Name: Joe Rogan Experience #1859 - Louis CK & Joe List
Uploaded: 2022-08-18T00:00:00.000Z
Description: Watch the stand-up comedy video 'Joe Rogan Experience #1859 - Louis CK & Joe List' from PowerfulJRE on Comedy Buff. Published 2022-08-18. Transcript available.

Watch the stand-up comedy video 'Joe Rogan Experience #1859 - Louis CK & Joe List' from PowerfulJRE on Comedy Buff. Published 2022-08-18. Transcript available.

Joe Rogan Experience #1859 - Louis CK & Joe List

Joe Rogan podcast, check it out.
The Joe Rogan Experience.
Train by day, Joe Rogan podcast by night, all day.
Hey, fellas.
What's going on?
So let me first say, that fucking movie is great.
It's really good.
I really enjoyed it.
I fucking laughed hard.
When the family in Maine, holy shit, was that great.
With Nick DiPaolo, Tony V.
Oh my God, it's very funny.
That makes me feel good, thank you.
It's really good.
It's really good.
It's really good.
You're a good actor, Joe.
Oh, thank you.
I appreciate that.
You're really good, man.
You're really good.
Thank you.
I have very little training.
But I was playing myself.
We wrote it, so a lot of real emotions.
It doesn't matter, though, if you play yourself, because you have to play
moments.
You have to play feelings.
You have to listen.
And I didn't know if he was going to be any good.
It had to be him, because it was his story.
We wrote it together.
I directed it.
But I didn't know if he would have the mechanics right.
But he's very natural.
I never had to talk to him once during the filming.
It was just, you know, it gave me a lot of room to really do better.
I'm acting not terrified right now.
Good.
Nice job.
But you're not, you look terrified.
Well, I don't know why you'd be terrified.
I just don't understand.
You do a million podcasts.
You do it all the time.
I do a lot of podcasts.
I've been here.
Well, first of all...
Well, there's a lot at stake, because the movie is out just now on the website.
And it's on my website for 15 bucks.
I just want to get it out there.
Fourth of July.
Fourth of July.
Yeah.
It's fucking great.
I can't recommend it enough.
It's really good.
Thank you.
Thank you.
I enjoyed the shit out of it.
I watched it today, because I wanted to watch it right before I came here.
Yeah.
I wanted it to be really fresh.
Great.
It was excellent.
Well, I never made a movie like that before.
Most of my movies are a little weirder, a little more challenging.
I like to keep an audience off balance.
But this was just a story.
This is such a basic story.
And it was very, just, it's a very independent, just kind of like normal movie.
It's not about a big subject.
It's about people.
It's really good, though.
It's really good.
If I went to see that in the movies and I didn't know any of you, I'd really
enjoy it.
And I had a question about filmmaking itself.
There's moments where, like, you, the therapist, are talking to him where it's
a head-on shot,
but the camera's kind of, like, slightly moving a little, which I thought was
very interesting.
Like, what is the reason to do?
Is it to keep you occupied?
Is it to create, like, a sense that you're actually there?
Because when you're seeing a person, you're kind of moving and kind of static?
Well, it depends.
Like, sometimes what we used in this movie, we used what are called anamorphic
lenses,
and they make more of a dollar bill shape than, like, a television.
It's, like, wider.
So the movie's about a guy who has severe anxiety,
and so anxiety's about having too much peripheral sense, you know?
And so sometimes we would rock the screen, the camera, just a little bit, just
a tiny bit,
to feel as disbalanced.
Like, if you're just sitting in a chair, you feel like you're going to throw up
a little bit.
And we did other effects, like, sometimes we made the light go green, which is
kind of, like, a green nausea feeling.
Like, nausea and anxiety are very connected.
So we did that with him to make him look like he was as uncomfortable as he
really can be.
How much do you enjoy that process versus the process of creating stand-up?
I love it so much.
Yeah?
I just love it so much.
It drives me crazy how much I love it.
I love film.
I love lenses.
I love photography.
I love all the tech stuff.
I love going, drilling way down with the DP about what's the equipment we're
going to use and why.
I had a good DP on this one who didn't give a shit.
He was just like, yeah, you could, I guess.
Who cares?
He was just a real, he came up as a, like, camera loader.
He came up, he's not like a, you know, film school guy who wrote a thesis.
He's a guy who worked in the camera department, and now he runs it.
So, but I like it.
I like, and I like equipment.
I like the process, you know.
And the problem, it's all day problem solving.
Yeah.
It occupies your whole spirit when you're directing, because you're like, how
are we going to get this day done?
They're kicking us out at eight.
The light's going.
Stuff like that.
It's like being on a boat, you know.
Yeah.
Nothing's in your control.
You can just try to maneuver.
You've got an actor who's just not doing it.
You have an actor who didn't show up.
There's all kinds of stuff that happens.
And if you're clever and you stay on a swivel, you get through the day and you
go, fuck, I can't believe we got all that.
And there was good shit on film.
How much of a process is it?
Like, how long is it from the time where you started writing this to, like,
pitch it, write it, and then get it done?
I know the exact dates if you want them.
Yeah.
Give it.
Give it.
First phone call was February 28th.
I mean, this is, like, not normal.
February 28th.
We chatted on a Sunday for about three hours, unexpectedly.
And we wrapped, I believe, on September 9th, 8th.
Yeah, it was very quick.
That's from conception to we're wrapped, the movie shot.
From let's make a movie about something in late February to out ready at the
end of September.
Wow.
It was crazy.
It's, like, unheard of.
We wrote it kind of, you know, first of all, the pandemic was sort of just
starting to wane, but it was still in effect.
And so there was a lot of, we were all so eager to do fucking something, you
know?
And we were used to this empty space in time.
So he came up to my place upstate a couple of times.
We just wrote on a blackboard.
And also, it depends on the movie.
We, I knew what this movie should be from the very beginning.
Like, we just felt what this movie was about, what the engines were that were
going to run.
We knew DePaulo was going to play this guy.
We knew Tony V was going to play all these guys.
So the voices were so clear that it was an easy, we just.
Sometimes you feel like you're taking dictation when you write a movie.
Like, it's just telling itself to you.
So the writing was a lot quicker than usual.
And because it's just me financing it, there was nobody to send the script to,
wait for comments.
We just finished and we wrote, that's it.
And then we went back over it and reworked it a few times.
So we're not wasting any money when you shoot.
Try to cut it down because you're probably going to cut anyway.
And then start hiring folks.
And it's just simple.
You know, I give it to my assistant, Leah, who's also my producer.
She's the executive producer of the movie.
She does everything for me.
So she started getting it to, you know, the heads of departments.
We started hiring people.
Got a casting agent.
She started casting.
Just start working, working, working.
And then everything else gets dictated by, like, where are you shooting?
You're shooting in a house.
When is it available?
That house is available for these weeks.
So that's our target.
And try to get everything together by then.
And the people that you got are fantastic, too.
Like, the woman who plays your mother is amazing.
Yeah.
Paula Plum.
Paula Plum.
They're all Boston actors.
Everybody in the movie is, like, local, either comedians from Boston, or
including me and Joe, are actors.
She's, like, a storied Boston actor.
She's, like, in every great play that takes place in Boston.
And actually, her and the dad, Bob Walsh, who played the dad, they have played
man and wife in many plays, like, in a major play.
Not in Broadway, but in Boston, which, in Boston, that's big, you know.
And she was fucking great.
That was the hardest thing, how we're going to find this woman.
She was so good.
Yeah.
Like, just, even the way she hugs you, it's, like, exactly like that lady would
hug you.
Yeah, who can't.
She can't.
She can't.
She can't.
There's so many good lines in the movie, too.
Like, we're talking about the ex-girlfriend.
Oh, the one with the mouth and the tits.
Yeah.
The one with the mouth and the tits.
That's a true story, by the way, that I tell.
I have an ex-girlfriend that, when we first started dating, we'd been together
for, like, a few weeks, and it was, like, popping off.
We love each other.
Oh, my God.
And she left her email open, and I searched my name, thinking I would find all
these great things she's saying about me behind my back.
So stupid.
It was really bad.
And there was, like, a chat, like a G-chat, Gmail chat, between her and her
best friend.
And she literally was, like, I just met this guy.
I think I'm in love with him.
He's the funniest guy I've ever met.
I'm not attracted to him, but I'm going to give it a shot.
And I just read it.
And then, like, you know, she comes home a few hours later, and I was like, hey.
And I'm like, hey.
That's hard.
And it's brutal.
It still lingers, by the way.
Was that the end of it?
No, because I couldn't.
First of all, I was, like, in love with her, and it wasn't a confidence boost.
I was like, I can't go be single now, knowing I'm ugly.
But it's like, the person who loved me the most in the world behind my back
described me as unattractive.
Horrible.
Yeah, it's horrible.
That's why I'm behind this mic as much as I can be right now.
I'm hitting it.
It's horrible.
That's why we had an easy time writing the movie, too, because he has these
stories.
So he would just tell me stuff like that.
And I know from experience what's going to work in a script.
I've written them before.
I've directed them before.
So he would just tell me that, and I'm like, it's going in.
That's got to be in here.
We had to change the names, of course.
We had to change the names.
Of course.
But, yeah.
And his wife is played by his own real wife, Sarah.
I mean, in the movie, she's called Beth.
Yes.
Sarah Tollemacher was a very funny comedian.
She's great in it, too.
Oh, thanks.
She's very natural.
Everybody was very natural.
Yeah.
And Paula was the one who was, the mom was the tour de force acting job and
also the dad.
Yeah.
Because the thing that's hardest in the world to get people to act is that they
can't do things emotionally.
Like, actors can, you know, have big tantrums and they can cry.
That's actually not hard as an actor.
What's hard is what she's playing, which is unaware of herself.
Unable emotionally and unaware and in a narcissistic bubble.
That's so hard to get someone to play who's actually a sensitive person.
Acting is supposed to be about connecting and she's playing a woman who can't
connect for her reason.
And then the dad, the same thing.
He can't connect because he just is disabled by his generation and by anxiety,
we find out.
Really, he has the same problem that his son does.
But in his generation, you don't fucking say anxiety.
Right.
You're just quiet.
You drink and you're quiet.
So that was where the two hardest and we got these great fucking actors to play
it.
Play those parts.
And so you're releasing it only on your website?
Yeah.
You're not going to put it out anywhere else afterwards?
I mean, we'll see, you know.
But right now, the best mouth to drink in the interest is the website.
It just comes right to us.
We did a big theatrical run also.
Yeah, it was in the theaters for...
Did very well.
Yeah, for a month and it was killing.
Really?
Yeah, it was like AMC theaters and Regal and a few theaters.
What they do if they don't give you a full run, they just go, you can have
every city for one night.
Like at 7 o'clock on a Wednesday, we were in 70 screens across the country.
Wow.
And they all sold out and doubled.
Wow.
In a lot of cities, we were like in three theaters, like Thor or something.
Holy shit.
Yeah, and at the Lemley in L.A., it got held over like three, four weeks, I
think.
Yeah.
It just kept getting held over.
It was very...
In New York, we had a premiere at the Beacon 