Matt Gourley

I don't know what you find so funny. I'm always like three or four, but I know what you're saying.

I don't know what you find so funny. I'm always like three or four, but I know what you're saying.

I don't know what you find so funny. I'm always like three or four, but I know what you're saying.

Yeah, thank you.

Yeah, thank you.

Yeah, thank you.

I'm interviewing you and you said no one knows how to interview anymore. And I would like you to have a big fuck yourself sandwich. Do we have a fuck yourself sandwich? That's not a good conversation. With a little pastrami on it?

I'm interviewing you and you said no one knows how to interview anymore. And I would like you to have a big fuck yourself sandwich. Do we have a fuck yourself sandwich? That's not a good conversation. With a little pastrami on it?

I'm interviewing you and you said no one knows how to interview anymore. And I would like you to have a big fuck yourself sandwich. Do we have a fuck yourself sandwich? That's not a good conversation. With a little pastrami on it?

Me make good talk. Me make good talk, not bad talk.

Me make good talk. Me make good talk, not bad talk.

Me make good talk. Me make good talk, not bad talk.

Well, there's a lot of things I could say about it, but I do think that the architecture of a late night show for a long time was kill time. Meaning when the form comes along, because in the late 40s, early fifties, someone at NBC realizes we just go off the air at 11 o'clock at night. Why do we do that? Yeah. It's like a family that discovers we've got an attic.

Well, there's a lot of things I could say about it, but I do think that the architecture of a late night show for a long time was kill time. Meaning when the form comes along, because in the late 40s, early fifties, someone at NBC realizes we just go off the air at 11 o'clock at night. Why do we do that? Yeah. It's like a family that discovers we've got an attic.

Well, there's a lot of things I could say about it, but I do think that the architecture of a late night show for a long time was kill time. Meaning when the form comes along, because in the late 40s, early fifties, someone at NBC realizes we just go off the air at 11 o'clock at night. Why do we do that? Yeah. It's like a family that discovers we've got an attic.

Why don't we go up there, finish the attic and suddenly we've got three more bedrooms. So the early late night shows, are people killing time. And that's what they are for a long time is killing time. And a lot of good conversation comes out of- Comes out of killing time. Comes out of killing time. What happens is there's a lot of money in it.

Why don't we go up there, finish the attic and suddenly we've got three more bedrooms. So the early late night shows, are people killing time. And that's what they are for a long time is killing time. And a lot of good conversation comes out of- Comes out of killing time. Comes out of killing time. What happens is there's a lot of money in it.

Why don't we go up there, finish the attic and suddenly we've got three more bedrooms. So the early late night shows, are people killing time. And that's what they are for a long time is killing time. And a lot of good conversation comes out of- Comes out of killing time. Comes out of killing time. What happens is there's a lot of money in it.

Then there's more competition and television and media in general speeds up. and there's more and more pressure on them. And then suddenly it's, well, you can't sit and have a long conversation. There needs to be a lot of energy. There needs to be a lot of, it has to be frenetic, the pace of it.

Then there's more competition and television and media in general speeds up. and there's more and more pressure on them. And then suddenly it's, well, you can't sit and have a long conversation. There needs to be a lot of energy. There needs to be a lot of, it has to be frenetic, the pace of it.