funny”, you know? I feel taller. I like that. I’ve never been away from my shadow for this long. It had always clung to my feet, parting momentarily for a quick dive into the swimming pool. But never for five hours. I like it. There’s three feet of space between my two and the floor. I wanted something this morning. I may be stuck. But at least I’m three feet closer to it.
Sully suffers from a stutter, simple syllables will clutter, stalling speeches up on beaches like a sunken sailboat rudder. Sully strains to say his phrases, sickened by the sounds he raises, strings of thoughts come out in knots, he solves his sentences like mazes. At night, he writes his thoughts instead and sighs as they steadily rush from his head.
I put a chameleon on a red dildo... He blushed
If a comic is himself, there'll be things he can't do - because he has to adhere to that persona.
There's tons of dudes - like David O'Doherty, Tim Key, and Alex Horne - I made a lot of friends with people who are really incredible comics.
I don't worship comedy; at the end of the day, I don't fall to the altar of comedy unquestioningly.
At once I feel that comedy is this amazing sort of transcendent thing, and I'm also open to the fact that maybe it's just an evolutionary hiccup, something that upright apes do in their free time.
I would say don't take advice from people like me who have gotten very lucky. We're very biased. You know, like Taylor Swift telling you to follow your dreams is like a lottery winner telling you, 'Liquidize your assets; buy Powerball tickets - it works!'
I thought I had more of a European sense of humour than the average American comic.
The average person has one Fallopian tube.
I was doing theater in my high school, and I started writing sort of silly songs on the piano backstage in summer theater. I eventually put them online and started getting this little following.
I love Tim Minchin, Bill Bailey, and Hans Teeuwen, and I'm trying to synthesise elements of theatre into my show a little bit more.
I didn't want to bash young people. I don't want to bash a kid for dreaming or wanting something or being slightly ambitious - that's not the problem. The actual problem is with the culture surrounding him.
I think comedy has a range, with multiple peaks in different areas. It's like trying to compare Beethoven and the Beatles. Sometimes I hear from people, 'I think you try too hard in your comedy.' And that's what I worry about.
Being famous is complete luck, and that's something you can't bank on.
There's a certain line between jokes and music and poetry that's a bit blurred in my mind.
Comedy should be a source of positivity. I don't want to bully people, and I don't want people to come to my show to feel terrible about something. So I'm actually very open to having a conversation about what I should or shouldn't say.
I remember being superyoung, like nine or ten years old, and thinking, 'Man, I wonder what famous people eat for breakfast. They must have some special kind of cereal!' My mind was so warped by the idea of fame.
Life, to me, doesn't feel like a straightforward story; it doesn't make sense for me to get up there and just tell a story. Life feels like what my show feels like: chaotic and strange and disconnected.
I write about what I know: teenage dating, overly charged sexuality, all the things that make you uncomfortable.