Hannah Gadsby

They are facts.

They are facts.

It wasn't important.

It wasn't important.

It wasn't important.

Yeah, it wasn't interesting.

Yeah, it wasn't interesting.

Yeah, it wasn't interesting.

Look, I think it's important to just tell stories. I think it's important to leave flexibility in the wave. The problem comes when people hold you to things and go, you're not allowed to evolve. Like that is the receiving of the story. And it's just like, But I think there's an enormous amount of healing that goes into the craft of a narrative, and that's what I do.

Look, I think it's important to just tell stories. I think it's important to leave flexibility in the wave. The problem comes when people hold you to things and go, you're not allowed to evolve. Like that is the receiving of the story. And it's just like, But I think there's an enormous amount of healing that goes into the craft of a narrative, and that's what I do.

Look, I think it's important to just tell stories. I think it's important to leave flexibility in the wave. The problem comes when people hold you to things and go, you're not allowed to evolve. Like that is the receiving of the story. And it's just like, But I think there's an enormous amount of healing that goes into the craft of a narrative, and that's what I do.

I spend a lot of time working out how to tell stories, and through that I learn what part of the story is important to me. And, you know, working on stage a lot, my stories evolve sometimes to their detriment. So, you know, my coming out story, for instance, was designed to make people laugh. And that's where the issue was because the punchline was enough.

I spend a lot of time working out how to tell stories, and through that I learn what part of the story is important to me. And, you know, working on stage a lot, my stories evolve sometimes to their detriment. So, you know, my coming out story, for instance, was designed to make people laugh. And that's where the issue was because the punchline was enough.

I spend a lot of time working out how to tell stories, and through that I learn what part of the story is important to me. And, you know, working on stage a lot, my stories evolve sometimes to their detriment. So, you know, my coming out story, for instance, was designed to make people laugh. And that's where the issue was because the punchline was enough.

But I think telling stories, I'm not frightened. I operate on the premise that it's okay to recede into the background and no one remembers who the hell I am. And I just work on the craft and then everything else will work itself out.

But I think telling stories, I'm not frightened. I operate on the premise that it's okay to recede into the background and no one remembers who the hell I am. And I just work on the craft and then everything else will work itself out.

But I think telling stories, I'm not frightened. I operate on the premise that it's okay to recede into the background and no one remembers who the hell I am. And I just work on the craft and then everything else will work itself out.

No problem. I would just like to acknowledge that I don't think I answered many questions directly, but I said a lot of information after you stopped talking.

No problem. I would just like to acknowledge that I don't think I answered many questions directly, but I said a lot of information after you stopped talking.

No problem. I would just like to acknowledge that I don't think I answered many questions directly, but I said a lot of information after you stopped talking.