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Q&A with UCB's Matt Besser, Ian Roberts & Matt Walsh

Feb 20, 2015

Q & A: Upright Citizens Brigade Founders Matt Besser, Ian Roberts And Matt Walsh Celebrate UCB Theatre's Five Years In Los Angeles

Since opening in 2005, the Upright Citizens Brigade Theatre has been the epicenter of comedic influence in Los Angeles. Some of the funniest comedians ranging from Sarah Silverman to Patton Oswalt are all regular perfomers there. UCB founders Matt Besser, Ian Roberts and Matt Walsh started their careers at the Improv Olympic Theatre in Chicago training under the late improv guru Del Close. Together with Amy Poehler, they created the cult hit TV series Upright Citizens Brigade that aired on Comedy Central for three seasons. Along the way, they formed a comedy theater and a long-form improv school in New York, later opening up a West Coast branch in L.A. Before their fifth anniversary show, LA Weekly caught up with the guys responsible for bringing so much laughter and joy to comedy geeks everywhere.

Where did the name Upright Citizens Brigade come from?

Matt Walsh:
In Chicago there were concept shows where there would be a virtual reality road trip and one of the sponsors was an evil organization called the Upright Citizens Brigade. It eventually became the name for the sketch group.

Ian Roberts: Upright Citizens Brigade is the subsidiary of the fictional Russell Corporation. They were this uber-evil corporation and the Upright Citizens Brigade was an arm of it.

Did all the shows have a theme of virtual reality?

MW:
Virtual reality was one. What were the other ones?

IR: Conference On The Future Of Happiness, UCBTV and Thunderball, which was a sport to replace baseball. We did an entire show about that.

What made all of you decide to move to New York instead of Los Angeles to start your TV show?

IR:
The first experience we had going out to New York was trying to get someone who represented Matt Besser to represent the whole group. He had a bunch of people come to see us there. A week later they called asking to see us again. So we wanted to be in a place where we could be seen and have the shows running continuously. We set it up so that if industry wanted to see us, they could. It's easier to run a show and get an audience to attend in New York rather than out here.

Wouldn't L.A. be an easier city to mount a show for people in the industry to see?

MW:
Not really, our impression back then was there were a lot of showcases that would happen in L.A. where we would perform for a night or a weekend then come back home. In New York it felt like we connected with theaters where we could do an entire run. New York was more of a theater town than L.A.

IR: We also hit the ground running in New York. We had a TV show within a year of moving out there. People would often ask us how we did that so fast. The thing was we've already been performing for six years in Chicago. We came out to New York with two shows, opened them up in two separate theaters, ran them, started a free improv show and did the open mike at the Luna Lounge. So it was four nights a week that you could see us somewhere in the city.

MW: We started performing at a place called Soho Arts where we first started doing ASSSSCAT.

IR: Our first theater was at a former strip club called the Harmony Club. We benefited from Mayor Giuliani who was cracking down on the strip clubs back then. He'd just nickel and dime them with violations till it wasn't worth staying open.

Is it fair to say that you guys introduced long-form improv to New York?

MW:
I think we were the first group to really do long-form well that came to New York.

Describe the process of opening the West Coast branch. What were your main goals?

Matt Besser:
The Tamarind Theatre here on Franklin happen to open up and it was during the same time that many of the performers from UCB New York were moving out here, so it was good timing that way. We started with more of a focus on improv in New York. In L.A. there was already improv, so we wanted it to start off with more of a balance between sketch and stand-up for the L.A. branch. That's one of the main differences between the two theaters. Immediately, we had Comedy Death Ray, which in my opinion, is the best stand-up show in town. We also have many shows that combine performers whether it be a game show or a story-type of show. That was always the aim of this theater.

IR: Another goal is to have a place that we wish existed when we first started. A place that is friendly to performers and doesn't charge people to do their shows.

MW: Even Luna in New York was a great comedy show but it was only on Monday nights, so if you went there on Wednesdays there would be a jam band playing. This is a theater that's known for doing one thing, which is good comedy.

What was the very first show in LA?

IR:
It was the show where we had Andy Dick as the monologist for ASSSSCAT.

Was he drunk?

IR:
He starts out reasonably enough, but the monologist position doesn't get as much attention as someone like Andy wants to have. So he came back stage and got high in between the two acts and said 'I want to improvise.' Andy was so loose with the show and the audience was so confused as to what was going on that one guy in the audience took it upon himself to come onstage and participate without being asked.

MB: As is the UCB code, we took him to the ground and held him down.

IR: He didn't get hurt but it's like how a guy grabs you by the the neck and goes 'No really, don't fuck with us.' It was like that.

MB: At the Lion King, I tried to do that and they took me in the alley and cut off one of my thumbs, so what we did was pretty mild.

IR: The name of the show ASSSSCAT comes out of the fact that it's a pick-up improv show and we don't have to rehearse it. The whole nature of the show is very loose and so it was a perfect way to open the theater.

Why do you think such well-known comedians like Aziz Ansari, Maria Bamford and Patton Oswalt keep on coming back here to perform?

MB:
When they come here, they feel more at home. You can do whatever you want and we're not going to judge the show.

IR: They know what is expected here. It's really a nice place to perform where they know that the audience is smart.

Can you guys recall any outrageous or amazing moments from the theater's five year history?

MB:
Cale and James from our theater did a bit.

MW: It was the dirtiest sketch show, right?

MB: Yeah. In the sketch, the two had a bone marrow deficiency. They explained to each other that milk gives you calcium and both started chugging gallons of milk. There is this point where you can only have so much milk in your stomach before you have to throw up. They chugged until they started puking onstage. They were also holding martini glasses, puking into them and drinking each others vomit milk. They could feel their bones getting harder. So to test that out, they started punching each other in the face for real and slipping in their vomit milk.

IR: I want to bring up that we had to make sanctions against certain things after that show because it became so insane. I think people were later pissing; someone took a dump onstage; a carrot was put in someone's ass. I also hear people tend to wrestle at our New Year's Eve parties.

MW: Another cool moment was having Robin Williams pop in and do improv with new performers. The Night of 140 Tweets was also a good one when all these A-list celebrities would perform these 140 character bits. That was pretty amazing.

MB: The 12 hour Comedy Death Ray was another one.

What are your plans for the near future?

MW:
We're trying to figure out a big L.A. event. New York has the Del Close Marathon, which is a crazy 72 hour marathon of comedy. We're trying to figure out a big festival day in L.A.

IR: We'll also protect the continued growth of ucbcomedy.com. We want to have what we teach here be a pipeline into that. We're teaching classes and forming teams that is just geared toward the website.

MW: Hopefully we'll finish our improv book soon. We've been working on it for at least four years now.

If Del Close were alive, what would he think of your success?

IR:
He would love that there is a 72-hour improv marathon called the Del Close Marathon in New York. I think anyplace that had improv as part of what it did would make him very happy. At one time there was a debate about whether improv could be a performance form or a writing tool, so I'd think he'd be glad to see two theaters that has that as its base.

MW: Didn't he give us marching orders at his living funeral? I think you talked to him on the phone Matt.

MB: Basically he said spreading improv is a way of spreading love.

MW: Matt's smiling and he's affectionately hugging Ian as he's saying that.
LA General

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Scott Aukerman interviewed by LAist

Feb 20, 2015

Scott Aukerman's Murderous Beams of Hilarity

Scott Aukerman is one of the main brains behind Los Angeles' healthy world of alternative comedy.

Comedy Death-Ray, the weekly stand-up show he started with BJ Porter in 2002, sells out the Upright Citizens Brigade Theare every Tuesday. Last year, he started launched Comedy Death-Ray Radio on the post-terrestrial radio Indie 103.1. This podcast features regulars from the live show being hilarious.

Looking to put product on their Internet-only radio station, Aukerman was a perfect fit for Indie 103.1. "The price was right for them, because I said I'd do it for free," he told LAist.

In addition to the live stream, Indie 103.1 availed the show via podcast and it took off. "I quickly found out way more people listen to podcasts than listen to radio." Now, Comedy Death-Ray Radio is one of the most downloaded comedy podcasts in the world.

"Originally, I just thought the radio show was going to be something to advertise for the live show, and it quickly became it's own thing."

Aside from their Death-Ray brand, Aukerman and Porter have had great success as a writing team, both getting their starts writing on HBO's Mr. Show (for which they were nominated for an Emmy.) One of their recent works has been at the helm of the lauded web series Between Two Ferns With Zach Galifianakis.

LAist had a chance to talk to Aukerman about new media, local comedy, and, of course, horsey sauce.

LAist: Comedy Death Ray has been a weekly stand-up show in Hollywood since 2002 (first housed at the M-Bar). Do you find you've held a regular audience?

Scott Aukerman: When I first started there was a regular audience that would come every week. There was more of a social aspect to it, because it was at a bar. You would see a lot of the same people, then after it got to UCB I started noticing that I didn't know any of the people anymore. Now, it's a different audience every week. Maybe there's a few regulars -- or maybe I just don't recognize faces anymore.

Comedy Death-Ray sells out every week. Have you thought of moving it to a larger venue?

We actually moved from a larger bar to this small theater because I didn't want to be in a larger venue. We've done shows at theatres up to 1,400 seats before but I just prefer the small ones. The great thing is, lately, it's just been selling out no matter who's on it. Sometimes I'll only release the names of three people that'll be there and plug the rest in with things that I know people'll enjoy. I can put up whatever I think is funny. There's a lot of freedom there.

Shows at UCB are known for being done for no money. What's an advantage to do a show that's not about money?

It would be nice to have it be about money -- but it was always just a hobby that we enjoyed doing. The nice thing about it is that I get to see my friends a lot more than any normal 40-year old person. Normally you get to a certain age and you lose touch with people, but every Tuesday I see at least ten friends -- some of them people that I've been hanging out with for 15 years. That doesn't happen a lot when you get older.

It seems like you do a lot of things for free.

In showbusiness you have to do a million things for free in order to get the paid things. If I wasn't doing the Comedy Death-Ray stuff, I'd be less interesting, or I would be around comedy less which would make me less funny.

You've got to kind of not look at it like -- "if I'm not going to get paid to do something, then I'm not going to do it." I always said that I wasn't going to do the MTV Movie Awards because they don't pay you anything to do them -- I don't mean zero, I just mean really shitty. So for ten years I didn't do it, then last year Andy Samberg was hosting it, and I was like "I've always wanted to meet that guy, I really like his album, and his work," so I agreed to do it and it was a great thing.

How was your first Comedy Death-Ray Radio recording?

When I first started I had no idea what I was doing. I loved radio, but I got the show on a Wednesday and did the first one Friday morning. I was terrified that I would run out of stuff to say so for the first show I stacked the deck with Rob Huebel and Tom Lennon. Rob and I had just gone to a Michael Jackson Auction and a Back to the Future convention, so I thought "at least we could talk about that." With Tom Lennon, I thought "at least he's really funny" -- "it'll kind of come out okay." The first show ended up being us constantly talking over each other.

You've recently launched Earwolf. What's that?

Earwolf is a podcast network that myself and Jeff Ullrich started. We have a studio over by the UCB Theatre. We have a really expensive, brand new website, and an iPhone app -- we're doing it right. Hopefully some day down the line someone'll figure out how to make money off podcasts. But for now it's all free.

We want to put out a bunch of shows that we produce and have there be a hub where people can find them. We figure that banding together can get us notice a little more than everyone being separate. The shows will have sort of the same aesthetic -- funny LA comedians doing stuff -- but each show will be different. We have some shows in the pipeline that are a little more genre-specific, so we're not just doing a bunch of comedians sitting around talking to each other -- there seems to be a lot of that out there.

We're trying to be the place where good comedy programs can be found.

Why do you think the podcasting boom centers in Los Angeles?

A lot of that is because they only sell microphones in Los Angeles -- a lot of people don't know that. For a while they only sold headphones in New York, so people could listen to podcasts in New York, but they couldn't record them. It's a problem. I don't have the solutions.

Also, I don't want anyone else to start podcasts. There's too many out there. So don't start podcasts, Kids. Let me start them all.

What are some of your favorite podcasts?

Never Not Funny and Pod F. Tompkast are two great ones.

What's your favorite restaurant in LA if you're paying?

There's this really cool place on Sunset and Bronson called Arby's. You can get a lot of sandwiches for a low price. You don't even need coupons.

And they have Horsey Sauce.

Yes, because "horseradish" is such a tough word to say that you must infantilize it a little bit. Actually, that is making me very hungry talking about it. You know, if I'm paying, or if someone else is paying, what's the difference really? I'm a rich man. I'm very well off. I don't even look at price-tags anymore.

What's your favorite restaurant in LA if your agent is paying?

My agent has never paid for a meal since I've known him. My agent's never paid for one goddamn meal. Nothing. Anywhere. Please. Take me out one day. Let me know that you appreciate me. I'm trying to think if my manager's ever paid for me a meal...
LA General

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Charlyne Yi cover story in Brand X

Feb 20, 2015

X Questions: Charlyne Yi

Leave it to Charlyne Yi to go from Knocked Up to would-be Freddie Mercury. The comedienne, best known for a brief but memorable role in the Judd Apatow comedy and a star turn in Paper Heart, a 2009 semi-documentary about her are-they-or-aren't-they romance with fellow awkward actor Michael Cera, has turned her attentions to music. She's playing in two bands, one serious (The Old Lumps, named after a friend's dog) and one less so -- that'd be Flesh (the Racist Crayon) -- and this Friday, she'll use her monthly night at the UCB Theater to pay homage to one-hit wonders-turned-pop-lifers Hanson. (Mercury and his band, Queen, sit at the top of her influences in all departments: "I wrote a script about Queen but I don't know if it's going to get made.")

With the press tour for Paper Heart over and no film or TV projects on the horizon, Yi's now a free agent, choosing to spend her band practice downtime taking on charity projects and raising awareness for Oxfam. We got the pint-sized star on the line to discuss turning away from Hollywood fame, her rock star fantasies and finally finding love.


Brand X: We've seen you play music for a while -- there's a great scene in Paper Heart where you're playing "Magic Perfume" -- but what made you want to start bands and do it a little more seriously?

Charlyne Yi:
That was my first goal when I was a kid. In fifth grade I saw La Bamba and also that movie That Thing You Do! and I wanted to be a drummer. I saved my money from every Christmas and all my lunch money, and I eventually had enough to buy drums, but I sucked really bad. I started some bands in high school but I realized whenever a band would break up, I'd have to play drums myself which isn't very fun. So I started to pick up the guitar. It's such a nice break from trying to perform comedy because you don't expect people -- you don't have to hear them laugh to get validation.

BX: How did the Old Lumps get together?

CY:
My friend Alden Penner was in this band called The Unicorns. He started another band, , and he was like, "Oh, would you like to open for my band?" And I was like, "Oh, I guess so, I don't really have a band, I just play with my roommate who's a drummer." he asked my other friend, Ryan Kattner -- he was from this band called Man Man. So we brought his friend, this girl named Jess who's now in the Old Lumps and I brought Dave, my roommate. We opened for Clues and I was like, "Oh man, it's so nice to be in a band again." And then from there, Ryan had to go back to Philly and Jess and Dave wanted to continue being in a band and we came up with the Old Lumps.

BX: Why the Old Lumps? Why not the Young Lumps or the Middle-Aged Lumps?

CY:
We were named after a dog. Any time we ever heard anything stupid, we go , "That's it, that's the name! That's our band name!" As a joke, like we're in a movie. One day my roommate was talking about this dog. He was like, "Yeah, he's getting old, he's getting all wrinkly, we call him Old Lumps." I was like, "That's it! That's our name!" Jokingly, and he was like, "That is our name." 

BX: I was trying to listen to Flesh (the Racist Crayon) online and couldn't.

CY:
Oh yeah, we just recorded something the other night, we're going to put it up. We're new.

BX: What does that band sound like?

CY
: It's really silly - a lot of it is kind of stream of consciousness. There's a song about this farmer and he's trying to win the love of this woman but the lyrics are ridiculous. It's about, like, "I lost my hair/I lost my teeth/I lost almost everything but I finally have you," but he also says, "I lost my horse/ and I lost my horse/ and I lost my horse." He's just a slightly dumb farmer.

BX: I hear a lot of the Pixies in the Old Lumps. What are some of your musical influences?

CY:
I don't think we sound like any of the stuff I would like to sound like. I really love Queen so much. I wrote a script about Queen, but I don't know if it's going to get made. I really like Elvis. When I was a little kid and I had short hair, I used to wet my hair and try to comb it like Elvis. My favorite band right now, they're my friends, and I actually confessed to them, "When I come to see you guys, I'm actually coming because I'm a fan -- I wouldn't come if your music was bad." Hi Ho Silver Oh. I swear they're going to be big.

BX: Going from doing acting and comedy shows to doing music in L.A. -- has it been weird to find places to play and break into that scene?

CY:
Yeah, it's weird. I don't really understand how to get booked places. People have been reaching out to us over the Internet and that's how we've gotten a lot of gigs. Luckily, the more shows we do, the easier it gets. Same thing with comedy, you meet people and hopefully you meet a band that likes your music and they're like, "Play with us over here!" It's definitely different, but we're learning.

BX: How far would you like to take your music? Do you want to be playing national tours?

CY:
Yeah, that would be amazing. I think I have like ADD where I'm constantly jumping from one thing to another. I'm like, "We made movie, O.K., let's start a band! Cool, I'm in a band, now I'm going to write a comic book!" But... Old Lumps, I think that's our most serious band in the sense that that's the one we practice for and that's the one all my songs go to. We're hoping to tour in January on the West Coast and in spring on the East Coast. I think all of us secretly just want to do that lifestyle and just play music.

BX: On Friday, you're doing this Hanson show at UCB -- is it going to be the adorable "MMMBop" Hanson or, like, old, 2010 Hanson?

CY:
Everyone who's playing a Hanson member is in a band. We're going to each pick two songs. I'm picking some old songs that I really like because I think we all secretly love the first Hanson album. I know Roxy , from Rad Magic, she's going to play one of the new songs because she secretly really loves it. We're going to try some comedy bits. Casey and Roxy have never done comedy on stage, they just mainly have bands, so we're going to experiment with that. I'm really excited, I feel like they're two of the funniest people I know, they're naturally funny so it'll be interesting to see how our comedy bits go down.

BX: Speaking of the funniest people you know -- are there any under-the-radar or up-and-coming comedians we should know about?

CY:
Let me see. Oh, my friend Nathan Fielder, he's like the funniest person I've ever met. He's from Canada, he just moved to L.A. not too long ago. If you look up the video "Even the Best" -- he's such a great writer and performer and he's so talented. He's my favorite. I don't tell him that though because I don't want him to get a big head. I've never told him that.

BX: We'll try to keep it a secret. I wanted to ask you more about Paper Heart -- I saw your play World of Pain at UCB a while back and it seemed like it was kind of an exclamation point to the themes of Paper Heart. It was much more about embracing love than the film, which was more unsure that it existed at all. How have your feelings on the subject changed?

CY: I think, first - Paper Heart, part of it is documentary, part of it is fiction. My feelings were more curious about, "How do you know?" and also knowing that it's different for each and every person and situation. It was more curiosity as opposed to being a skeptic or being jaded. And also we had to be like, heightened -- Charlyne does not believe in love! -- in order for the whole through line thing to make sense. With World of Pain, that was just all fiction, really. I'd never written a play before. There's funny moments to it but I realized I don't know how to write jokes when I wrote it. I don't know how my feelings have changed on love. I think I am in love right now, which is nice.

BX: Congratulations!

CY:
Did you say congratulations?

BX: Yeah.

CY:
Thank you! But I don't think my feelings were ever were against love or weren't accepting of love.

BX: Can you reveal who the lucky guy is or do you like to keep that stuff private?

CY:
I like to keep that stuff private.

BX: With "Hanson" this weekend and "World of Pain" and so on, you've been trying a lot of different styles -- is there anything you'd like to do on stage you haven't yet?

CY:
I really want to write and direct plays and not be in it. I wasn't even supposed to be in "World of Pain" but then I kind of was jealous. How do you get someone to come to your monthly show if you're not even in your own show? Are people going to care? I'm trying to slowly transition.

BX: Off-stage, you've been working a lot with Oxfam - doing videos for them and hosting their benefit and then this TMZ debacle. How did you get involved with that?

CY:
It's funny, luckily I'm in a position where I'm not too worried about money -- I mean, I am, I can only live off money for so long before I run out, but I don't really buy things except for food and gas. I've been getting paid to perform, which is crazy, I never had that until this year. I've been performing for five years. I'm in a position where I was questioning my life, what do I do next - my manager goes, "Oh, what's your next big project, what are you going to audition for?" I never really audition because acting isn't my priority, creating stuff is, I guess. I was also thinking, "Man, I don't want to be famous." I see my friends and how it intervenes with your personal lives.

Not that it's a bad thing, but sometimes it is, how people treat you -- for instance, I was in line to buy a bagel in New York and this woman shoved me and cut in front of me and this man goes, "Hey, weren't you next and I said, "Yeah, I was," and she recognized my voice from Knocked Up, and I only said like one line in the movie, and all of a sudden she was so nice to me. That's sad, you know? You should only be nice to me because I said one line in a movie? So I started thinking about my life and like, I love creating stuff but I think everything has always been about me and sharing what I do creatively - but there are all these people throughout history who have done things that are meaningful for society and for our kids, you know? I couldn't finish college because my brain was always wandering and just wants to make stuff, but how could I use what I do and what I'm good at to help people? Life seems so meaningless if I'm not trying to do anything. So right around the time I was searching, reached out to me as well.

BX: You said one of your videos about them that ice cream is not necessary to live. If not ice cream, what is, for you?

CY:
What do I need to live? I've lived off cheese. I got sick. I was really poor and I was like, oh, I'll just eat cheese. It's just food and having good friends and family - no matter what, like, my parents have been poor, and used to live in their car and I partially lived in my car for a bit - I think as long as you have a good environment and food because you can't live off you can for an extent but you'll get really sick.

BX: You shaved your hair on stage a little ways back. How's that going for you?

CY:
I never really cared about my hair anyway, I was only growing it out to donate it. I was too insecure to do it at school because I didn't want people to make fun of me. It was summertime, I wanted to donate this hair and it would be funny to shave it on stage, and be like, 'Oh guys don't worry, it's just a joke, it's a wig, it's a bald cap, our next performer is...' and kind of brush it off. It's nice to not have the hair, it's so freeing. I didn't brush it anyway.

BX: So I guess that wasn't a scary experience. What's the scariest thing that you have done on stage?

CY:
One day I was thinking about how I've never been punched in the face and I was doing really poorly on stage, the audience hated me. I was doing some magic -- I was like, for my next trick, I need someone from the audience. I had all these things, even a wine glass, . "I will give someone all this and $50 in my pocket, if you'll come up and punch me in the face. It's for a magic trick, don't worry, no one's going to get hurt." They come up, and it's like a guy with a mohawk, and I took off my glasses and I was like, "I won't give you money unless you hit me hard enough, it's for a magic trick, you'll see what happens." He's about to hit me, he's raising his fist, pulling it backward and I was like, "Wwww-wait!" I didn't really know what I was doing. He's like, "I'm sorry." I was like, "Oh, wuss, you're afraid!" and everyone started cheering for me. Eventually it just kept going back and forth and I got him booed. So that became a bit, where I was like, 'That's the formula,' and if I get hit, maybe it won't hurt that much and I'll go, "Woo, it was just a joke." And I started performing that and it would do really well on stage, but one day, an older man, with grey hair -- like a grown man, with muscles! He comes on stage and he actually smacks me. I didn't know how to handle it and he keeps smacking me and I was so scared, I ran to the other side of the stage. I mean, I didn't expect anyone to hit me because it's a comedy bit. It felt like we were up there for 10 minutes -- he kept hitting me and he tried to steal the money. I've never performed that punching magic bit ever again.

BX: That definitely does not lead into my next couple of questions.

CY:
That's OK!

BX: What are your favorite places to go in L.A.?

CY:
I think I'm like the old man, or woman I guess. I just like walking around because I think I'm not used to being by a bunch of buildings -- I came from Fontana, which is kind of like, surburban desert, like valley place. I really like going to the Griffith Observatory a lot. I find that really peaceful. I swear I'm like an old man, , I just like painting with my friends and I like when they make cookies for me so I can eat them.

BX: What's your favorite kind of cookie?

CY
: Chocolate chip. Very generic.

BX:
Can't go wrong with that.

CY: It's simple but it does the trick. It satisfies me. I just spend most of my time playing with my friends, going to their backyards and playing music. I don't know, I guess -- I love eating food and eat a lot of food every day. It's pretty gross.

BX: Sounds like you've got a full plate. Anything else you wanted to mention?

CY:
I'm asking my friend Amy who shot the video for Oxfam how to start my own company, where I want to create -- I don't know if it'll ever get made but -- a tap dance instructional DVD that's completely sincere with Ted Danson called 'Dancing with Danson.' We'd make all these weird, odd projects and the money would go to a benefit. So I think I've finally found a way to make cool stuff and also help the world.

BX: Have you talked to Ted about it?

CY:
I'm still trying to hook up with this organization, I'm sure they're going to want the money, I just have to figure out logistics. But hopefully when that's all figured out, we can reach out to Ted Danson and he'll want to do it. But there are a bunch of different little projects that I'm coming up with that will raise money and will just be fun, to make stuff.

BX: Sounds great. Thanks for talking to me.

CY:
Thanks for asking me! Have a good day slash life!
LA General

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