Name: Oneohtrix Point Never on Marty Supreme, Tranquilizer & More
Uploaded: 2026-01-20T16:00:35.000Z
Description: Watch the stand-up comedy video 'Oneohtrix Point Never on Marty Supreme, Tranquilizer & More' from Office Hours Live with Tim Heidecker on Comedy Buff. Published 2026-01-20. Transcript available.

Watch the stand-up comedy video 'Oneohtrix Point Never on Marty Supreme, Tranquilizer & More' from Office Hours Live with Tim Heidecker on Comedy Buff. Published 2026-01-20. Transcript available.

Oneohtrix Point Never on Marty Supreme, Tranquilizer & More

Daniel, my brother, you are older than me.
Do you still feel the pain of the scars that won't heal?
Your eyes have died, but you see more than I.
Daniel!
Right?
Is that Elton John?
Yeah.
You don't know that?
I didn't recognize from the singing.
I think I know the song.
Hey, it's Elton John, man.
Come on.
Dude, can you believe that Vic didn't know Daniel?
Daniel, my brother, you are older than I.
I don't know.
Hey, who wins, Elton John or Billy Joel?
Oh, now we're talking.
All right, Vic, I'll let you answer that question.
I think Elton is a more sophisticated songwriter, you know what I mean?
But he doesn't write his own lyrics, so I could write the chords all day long.
But Billy is, I prefer Billy, to be honest.
I do, I do.
I think he's more fun, and he mocks himself enough.
Daniel, your point of view on this?
I like him.
They both have short fuses.
That's all I know.
Exactly.
Imagine them touring together like they used to.
Do you guys ever see, what is it about playing the piano that makes you kind of
temperamental and angry?
Can you guys see that Billy Joel video?
Can you guys put that up, the Billy Joel video of him going crazy in the studio?
Oh, that's the best.
Yeah.
But the lights?
The lights.
Get the lights off.
You know, I'm sure you have that keyboard probably, that Yamaha CP1 maybe?
I got them all, baby.
I know.
I got every single one.
But that's really heavy.
Yeah, no, the CP, the CP is like the ugly Rhodes.
Yeah.
It's like, but because of that, it sounds really kind of interesting and great.
Yeah, oh, it sounds amazing.
Oh, here we go.
Yeah, when he pushes it over.
He's got to be wrecking that instrument.
I love that guy.
Yeah, this is way better than that one.
It's so good.
Listen to that.
Look how happy the crowd is.
Yeah.
There it goes.
It's like 10 grand down the drain.
You know what?
It's like, Billy, let's just get through this night where we could be in jail
for doing this shit.
I know, let's just get the show over with.
They must have fed him some herring and some really-
He was worried they were going to get arrested for dancing, I think is what it
was.
He just ate really bad dinner.
That's what's going on right there.
Boom.
Bam.
But there's a good Elton one.
We don't have to, we could look it up.
There's some good Elton ones where he's yelling at people in the band and stuff.
Yeah, he's such a prick to the lighting guys.
Very bitchy.
Anyways, listen, we got to go, but no.
That's right.
Daniel, I'm so glad to have you on the show.
Thank you.
Let me contextualize you because I met you about a year or so ago in Sarah
Sherman's dressing room.
That's right.
Right?
I don't think we've met before.
Did you guys sneak in there?
I knew who you were, but I think we were on Instagram friends or something.
Well, I met you a very long time ago at a museum.
I don't know what the hell I was doing at a museum.
Really?
But you were, I'm always at museums.
You are always, I mean, I know you're a big, you know, art collector.
I was at the Mary Houlihan exhibit.
But anyways, we had a nice time together.
And then I saw you again back when you played LA with 100 Tricks Point Never
with Kurt.
Kurt took me to see you.
Yeah.
And folks, anybody listening that has not, has seen you or has not seen you.
It's, that's, that's up there.
I'm not kidding with you.
That's up there in my top fucking 50 shows.
No, top, top 10 shows.
Top five, 10 shows.
Wow.
Top 10.
I cracked the 10.
Are you serious?
I've never seen.
What else is in there?
Um, I love, you know that band Warrant I sold in?
Great, great stage presence.
Yeah.
Um, Red Zeppelin, Reggae, Led Zeppelin.
Should we tell the people what I told you about what, what I thought was,
should be your next
move in rock and roll?
Yeah.
Yeah, sure.
I mean, I, yeah, you remember it.
Yes.
Yes.
Tell me.
Should we come clean?
Well, I said, I said, you know, Hey Tim, I'm a big, I'm a big fan, but I'm
still waiting
for your dark side of the moon.
Like the country rock is good, but you're a, you're a trippy guy.
All right.
We got to go into outer space.
We need synth sounds on these records.
I couldn't agree more.
I think you've got a fan there of that idea with Doug.
And I do think about that note.
And when I come down and sit at the piano here and work on stuff, I think about
that a lot
actually.
But Tim, you should tell him about the, uh, the chords you played earlier for
us.
Remember that?
Yeah.
Well, I will tell him about the chords I played.
No, no, no.
The one with his, his chord, the first song.
Oh, well, yeah.
Um, I will get to that.
Yeah.
Well, you're such a philosophical guy, Tim, you know, it's like, I just want to
hear your,
your, your, your space record.
Okay.
Well, can you help?
I mean, is, are you offering help?
Yes.
Is that what we're doing right now?
Is that what we're talking about?
I don't know.
No, I mean, I will, I can, you know, I can come in there and punch it up with
some arpeggio,
crazy arpeggios.
Yeah.
Well, your shit.
I mean, first of all, we're also talking to the composer of Marty Supreme,
which I feel
like, I mean, you're going to, are you going to get, I'm sure you're going to
get nominated
for some kind of a Oscar or something, right?
It's me.
I can't talk about stuff like that.
I know.
This is cool.
I'll dink myself.
It's cool.
I'll dink it.
I hope so.
That'd be amazing.
That'd be something.
I mean, the music is, the movie's great.
Of course, everyone's, have you, Mary, have you seen Marty Supreme yet?
No.
Okay.
It's on sale now at McDonald's.
Oh, good.
But from what I could tell, what I could tell, you're like really, you're not
just coming
in and throwing some shit over on the top of that.
You're deeply involved in this movie.
I know.
And a lot of people throw stuff underneath, which is even worse.
At least over the top, it kind of like sticks out a little bit.
But you and Josh are like mind melding on this movie from what I could tell.
We're in cahoots for like 10 years now.
Yeah.
We started, we basically taught each other how to, we wanted a film to sound.
Music wise, we, we really had no idea, but we loved, you know, like a thief
that Michael
Mann movie and sort of, there are all those old tangerine dream scores.
Right.
And so we just started going from there.
Like, well, what's our version of that?
And actually, you know, what really gave us a lot of license was on uncut gems
was listening
to John Bryan's score to Punch Drunk Love because every cue is like its own
fucking thing.
Like every single cue is like an art project that has no bearing or relation to
the other
one.
Oh, cool.
And we were like, wait a sec.
We don't have to do anything.
We don't, there's no one true way to do this.
Right.
Um, that helped us a lot.
Well, John Bryan, Bryan's, uh, one of the greats.
Um, yeah.
So you also, this one Oh tricks point, never record tranquilizer that by the
way, you said
you texted me yesterday and said that an intern was, was delivering an album to
me.
Correct.
Well, I misread that.
No, that's true.
I just wanted to make sure you had, you had the, guess what?
Nobody came with a record.
Oh, this is so typical.
My record label, man.
I'm and I'm pissed.
I'm pissed.
I'm telling you, this is, and, and by the way, you know, who hit me up was Jim
E Brown.
He said, Hey, where's my, here's where, where's my record.
I was going to plug you.
I was going to do a bit like, oh yeah, it's pretty good.
It's not, you know, right.
Typical fair or whatever.
I lost some electronic sounds, you know, whatever, but he never got his either.
So, so war.
And what label is this record?
I don't, I mean, what label, we're not doxing anybody, but what label is it?
Warp Records.
Oh, these fucking, they're too cool for school is their problem.
Even their interns are like, I'm not doing that.
They're like, please.
But you sent me this and I'm so honored.
I mean, we've become, we've become pals and we're texting each other a lot.
Music stuff.
It's a great, it's a great honor.
Well, I'm honored too, but you sent me this record ahead of time.
That's the kind of guy I am, Mary, where people are sending me shit.
The sound, what's it called?
Jukebox, digital jukebox or whatever, you know, like, this isn't even out, Matt.
This isn't even out.
Oh, the new one.
Oh, I say.
Well, no, the tranquilizer, but this was like a few months ago.
I see.
But you, you told me, you're like, listen to this.
I think you'll like it because the beginning of this sounds like, I think it's,
well, you're
replicating a sound, but it is, it is the chord from Have a Cigar.
Is it, is it Have a Cigar?
Oh, 100%.
It's the, just that nice, scary minor key strum.
Yeah.
It was like, well, the record tranquilizer was made.
It's almost like a collage record where I took all these old 1990s sample CDs
that you used
to get, you know, people paid top dollar for these things, like 40 bucks to
have like 500
variations of a snare drum.
Right.
And, and they would assemble their little, you know, fake, uh, uh, hip hop
record or fake
trip opera or whatever was the flavor of the month.
Really.
It was like to make commercial music.
Right.
And so there was, there was probably like a space rock, you know, and it was
like all
this, uh, sound, Pink Floyd sound alike stuff.
And of course I'm going to start my, my sample collage record with, with, with
a, one of the
most iconic strums ever.
And so that's literally from one of those CDs.
Yeah.
It's all from those CDs.
And then I would sort of blur the line between what, what, what came from those
CDs and what
I'm adding and, and embellishing on.
And I'm trying to make it seem very, you know, difficult to really ascertain
where the sounds
are coming from.
Isn't it weird though that like, cause I played it for Vic cause he hadn't
heard it yet this
morning and I played it for everybody, but how is it that that strum, that 12
string strum
of a minor E chord or whatever it is, is immediately us just all going, Oh,
that's that song.
That's the Pink Floyd.
What is that?
Can we play just that part?
I don't think we'll have a problem getting.
Yeah, please.
Do you have it, Matt?
I have it too.
I can play it.
You should play it.
All right.
Watch this.
Quiet.
Quiet now.
But listen to this, everybody.
All right.
This is the first song on tranquilizer.
One Oh, tricks point.
Never.
It takes, it happens pretty much right away.
Right?
I think.
Yeah.
There's some noise and then it starts.
Okay.
Listen.
Old chimes.
Woo.
We're in.
And then we're in.
Well, to me, it's kind of like, it's like a declaration.
And like, it, and so it begins, you know, but I think, what is it about that?
Well, it's like, uh, it's like you're, you're drawing the curtains.
Yes.
And, but you're, are you a Floyd?
You're a Floyd guy.
Cause we talked about Floyd.
I am.
I mean, I wouldn't say I'm like a encyclopedic Floyd head, but I absolutely
worship any band
that sort of will, will extend or protract a simple blues progression to like a
15 minute
odyssey.
Like if you're doing that just fundamentally in your life, you're in with me.
I think it's so funny.
Like, cause I was, that made me want to go back and listen to wish you were
here and talk
and think about that song and that record and everything.
And like that song in particular have a, it's funny about it's so different
than now that
that band, like that song in particular is them complaining about being
famous, like being like the record label wants more from me.
Oh, and then just the, the, the, yeah.
Like just very relatable.
It's so unrelatable that their problems are, their problems are not relatable
at all.
Yeah.
We weren't doing that just a minute ago though, were we?
Maybe.
No, we weren't, we weren't complaining about it.
Yeah, you really weren't an intern.
Yeah.
But you didn't write a song about it though.
What does it take to put that live show together?
Like do you, was that a tour I was on that I was, I was watching or was that
like a one
off?
Like, it seems like the most hard to wrap my head around live experience I've
seen.
It's, 