Rainn Wilson

And I think because of this kind of alienated emotional desert that I lived in, in suburban Seattle, that was a healing balm for me. Then, you know, I remember talking about, I don't know if it was in Soul Bloom, I also wrote a book called The Bassoon King that was kind of my comedic memoir. And I was such an odd child.

And I think because of this kind of alienated emotional desert that I lived in, in suburban Seattle, that was a healing balm for me. Then, you know, I remember talking about, I don't know if it was in Soul Bloom, I also wrote a book called The Bassoon King that was kind of my comedic memoir. And I was such an odd child.

I remember watching other kids in school to be like, how do normal people behave? You know, I'm gonna watch people in the lunchroom. I'm gonna see how they behave and then I'm gonna copy them. And my parents were very odd, very odd people. So I knew I was not gonna like behave like my parents. So what do you do? So I'd go in the lunchroom and then I'd see Mike Wentzel

I remember watching other kids in school to be like, how do normal people behave? You know, I'm gonna watch people in the lunchroom. I'm gonna see how they behave and then I'm gonna copy them. And my parents were very odd, very odd people. So I knew I was not gonna like behave like my parents. So what do you do? So I'd go in the lunchroom and then I'd see Mike Wentzel

I remember watching other kids in school to be like, how do normal people behave? You know, I'm gonna watch people in the lunchroom. I'm gonna see how they behave and then I'm gonna copy them. And my parents were very odd, very odd people. So I knew I was not gonna like behave like my parents. So what do you do? So I'd go in the lunchroom and then I'd see Mike Wentzel

go up to John Valadez and say, hey buddy, how was your weekend? Give me a bite of that. And then like take his French fry or something like that. I'd be like, oh, okay, great. And I would literally, maybe not literally, but I would almost exactly copy that kind of behavior. But, of course, when you're trying, it's like an alien trying to fit into, you know, a human guise.

go up to John Valadez and say, hey buddy, how was your weekend? Give me a bite of that. And then like take his French fry or something like that. I'd be like, oh, okay, great. And I would literally, maybe not literally, but I would almost exactly copy that kind of behavior. But, of course, when you're trying, it's like an alien trying to fit into, you know, a human guise.

go up to John Valadez and say, hey buddy, how was your weekend? Give me a bite of that. And then like take his French fry or something like that. I'd be like, oh, okay, great. And I would literally, maybe not literally, but I would almost exactly copy that kind of behavior. But, of course, when you're trying, it's like an alien trying to fit into, you know, a human guise.

You know, when you try and go up to someone then and say, hey, buddy, how's it going? How was your weekend? Clap on the back. Take the french fry. It just, it rings hollow. And it was out of that and out of that oddness that, again, that coping mechanism of comedy came out so that I found that when I would be the cut-up and the goof-off, It worked for me.

You know, when you try and go up to someone then and say, hey, buddy, how's it going? How was your weekend? Clap on the back. Take the french fry. It just, it rings hollow. And it was out of that and out of that oddness that, again, that coping mechanism of comedy came out so that I found that when I would be the cut-up and the goof-off, It worked for me.

You know, when you try and go up to someone then and say, hey, buddy, how's it going? How was your weekend? Clap on the back. Take the french fry. It just, it rings hollow. And it was out of that and out of that oddness that, again, that coping mechanism of comedy came out so that I found that when I would be the cut-up and the goof-off, It worked for me.

I found when I took an improv class or took an acting class that I could make people laugh. And there was a kind of a, it's the cliche of the sad clown. There's a lot of cliche in and around what we're talking about. We're talking about comedy and tragedy. We're talking about the sad clown. We're talking about, you know, crying and laughing at the same time. But there's truth in that.

I found when I took an improv class or took an acting class that I could make people laugh. And there was a kind of a, it's the cliche of the sad clown. There's a lot of cliche in and around what we're talking about. We're talking about comedy and tragedy. We're talking about the sad clown. We're talking about, you know, crying and laughing at the same time. But there's truth in that.

I found when I took an improv class or took an acting class that I could make people laugh. And there was a kind of a, it's the cliche of the sad clown. There's a lot of cliche in and around what we're talking about. We're talking about comedy and tragedy. We're talking about the sad clown. We're talking about, you know, crying and laughing at the same time. But there's truth in that.

That's one of the reasons that they are cliches.

That's one of the reasons that they are cliches.

That's one of the reasons that they are cliches.

I wanted to fit in, you know, more than anything else. I didn't even want to be popular. I just so didn't fit in. I really felt like I was an alien plopped down in human form trying to understand kind of normal human interaction. And it took me a long time to get out of that.

I wanted to fit in, you know, more than anything else. I didn't even want to be popular. I just so didn't fit in. I really felt like I was an alien plopped down in human form trying to understand kind of normal human interaction. And it took me a long time to get out of that.

I wanted to fit in, you know, more than anything else. I didn't even want to be popular. I just so didn't fit in. I really felt like I was an alien plopped down in human form trying to understand kind of normal human interaction. And it took me a long time to get out of that.