[laughs] Yeah

... versus, like, I'll be the guy who makes, uh, makes the other kids laugh or something.

And then when Who Framed Roger Rabbit came out, its sort of version of like what anime, even though that was a Disney Touchstone movie, its version of what cartoons, what tunes were was much more Looney Tunes Warner Brothers, like wacky, uh, breaking the fourth wall.

It sort of like beat out Disney's history of the way... 'Cause Disney, Disney had a different style of comedy in their cartoons.

And I feel like Who Framed Roger Rabbit sort of changed the conversation, that, like, toons are the people who hold up signs to the audience and reveal that they're in a cartoon.

They hit themselves on the head with, with big hammers, and birds fly around their he- you know, it's that violent sort of thing.

And that's been sort of the prevailing doc- uh, like, like, definition of cartooniness for decades since then.

Mm.

So yeah, it's almost like a band looking back on those initial demos and kind of commenting on them in a way.

And one thing that – this is almost kind of an embarrassing thing to talk about, although there's no real reason to be embarrassed about because it's purely parallel thinking.

But for a couple of years, I had a podcast with a friend of mine called Tiny Dinos that premise-wise

and the bones of the comedic dynamic, which if you go back even to the early days of film comedy, there were always like – groups here like oh there's the Marx Brothers and there's the Ritz

Brothers or there's like you know Abbott and Costello and Laurel and Hardy and there's like dynamics that overlap in certain ways and that's just the way it is in every era of comedy that there's always things where it's like oh yeah

this

is like a this or this is a that but Tiny Dinos was this concept for it's an improvised podcast I did with my friend about two best friends who are scientists and it very much.

understand why people say that but yes it's the one that people consider yeah

Oh,

yeah, yeah.

I'm sorry if I talked over something.

No, no, no. It's so good.

I do think this has a structure of a series of pranks.

It sort of reminds me of, I have a specific hearing of the song Roxanne by The Police, which is, he says to Roxanne, you don't have to put on the red light.

Those days are over.

year was this? 97.

No.

I know it, I know it, and I, and I'm not coming up with it.

I really...

I...

Oh, God, I'm so sorry.

I really meant this to be, like, a really fun, nice moment where you- I know ...

it was like, like, we've been friends for such a long time, and I thought this was, like, an easy alley-oop that you would- Yeah ... and now it's just awkward to realize, like, you- Did I be able to come in and just do it? Let me take a guess ...

Yeah.

In, in the movie Animal House, they get inspired?

No, no.

Stop thinking canon.

Should call you Nick Cannon the number of times you bring up canon.

No, when Harold Ramis, the dirt farmer himself, when he attended here, it was one of these fraternities that inspired National Lampoon's Animal House.

What kind of bang bang is this?

I am-

The ayes have it.

Oh, yeah.

They have sort of set up a... away, like Griffin Newman, who I do a lot of, who I do the George Lucas talk show with, I do a lot of different comedy shows with.

When I first met him, he was the same as me.

We were both just jobbing actors who were reliant on booking acting work in order to sustain ourselves.

And Blank Check found its audience and found its sort of like Patreon subscriber level fan base that's growing in a way that feels like It's going to lapse.

It's not a fly by night thing there for every fan or listener, they might lose.

I feel like they gained two, you know, it's they're in that nice rhythm where they're creating a thing that they have full control over.

And as much as you could share about it, just just the thinking that went into making that decision.

[laughs]

Well, I used to, I used to throw...

There was a period before I got fired from Band of Brothers where I, I did throw a couple of auditions on purpose because I was nerv- there were jobs I didn't want to book.

This was very early on.

I didn't want to book them and so I...

But I was too nervous to tell my agents I didn't want to read for...

There was a play I didn't want to do, and I was too nervous to tell my agent, "I don't want to do the audition." So I went in and I kind of did a bad Amer- it was in London, and my big advantage was having an American accent.

He was like, "This is a four-star masterpiece."