Eddie Brill
speaker
90 appearances
1 recordings
1 series
first heard Feb 2025
last heard Feb 2025
Eddie Brill’s voice in public audio — every appearance, attributed to the second.
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Appearances
And it's not that funny, might be a funny person, Might might have jokes, but mostly they don't. They're mostly like, hey, I'm the clown, clown, clown. And that's OK. Nothing wrong with being a clown. Well, you know, many comics are clowns and and many clowns are comics. And then they'll bring on like their friends who are talented. So the audience gets a show.
That's the smartest way to use the Internet. But, you know, but I think that I want to stay away from being the comic or like when I was a kid, you know, there are comics we used to go off and we didn't have two legs. You know, we would go out there, you know. So I don't appreciate the I appreciate the art of stand up.
And I love the writing the joke and, you know, trying it out and then rewriting the joke and then trying it out and getting it to a place and then writing a new joke and then trying that out. That part to me is the art form. But it doesn't mean that these people who are playing on the Internet are, you know, are that talented at stand up. They're talented at creating a phenomenon.
There are comics who work the Madison Square Garden who are not funny to me. It doesn't mean I don't like them or hate them or, you know, wish them poorly. It's just that, you know, they've learned to use the Internet. And I think it's a very smart ploy on their part. It doesn't mean I have to enjoy it or love it or, you know,
But I respect the people who said, you know, like, for instance, when you had TV shows like The Lucy Show or Mr. Ed or Green Acres and you had these sitcom shows, they were written by some of the greatest writers in the business. Right. You never saw them. You only saw the names on the credits and they never got the exposure. But you watch Mr. Ed now. It's still hilarious. You watch Lucy.
It is a great, well-written show. So nowadays you have, you know, just a really good performer at the head of the show. And then you have a bunch of comics in there. So I don't hate it. At the beginning, I was like, darn those kids. But I actually respect a lot of them.
Yeah. If you work hard, I respect it. You know, I you know, you can you know, I work with a bunch of younger comics and you can't I don't believe you could teach someone to be funny. You either have it or you don't. And I tell that to the people I work with. But you can workshop it. You can say, OK, here's a joke and I don't know how to finish it or the middle is a little bit weak or whatever.
And you can actually workshop it and get the joke to be the way it is. But but and the process of working out a joke or working out a scene or working out a movie that's funny is that's really an incredible process that. You know, like you watch a famous comedy movie like Being There. It might not be like laugh out loud like if you watch Blazing Saddles.
But they're both brilliantly great comedy films written by two, you know, like Jersey Kosinski is one and then Mel Brooks and Richard Pryor is the other one. And they're completely different writers, but they have created, you know, really brilliant comedy. And I that's what I respect. The people who put the work in, you know, shortcuts, it's eventually going to burn you out.
Yeah, I I've been doing it for like 25 years around the world. And what it really is, is bringing a whole bunch of people together and working out your material and hearing the other people's perceptions. Like if I go on stage, I do my set and then I have the whole group sort of give me their perceptions. I don't have to agree with any of it.
The person that might be have never had done stand up or the person has been doing it for 20 years. But it's great to hear their perception because we don't know what we're like as much as other people.
So if someone says, hey, you're always touching your chin or when you say you say, you know, all the time and when a lot of we're afraid of the silence and the silence is one of our most cherished partners in comedy. Jack Benny got all his laughs on pauses. So in the workshop, a lot of workshops I'll do, you'll hear people say, you know, and I used to say that all the time.
But now I've learned to just use, because words are only one form of communication. You use your body. Like if I said to you, I was walking down the street and I saw this beautiful car, you got it. But if I said I was walking down the street and I saw this beautiful car, that little face that I made is just as much writing as the words that I wrote. And it's all it's all part of it.
So the more I do it, the better I enjoy it. And I've learned and have grown myself from doing these. Like I recently got a really great compliment. There was that movie everywhere, everything, every place. I forgot the name of the film. And there are two guys who had written it named Daniel, the two Daniels. And they they were being interviewed and they said, yeah, we took Eddie Brill's workshop.
A million years ago, they won the Academy Award and they said, you know, he did this thing where he made us listen. And I learned a lot about pausing and listening and how powerful that is. You know, pretty good. I first time I did Letterman as a guest, Joan Rivers, and I was on the plane that I was coming back home on.
And I introduced myself at the gate and she came and switched places with the woman next to me. And I told her I was doing Letterman as a guest for the very first time. And she had me go over my set with her on the plane and then gave me great advice, including the pausing and using the silence as your friend. And when I was on stage that night doing the Letterman show, Joan Rivers was right here.
She was right in the, you know. She was right there the whole time. And I'll never forget what she did. And then years later, I was doing this thing at the studio 6B, which is where they film Saturday Night Live. I think it's 6B. And I was hosting an event and it was all celebrities. And a lot of them are coming in late and doing, why are you late? What, did you forget your watch?
You know, stupid, you know, little... There was laughing at all of it. And then Joan Rivers walked in and the audience was like, all right, here we go. And I said, I'm not going to make fun of her. And I explained to her how good she was to me. And they gave her a standing ovation. And she like, you know, had tears and, you know, comics will help comics. You know, I got help from David Brenner.
I got help from Joan Rivers. I got help from, you know, just people, you know, so many wonderful people took very good care of me. And I vowed to do the same for young comics along the way.
I would mix, I would say there's one in 1A, 1A, 1B is Carlin and Pryor. Yeah. And I would say that Jonathan Winters is right up there too, but it was different. He did, you know, there's a clip of him on the Jack Parr show and it's called The Stick. And he just takes a stick and for six minutes, he just, it's just brilliant genius. Yeah. I love it. How about you?
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