to something and you're like, oh, that was so funny.
That made me laugh so much.
I can't stop thinking about it.
And I need more stuff like that.
What else is out there like that?
And you start that journey of finding more stuff that you're into, you know, and wanting to laugh and be entertained in whatever way you want to be entertained.
I think like in the beginning, when you're working on stuff and finding identity, you are gonna borrow a lot from the things that you're inspired by or, you know, to some extent you're gonna borrow.
It kind of takes care of itself as long as you just keep following your interests and you're drawn to perform in whatever way that is.
You know, it's like you need starter leaves and beginning structures to kind of explore, you know, what you are and things like that.
And I think the sampling aspect is just kind of a natural way of doing that.
I mean, eventually those samples kind of go away and you're kind of sampling in a different way.
And sometimes you can even be sampling from yourself and the ideas that you're generating and re -sampling and things like that, like as you're discovering yourself.
As long as you're on fire about what you're into.
Because it's really like a lot of these things like finding identity and so forth is much, much easier than people think it is.
I think people get frustrated with like, how do you find your voice?
And, you know, I'd say in general, like the things that come easy to you, like the way that you laugh or the way that you hang out with friends, or, you know, if you're helpful or if you like to fix stuff or if you're like a soother or whether you're a pessimist or whatever it is that you are, you know, whatever
you naturally gravitate to behaviorally, operationally in life.
I think that however that feels, that's how it should feel artistically for you.
It's just a fluid expression of what needs to happen.
And I know that it can feel daunting or feel kind of nebulous and too big.
But it's really more, it's much simpler than one might imagine.
You're a master improviser.
And I think this is one of the things that's always so funny about talking to people who don't have any experience with improv about improv is that they always are like, I could never do that.
And actually like the vast majority of their life is unscripted and made up in the moment, right?
Like that is just how we interact with other people.
You don't plan it all out ahead of time.
That's why I love improvisation is because it makes something that could be weird or awkward or feel like a mistake.
Instead, it shines the spotlight on it in a way that makes it a gift instead of something that you're like embarrassed about or like, oh, we have to cut that out in post somehow.
I mean, the best thing about accidents happening, especially when you're improvisational is those are opportunities.
If the lights go out or the sound is being weird or whatever, I love that stuff when it happens.
It's just, yeah, I just really think of it as like an opportunity.
It's like, oh cool, let's use this.
We're going to take a short break, but don't go anywhere.
We will be right back.
And we are back. We're talking about improvisation, creativity, and living in the moment with Reggie Watts.
And Reggie, I want to ask you about something that you said in an interview with the LA times.
You said anytime I'm anywhere in any situation, I'm always kind of like finding the ridiculousness in it.
And I want to ask you about that because that seems like such a great way to go through life is to be always finding the ridiculousness.
Yeah, it's definitely a good survival mechanism for terrible situations.
It's like whenever I've been in potentially non -optimal situations, even like the WTO riots in Seattle, I was there at the beginning when the violence started and then I kind of ducked out.
I was just like, no, I'm not going to do that.
I've walked three blocks to get away from the tear gas and then there's some van parked in the middle of an intersection with a PA system and they're like, hey, you want to sing?
And then I just sang for a little bit and then gave them back the mic and then went back to Capitol Hill.
It's just like the idea that, yes, things are serious and there are things that are bad in the world or there are things that are not optimal or there's things that are just normal and mundane.
But the thing that I would try to encourage people or remind people is that you are the owner of your perspective.
You are in charge of the way that you're interpreting reality.
And I think it's a powerful skill to be able to, like if someone's like, oh, no, we're fucked.
We're not going to be able to do this.
Or this and that, for me, I'm like, I don't believe that.
There's always a way to reformat it, to look at it in a different way.
There's like some positivity to it.
It's in my personality to just reformat stuff.
If someone's like, I can't do this or this is impossible, I'm like, that's not true.
And if it is, well, at least we tried something.
That's the attitude that I have.
And so for me, I just think life is ridiculous.
Like I was talking to my girlfriend about, she'd just taken the bar exam and it's really intense.
And I was like, I don't think I could ever take a test like that because the whole time I would be taking a test, I would be doing an impression of someone taking a test.
You know what I mean?
Like I couldn't, I don't think, I mean, I would try to take the test seriously, but my mind would probably start to drift and be like, no, I'm taking a test.
So that's better move my pencil like this and just kind of shift the paper a little bit, look concerned for a second, look up for a little bit.
That's just, I don't know, it's hard for me to not be in observation mode or I call it like one foot in, one foot out mode.
Does that come from somewhere?
Do you think? Like, were you always like that?
Or was there a specific moment in your life that you realized like you had this ability to kind of step into that mode and that you liked being in that mode?
No, I just like, again, it's a really weird thing, but I just, I've always been that way.
I don't really remember moments where I'm like, oh, now I'm this way or now I'm gravitating towards, there's definitely like things that I ran into that I love and I'm like, oh, I want more of that for sure.
But I think the way that I viewed things and we absorbed information, the way I was in the present reality was always just blown up like anything that I was in, like my imagination was always kind of expanded in a way that was always trying to find interesting things and really small things, even big
things, of course, but also small dumb things, like giving voices to spiders, spider web as it's moving around or watching the way that the branches are moving in the wind and kind of like imagining all this stuff happening inside of the tree or whatever.
I've always kind of had that way of that outlook in the world or that way of kind of perceiving the world.
Your TED talk, which people have heard a clip from, it was about improvising any time that you want.
And how much of your talk was planned out before you went onstage and how much did you completely improvise?
The whole thing was improvised, yeah.
I didn't really have too much of a plan other than I wanted to try to be like a little bit more informational about my process.
I don't know how much of it was successful.
So I ended up just being kind of like weird and silly, but I tried to make it about something because I told them that's where I was coming from on the talk because I think they were looking for something a little bit different the last time.
So yeah, so I tried to structure a little bit, but no, I mean, none of it was planned in any way.
And you came out and you're like, no, I'm going to just be me and I'm going to be, not even just me, I'm going to be me in this moment, like totally improvised me.
That is a skill. I think that is a skill that you've practiced over years and years and years and years.
What are some of the key things that you do to allow yourself to be in the moment like that?
Like how do you get yourself in that state?
Well, I think a lot of it is just reminding myself that it's just another gig, you know, without diminishing its importance, but it's just like, well, now I'm going to do what I do in this room, you know, and kind of keep it a little bit grounded and practical in that way.
I mean, there's definitely moments leading up to it where I'm like, oh boy, you know, this is Ted, and you know, the stakes are like my manager going like, you're not going to prepare it.
Maybe you should prepare something, you know?
And I'm like, no, I'm good.
You know, there's definitely not to say that I get, you know, I'm like, am I going to be able to pull this off?
I mean, I'd say probably the thing I got most nervous about was like making sure that it was at least on somewhat on par with my first Ted performance because, and that's kind of a hard one because that's like the first time people saw me at Ted and you know, it's hard to equal something like that,
but I wanted it to at least be relatively in that ballpark of that.
And so that was really the, I was think, I think I was more concerned about me doing well against me than necessarily the whole thing.
And then the other thing is just like time because time goes by so quick on that stage and it's only eight minutes or nine minutes or whatever it was.
And so managing time, that was probably a challenge that definitely had a little bit of like, a little bit of anxiousness about, okay, make sure you stay on time, make sure you get in the stuff that you want to get in in the amount of time that you have.
Yeah, but generally now I just kind of, I usually am chatty and really casual right up until the time that I'm introduced.
So I'll just be like, oh yeah, that's really cool.
Yeah, well, I live in LA and blah, blah, blah, and then it's like, yeah we welcome the stage, right?
So we're like, okay, I'll see you in a second.
Cause I think it's funny to like be talking about something unrelated and being casual and just going, oh, I'm just going to perform on Ted right now.
Like, I just, I think that shit's funny.
And I think there's so many lessons from what you said that like anyone can apply.
I mean, genuinely like the, even the idea of keep it like even falsely casual right into the moment because then your body is kind of tricked into like it's, I don't have time to get my heart like start pounding and hyperventilating because I'm acting like I'm relaxed and weirdly that actually makes
you relaxed on stage.
And then the idea of being like, take away the stakes that are the external ones that you actually can't control anyway and then make it the internal stakes of just like, am I doing better than I did the last time I did something like this?
Or if it's the first time, am I just doing something that I'm proud of?
Those are really kind of applicable to everyone but they're also really hard to do.
I think that's true.
It's like you find out mechanisms to kind of distract yourself from, you know, getting into those feedback loops, those kind of, you know, anxiety or like over concern or whatever it is and you just start focusing on it and it just gets tighter and tighter and tighter and you're losing the big picture.
Yeah. And I think like, that's why I think, you know, having nice chats with people about other stuff, you know, before I'm going on that works because like, oh, well I'm going to have a conversation with somebody and I'm going to put my attention into that and that's where my energy is going.
And that way, you know, when I'm called on stage I'm like, oh shit, okay, now I'm performing.
I think they are forms of tactics.
And like I said, I also just think it's ridiculous to just, I just love that.
Well, so you're just a little bit, you know, they do like go up to like 50 ,000 people.
And that's like, I'm obviously extremely biased here, but like this is part of why I think comedy and humor are such interesting and powerful tools is because like so much of society tells us to not be ridiculous, to be like serious and impressive.
And if you instead are like, I'm going to be this silly little clown boy, like when I sell myself that I have more fun.
And also people like me more because they're like, hey, this guy's kind of fun.
He's like not like ever.
He's not trying to impress me with his sweaty like, oh, I'm also, I did all these things.
Here's my resume. Instead I'm just like, I am about to do something very silly and probably extremely bad.
And people like that person more.
Yeah, I think so. And it's getting a mixture, you know, it's a good in the lineup.
Cause whenever I perform, I am concerned about the lineup.
You know, like I usually watch, you know, who's on a show at Ted.
I watch as many things as I can, as many talks as I can.
And I get a vibe for the room and like what the audience is like.
And, you know, and people from Ted are kind of like giving you their read on the audience and you know, stuff like that.
And, and so it's like, you know, you take all of that stuff into account and when you go up on stage, you're armed with that pre -knowledge.
And then you're also armed with the real time response, you know, in the moment.
And it's a, it's cool.
It's like, if you involve yourself, if you care about the show, I know that Ted's not really a show, but it's, it's kind of a show.
It's a presentation, I guess.
But you know, I, like, I think of everything as, you know, you can use theater to describe everything in, in, you know, the performance realm.
You can use film or you can use TV, you know, you can use all of those things because they all have a similar thing going on.
And in comedy and lineups and you have like, you know, who's featuring, you know, who's headlining, who's opening, you know, or what's the order, how much time do we have?
All that stuff. And, and I think like just that experience, that level of experience, it, you know, you kind of apply it anywhere.
It doesn't matter what you're doing.
You know, the show, or if you're, you know, a guest on a TV show, or if you're doing a podcast, any of those types of, any form of media, you can use that what you learn and apply it anywhere, which I think is fascinating to me.
Like watching other people and seeing what is happening and being in the room, that's a way of like gathering the pieces that you want to bring back and put together on stage in the moment with yourself, with incorporate into your own moment of, of performance, right?
Is, is that part of why you're watching and observing what's happening in the room?
Oh yeah, for sure. During the talk, I talked about methane, and that was from a presentation that these people gave on, using satellites to observe methane output.
And yeah, and so that definitely got put in there.
Even like in my first TED talk, I talked about background radiation, and that was from a physicist or astrophysicist that was giving a talk about dark matter and dark energy.
Because I like it to feel like it's a part of the thing, like I'm taking the show as a holistic experience and I want to integrate with that experience.
So I'm going to utilize the themes and the subject matter and the vibe of the room to make it feel like a cohesive show.
This is kind of a philosophical question, but how do you see truth and improvisation as being linked?
Because it strikes me that there's, there's a piece that is like very honest about just presenting what you are seeing in the moment and feeling.
And yet it's not like you're saying true facts necessarily when you're improvising.
So what's the relationship between truth and improvisation in your mind?
Well, I mean, I guess I would call it sincerity.
When you're improvising, there's a higher chance that what you're doing is sincere because you're, you know, it's not premeditated in any way.
I mean, aside from like the micro buffer of time, you know, before your actions are occurring inside your mind.
I don't know. I mean, I guess you can fall into patterns and things like that still if you're improvising, but, and I'm, you know, because my form of improvisation is more like pure improvisation.
I don't think of it as not like pure in a hierarchical sense, but just like in the sense that there's no training behind it.
I'm not trained in delclos improvisation or, you know, second city or any of that stuff.
For me, it's just, you know, I'm just getting up and I'm playing with the moment.
And I think in that case, just like jamming music, you know, improvising in any sense, or even like, you know, dancers, contemporary dancers doing like contact improv and things like that, like they're just flowing with what's happening in the moment.
And I think that's very sincere and you can feel that.
And there's a truth inherent in that.
And I think it's a good form to practice, even if it's not your main thing to even just like fuck around with it.
I mean, like a writer's room arguably is the same thing.
You know, you might not, it's not performative like on stage.
It is somewhat performative because you're performing for the other writers, but you know, you're kind of like piling onto ideas.
You're like thinking of something in the moment and things are going back and forth.
Things occur to you in the moment.
And I think in those states, those flow states or those improvisational states, it's definitely an opportunity to just reflect what is happening and what's coming down the pipeline in your mind and you're just expressing it.
So you're shortening that gap between the processing point of what's coming in and what's being expressed.
And that gets shorter and shorter to where it feels super fluid.
And it feels like you can almost go into the future a little bit and you can almost sense what's about to happen.
And it's almost like you're watching or listening to what you're about to do.
If someone is listening to this and they're completely sold on this, but it's also new, it's new to them and they're not in entertainment.
What are some of the small ways that they can start improvising or building these skills and just having fun and having that kind of play in their day -to -day?
What's a way that they can start to improvise?
Yeah, I like that. I think improvisation helps in making decisions.
If you get stuck on things, you can make rules for yourself to break yourself out of patterns and things.
And I think when you start to kind of disassociate and re -associate, and when you start to identify patterns, I think the step -first step is are there things that you do that feel prescriptive or mundane and boring or things that kind of make you disappointed about deficiencies and making decisions
and things like that?
I think that's an opportunity to kind of create a game for yourself to break out of that and it can be in a very small way.
And I think when it comes to what restaurants do you want to go to tonight with your friends or your partner or whatever and you're just like, I think there's something about just practicing the first thing that seems appealing.
You just go, we're going here.
And you just do it.
Or like, you know what?
I'm gonna go to my friend's house real quick and just see if they're home.
And you just do it instead of like, think about it and go, should I call him?
Should I text him? Practicing doing the first thing that comes into your mind when you're kind of in a moment of processing a decision or like something that you want to do to fill up time or whatever it is.
Let's say you like someone's pants and you're in the supermarket and you really want to say it, but you're like, I'm not a person that usually says anything.
But then you're like, you know what?
Fuck this shit. Just because they're like, hey, I really love your pants.
You know, like these things, that could lead to like, oh, I like your scarf.
And then suddenly you find out that they work in this other thing and it leads to some other opportunity.
You never know. But putting yourself out there and practicing, not processing and lingering too much in the liminal space in your every day -to -day life.
I mean, it even comes down to like, there's a mug that I never use that's on my shelf and I always see it.
I want to use it, but I just never use it because I'm used to using the KCRW mug or whatever.
And you just go, I'm just going to use that mug.
I'm going to use the other mug.
Those types of things, practicing that or like, you know, doing things with your left hand instead of your right hand, starting when you will go upstairs instead of using your favorite leg to go up first, you use your other leg.
Or when you put on pants, you put in, if you do your right leg first, do the left leg first.
All of these things are great ways to just kind of shake you out of your kind of grinds and your grooves and things like that and kind of make life a little bit more fun and interesting.
And it might lead you to cool places.
You never know. And I think the thing that is so interesting to me, both about your career path, but also your work and your talk and kind of everything is, again, it just goes back to like you're always Reggie Watts.
You are always yourself and you bring a confidence to that stuff in a way that I know I struggle with, right?
Like, well, what if I do this?
What does that make me?
What kind of person am I like?
And I'm always like, well, do I fit in that space or do I fit in this space or should I be saying this thing?
Like I get in my head a lot.
And it feels like there's a real lesson to be learned from your confidence that wherever you are, you will be able to carve out a space for yourself.
But I don't know how you do that or if you think about it consciously at all.
So I'm curious, like, is that just your natural self or is there some like real conscious process of like, I'm going to make sure that I am always me and there's always a space for me no matter where I am.
Well, I mean, I was just born that way.
So like, you know, I don't know what you're even talking about.
No, I mean, I'm open to doing things that are a little bit outside my wheelhouse, so to speak, as long as they allow me to do it my way.
And that's always been the guideline for me.
You know, one of the first time I did TV, I think it was on the Jimmy Fallon show in New York and a bunch of writers there advocated for me to be, to perform there.
I think it was Todd Levin, kind of led the charge for that.
And then, yeah, I just remember them going like, can we have a transcript of what you're going to be doing?
And I was like, I don't have that because I'm an improviser.
And they're like, well, can you give us an idea?
I'm like, kind of, but not really.
And then eventually, you know, the writers had to be like, kind of, they just kind of stood up or just like, just have him on.
It's going to be fine.
You know, and then, you know, me showing up and I'm standing behind the curtain and the guys, you know, the producers there and the former producer, he was just like, you're not going to do anything embarrassing are you?
And I was like, no, would you just fucking get me on the stage already?
That's just kind of the only rule I have.
I'm like, oh yeah, I'll check it out.
Obviously, as long as it's not like a terrible show or, you know, or, you know, terrible whatever people.
I'm like, okay, yeah, let's fucking do this.
So as long as I can do what I get to do, I'll do it.
So that's really my only rule.
And with the late show, it was definitely the same thing.
You know, James Corden was cool.
I told him, he was like, whatever you need, whatever you want.
And I was like, this is exactly what I want.
This is how I'd like the band to run.
And this is what you know, what we will do and what we won't do.
And he was like, great.
And so that was it.
And then I, you know, did the show and it ended up being exactly the way he described it.
And yeah, it ran the way that it did and I got to be exactly who I am.
So that doesn't, the fact that it's on TV or national TV doesn't really affect me as much because if I'm allowed to be who I am, then I don't feel false.
And then it doesn't feel alien, you know, being up there.
Amazing. Reggie, thank you so much for being on the show.
This is such a pleasure.
Yeah. I loved it. Thanks for having me.
That is it for this episode of How to Be a Better Human.
Thank you so much to today's guest, Reggie Watts.
His new special is called Never Mind, and it is out now on Veeps.
That's V -E -E -P -S, Veeps.
I am your host, Chris Duffy, and you can find more from me, including my weekly newsletter and other projects at chrisduffycomedy .com.
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