Bryan Greene

They'll go and sell out 27,000, 30,000 seat comics.

rooms and there's when i've talked to other comics they say who have played bigger places they say it's different it doesn't it doesn't work the same when you have you know 15 20 000 people in front of you than it does when you have 200 people in front of you and a couple of them have admitted i kind of like the room where there's 200 because i'm able to see i'm able to push the energy one way or the other with a motion or a look or a stare

I'm doing what?

For who?

But in the UK, you're huge.

I mean, does it, but for you is which, which experience is better or is it just different?

You just have to work the crowds differently.

Very interesting.

You have to think about the minutia of that as you're walking into the room.

Like, hey, Paul, remind yourself to give a beat.

Like, give a beat so the laughter can reach the back of the room, and then I can move on to the next beat, right?

That's insane.

I have to imagine that for all the different reasons, when you're a kid, essentially, and you're de-rigging these...

this might just be an indication of how old I am, are the guys who do the rigging and the de-rigging of these big stadiums, watching them as they shift around these huge stages and go up into the rafters.

And I've always been interested by that kind of backstage life.

And it's dangerous, it's hard work, but it looks like, you know, a bit of fun too.

But how... I mean...

Do you still to this day, do you still get that feeling when you go into one of these rooms and you've sold it out?

And just 20, 25 years ago, you were the person taking down this lighting or whatever it was.

Do you still get that?