Trevor Moore has been entertaining people since he was in his teens on his own public access television show in rural Virginia. Since then, he founded an award-winning sketch comedy group, The Whitest Kids U’ Know, which had a television show that ran for five years on Fuse and then IFC. He’s also, among other things, interned on Saturday Night Live; was a page at NBC; co-wrote, directed, and starred in Miss March, a major motion picture; has recorded three comedy albums for Comedy Central, and has created and starred in multiple television shows, including Disney Channel’s Just Roll with It and The Trevor Moore Show, which just launched its second season on Comedy Central.
I got a chance to hop in a Zoom call with Trevor and talk about his family life growing up (as the son of Christian rock singer parents), how he became interested in comedy, the importance of college to a career in entertainment, if and how comedy is different from decades past, his creative process, some of his pet peeves, and his upcoming projects. It was a great conversation with a really interesting and talented guy.
Scott (GNN): Trevor Moore, how’s it going?
Trevor Moore (TM): Good. How are you?
GNN: I’m doing well. Great to talk to you! I got a notification from your rep saying that season two of your show on Comedy Central has just come out. And I’m always looking for something, and so I went and checked out the first two episodes…
TM: Of season two?
GNN: Of season two, and then I went down the rabbit hole, a Trevor Moore rabbit hole. I watched the first episode…the, “How Far Is Too Far,” when it comes to comedy episode, and it was utterly hysterical. Then I watched the episode where you were going to create a cult and you were holding “tryouts: with the three guys. Then I started watching older episodes. I just got done watching the episode with the woman and the sex robot and the furry. I don’t know how you can manage a straight face.
TM: Well, that’s the other thing about the show is, we’re kind of looking into all of these things that seem bizarre to us, but I also want people who are in these bizarre lifestyles to come on the show. I don’t want it to get out there where people are like, “Oh, I don’t want to go on that show. He’s just going to make fun of you.” So, I try to keep as pretty open-minded as possible and just kind of try to do it without any sort of mean-spiritedness. Now, sometimes we’ll get the giggles, and we’ll laugh. But I try to do it with as little mean-spiritedness as possible.
GNN: No, you pull it off. You pull it off far more effectively than I would! I mean, when you had the guy…what was it? Gun safety with the cat. Cool Cat?
TM: Oh, yeah. See, I’ve been a fan of his for years online. Had you ever heard of those before?
TM: Oh, they’re fascinating, the whole Cool Cat franchise. Now he’s working on a movie called Cool Cat Fights Coronavirus, so.
GNN: I’ll have to take a look…I mean, are they just like little short videos on gun safety? Is that the gist of it?
TM: So, he’s made a bunch of videos. Some of them are full-length. His gun safety DVD is full length. The Cool Cat movie– there’s a Cool Cat movie that’s full length. And then he’s always doing little shorts.
GNN: Okay, well I’ll have to take a look at some Cool Cat videos. Now, I got a little ahead of myself, because I typically start my interviews by going through a brief history of my interviewees, so let’s jump back a bit. I like to hop in the Wayback Machine and start at the beginning. It’s funny, I know Wikipedia is a font of nothing by 100%l accurate information, never wrong, never inaccurate. So, in this case, right out of the gate, Wikipedia says you were born in two different places.
TM: That is true. I think Wikipedia gets a bad reputation for having wrong information, though, because they used to be, but they’re kind of more accurate now. But yeah, it does say I was born in two different places, so.
GNN: So, which is correct?
TM: I was born in Montclair, New Jersey.
GNN: So, you were born in New Jersey. And it’s funny because sometimes I’ll look on Wikipedia or the person’s website, and I want to see how they got started doing what they do. And there are two ends of the spectrum when it comes to performers or comedians. One is, “Mom’s a comedian. Dad’s a comedian. I just became a comedian.” The other is, “My mom was a drill sergeant, and my dad was a carpenter, and they wanted me to do something with my life. And I said, ‘Screw them,’ and I ran off to join the circus.” That’s the other kind of…
TM: You’re missing the third most common one.
GNN: Okay. What’s the third one?
TM: “Mom and Dad were incredibly rich.” (Laughs)
GNN: (Laughs) Now I need to make a triangle!
TM: In my experience, that has been the most common backstory that I have ever seen for people in the entertainment business.
GNN: That is funny. I had a friend I worked with at a grocery store in high school. His dad had money and paid for him to go to Florida State University, one of the biggest schools in the country. And he bombed out after one semester. I’m like, “Dude, you had it, man. All you had to do was just enough. Just enough, man. Don’t do too much crazy sh**.” And he went off the deep end partying, and that was the end. He got cut off.
TM: Yeah. Well, it really helps if you don’t have to worry about your rent for your 20s, and then you can be in the clubs doing stand-up all night. What do you care?
GNN: Oh my God. And it’s even funnier when maybe mom and dad are so rich, they can just buy the club.
TM: I know. Yeah. Who knows how many Taylor Swifts we could have if Dad just bought the label? (Laughs)
GNN: Well, that went off of an exit I did not expect it to go off of. So, of those three in the new triangle that we’ve created, where do you fall on that triangle?
TM: Not in the rich family, unfortunately.
TM: That would have been…that would have been sweet. My parents were Christian rock singers, so I grew up on a tour bus. So, I guess I would go under the “mom and dad were…,” they weren’t comedians, but I grew up in an entertainment family. We didn’t have money, but we toured around doing Christian rock music in the 80s. So, I was at concerts every night. I was on tour buses. So, I think that probably made me be a little like, “Well, you’ve got to do some sort of performing art when you grow up. That’s how adults make money, I guess.” So that was my beginning.
GNN: Okay. So, you have this life, and to you, traveling around and music is kind of normal. It’s not like some of us. I love music, and I would never think of making it, so. But music is this unique, cool thing to me. To you, it’s an everyday thing. Was that what you wanted to do or were you like, “The performing life is cool, but I’d like to do something else,” or?
TM: Well, I also grew up very conservative because of Christian music and everything. I was very religious, and I wasn’t really allowed to watch much. I couldn’t watch Smurfs because that had magic in it. I couldn’t watch He-Man because that had magic in it. Any of the magic I couldn’t watch. So, then television sort of became this forbidden fruit sort of thing because it was so kept away from me. And also, I think there’s a one-two punch here with being on the road a lot and being in a new town every night and just meeting kids really quickly. You’re kind of, “Well, I’m either not going to have any friends, or I’m going to have to make friends fast, so I’m going to have to be funny.” I think being funny at a young age was very important to me, almost in a survival aspect. And so early on, I was kind of like, “Well, I want to do comedy for a job, some sort of performing comedy thing.”
So, when my parents stopped touring, we lived in the middle of rural Virginia. I was 30 miles away from my school, from town and everything. So, I kind of would just make little movies at my house with me and my sister because there was really nothing to do. This was before the internet. We weren’t allowed to watch much TV, and even where we were, there were only two channels that sort of came in if you moved the antenna. (Laughs)
Then, when I turned 15 or 16, as soon as I could get a learner’s permit and I could drive myself, I took public access classes in town, and I started a public access show. And I grew up in the– so the town that was 30 miles away from me was the now-famous Charlottesville, Virginia. You may have remembered them from a couple of years ago. Well, this was before that, which is weird. I go home and I’m like, “You guys are all famous now.” It’s a college town, Charlottesville, Virginia.
So, my show kind of got popular there with the college kids. And then it started getting like the paper would write about it. I would get in the paper. I’d get invited to college parties and stuff. Then, when I turned 18, there was…remember PAX television affiliates?
GNN: Yes, absolutely.
TM: There were a couple of PAX television affiliates in Virginia that had just started, and they knew that my show was a popular local public access show. So; they bought it. And I basically took a year off of college, and I just started doing my TV show for them. Then it got canceled because PAX is very family-friendly. It was all reruns of Touched by an Angel and everything. And my show wasn’t. So, I got fired after 19 episodes. But then I had saved a little bit of money because I was living at home with my parents and doing a show. I wasn’t making a ton of money, but I’d made enough to kind of be like, “Okay, I can maybe go up to New York.” And my parents were having good luck. I lucked out. After they stopped being musicians, my dad was a graphic designer. And the three years before I went to college was the best that his company ever did because he worked for himself. It was always kind of struggling. Then he had a little bit of an upswing. And then as soon as I got out of college, it went back down again. So, I just barely was able to go up to college. And so then I started The Whitest Kids U’ Know as soon as I got to New York.
GNN: Yeah. I didn’t have a chance to check out your work with The Whitest Kids, but I’m working my way to it. Now, to jump back a bit, you moved around a lot but didn’t get to watch a lot of television. Man, there are so many questions I have because my wife grew up without cable. I’m a big pop culture guy, and it drives me crazy sometimes that she didn’t get to see Sesame Street and a lot of those types of shoes growing up as a kid.
So, the things you didn’t get to see…I can’t even imagine creating a comedy persona when you didn’t have access to a lot of television. When did you finally really break the chains and get to see these things you hadn’t seen?
TM: I still haven’t seen most of it because there’s such a handicap. I’m such a late starter that there are always things that…I mean there are some things that got through. Star Wars got to everybody. I knew Star Wars as a kid, Indiana Jones, all the Lucas stuff that broke through. I got all that. But, I mean there are still movies that I haven’t seen that my wife will be like, “Wait, you haven’t seen that?” I’m like, “No.”
To this day, I’ve never seen Goonies. Still have never seen it. My wife was like, “You got to…,” I had never seen a Terminator movie. So, my wife was like, “You got to watch The Terminator.” So, we watched all three of them, and she got really mad because I like the third one the best.
GNN: Oh, the one with the female Terminator and the new, boring John Connor guy. That one was horrible.
TM: But I like that she’s faster than the other Terminator. It’s just scarier. And then my wife was like, “No.” But I don’t have like the nostalgia to it. Right? I saw Ghostbusters, and I hated it. I mean hate’s too strong of a word. But I just found it really boring and really not funny. And I know it’s great. It’s just that comedy doesn’t age well, and I didn’t have any nostalgia for it.
GNN: Not liking Ghostbusters is blasphemous, but I get what you mean. I feel the same way about Spaceballs. It was really funny the first few times I watched it, but now I watch it and I’m like, “Man, there is kind of a lot of dead parts in this that aren’t funny,” so I get it. I also get the Goonies thing…I’ve never seen E.T.
TM: Oh, I just got into a big thing…We have a Whitest Kids movie coming out next year, an animated film. So, we’re crowdfunding it. And we crowdfunded on Twitch so the whole group gets on Twitch every Saturday night, at officialwkuk. And we just kind of chat and we raise money for it. And this Saturday, we got into talking about E.T. and everyone got mad at me because I took the side of the scientists where I was like, it’s a story about a selfish family who just because E.T. likes candy or whatever, and they relate to them, they try to keep him from the government. Now, the government, do you know what happens when an invasive species comes into a new territory, even if there’s like a little flower that’s not supposed to be in Australia? If it gets to Australia, the whole ecosystem falls apart. So, it’s like if an E.T. shows up, those guys need to get them and they need to look at them, figure out what’s wrong with them. Does he have any diseases on him? You might need to dissect them, who knows? But you got to think about the people of Earth. So, I don’t know. I feel like those guys were the good guys in E.T.
GNN: Now that you say it, the gestation period could have been a long time. E.T. could have caused COVID-19.
TM: Exactly. Yeah. In fact, I’ll go farther. I’ll bet he did! (Laughs)
GNN: We’ve got it. We’ve solved it. I’ll call the government. I’ll find the number and call it in after the interview. So, now, let’s pick a point, like in high school. So, are you in Virginia in high school?
TM: Yes, I went to high school in Virginia.
GNN: So, you said at this point…you’re trying to fit in and be the funny kid. Are you performing at this point like in shows or anything, other than the public access show?
TM: No, I mean, I did the public access show. I also got kicked out…I went to six different schools because I kept getting kicked out of things. So, I never went to a school for more than two years in a row. But I was doing my public access show and I was kind of obsessed with that.
GNN: So, really quick to interrupt, how old were you when that started?
TM: Like 15 or 16. I can’t remember if it was my learner’s permit or my driver’s license…maybe it was 16. Yeah, but once I got that show and then kind of got addicted to the feedback of it too, because then the Internet was just starting, or it was just getting in people’s homes. This is like 1995, 1996. And, so, I’d put the show out, and then I’d get all these emails from people, and so I was kind of like, “Oh this is great.” And I stopped really…I never really cared about school much but then I really stopped. Then I got a job at the…I was the cameraman for the eleven o’clock news for NBC, the nightly news in our town. You know the guys who just move the thing?
TM: So, because I did that at the eleven o’clock news and I lived 30 miles away from town, my parents said that I could just sleep on the floor of my dad’s office and then go to school in the morning. So, at around 16, I stopped coming home and I just sort of lived in between one of the public access stations, and then the NBC affiliate to do the camera thing at night. And then I kind of really just stopped caring about school at all. So, my grades, like I barely graduated. I remember I wasn’t going to graduate if I got below…I remember it was a 69 because I was a teenager and I was like, “Oh, funny.” But it was if I got below a 69 on my last Spanish test, I was going to have to re-take Spanish and I couldn’t really get the diploma because my grade point average was so low. And I remember I studied hard and I got a 68. And then the Spanish teacher was just like…he called me in and showed me and then he changed it to a 69 and he’s like, “Get out of here. Just get out of here,” so… (Laughs)
So, yeah. I mean I had my friends at school. There’s a bunch of other kids that just didn’t care about school that I liked hanging out with at lunch and before and in the halls and stuff. And then we would hang out on the weekends and they would all be in my show with me. They would all do the public access thing. But again, it was a super-conservative, super-religious school. It was very strict. So, yeah, I didn’t care about school a whole bunch.
GNN: But you went to college.
TM: I did, but I went to film school.
GNN: Okay. It’s funny because as I was looking at your college, it was…you started out as a broadcasting major?
GNN: And then you wanted to study journalism and political science?
GNN: And then film?
GNN: So, it’s funny because I recently interviewed a guy who’s a producer now. He produces comedy and he was like, “Yeah, college was the biggest waste.” But, I went to college. I got an English degree, which a lot of people make fun of because they’re like, “What do you do with that?” I’m like, well, I write better than most people…”
TM: You know where the commas go.
GNN: Exactly. My boss used to make fun of me because I capitalized and punctuated my texts.
TM: This is a society. There are rules. That’s the reason that we’re not animals.
GNN: Exactly. (Laughs) My dog doesn’t capitalize or punctuate her texts! Just saying. So, when I’m playing basketball at the gym with all the high school and college kids, I tell them, “Hey, your parents aren’t going to tell you this, but if you choose to go to college, which you don’t have to, it’s depending on your area of expertise, but like 50% of college is making connections.” You become friends with someone who could get you a job down the road and only a portion of it is about actually learning stuff.” So, with your college experience, was it about the knowledge? Was it about the connections? What did you find?
TM: I mean, I think that’s really astute what you’re saying…I mean I think there is a reason for college. It also depends on the field that you’re going into of course.
GNN: Yeah. No. 100%.
TM: Yeah. But you’re right and it’s…this is a pessimistic view, but I feel the pessimistic view is 9 out of 10 times that, unless you’re going to an incredibly high-end school, it’s probably not worth the money because it’s just buying yourself into a social circle. That’s what’s the problem with college.
I would say in film production you probably don’t need it. You probably could learn just as much just like throwing yourself into it and start as a PA. Get involved in any production going on locally or save up and move to a city where there is a lot of production, and then just throwing yourself in, I think you’d be fine.
The caveat to that, I would say, is that college does give you a bunch of friends who are your age who are all trying to go into the same career that you’re going into. So, it’s very good…it’s four years where you could do some really creative work. My college experience was great for me because I started Whitest Kids there. And that ended up being, basically, the springboard of my career. And so, all the Whitest Kids guys were guys from my dorm, and it was just…it was that we had to work odd jobs here and there, but we didn’t have to get full-time jobs for four years. And that gave us the time to kind of pull Whitest Kids together and be like, “Oh, this is our voice, this is what we sound like.” Which is why…I mean, if you can go the rich parent’s route, do that, because then that four years, you could have that for 10. You could have 20 years to find your voice, that’s great.
Well, here’s the other thing I would say about college, which was really helpful for me, was the internship programs. Internship programs can be incredibly valuable. I was Lorne Michael’s intern at Saturday Night Live. And I got that because…it was the summer that I was staying at home back in Virginia, and I got an interview for Lorne Michael’s intern. So, I took a Greyhound bus up, it was like eight hours on a bus. And then I got there, and I had my backpack, and I kind of looked like sh*t because I had just been on a bus for eight hours, I probably smelled like sh*t, too. And I kind of got in, and they’re like, “Are you…?” and they were talking to me, and when I mentioned that I had just got off the bus, and they’re like, “Oh, where’d you come from?” And I was like, “Charlottesville, Virginia.” And they’re like, “Oh my God, you were in a bus for eight hours for the interview?” I’m like, “Yeah.” And they’re like, “Well, you can just have it.” So, that was the way I got that. I just sort of guilted them into it! (Laughs)
I also met my wife there. And then also, I got into the page program, which is a super hard program to get into at the beginning of entertainment, if you’re working in television. And you’ve seen 30 Rock, Kenneth the page?
GNN: Yeah, Jack McBrayer.
TM: Yeah. So, for my first year after college, it was, “You were working on Saturday Night Live. You were working on Conan O’Brien’s show.” You could go down to Wall Street and be on the floor of the stock exchange and see how they do those shows down there. They were basically shuffling you around and giving you an overall view of television. And those people have been…I mean, most of my friends have come from that group. And they all work on TV now, and we’re all friends and stuff. So, I kind of lucked out in that regard because I didn’t go to an Ivy League school but I got…through internships, you can kind of get into a good group of networking and connections no matter what school you go to. So, I would say, there’s, I guess, this is a long way of saying that college has some strengths to it.
GNN: No, absolutely. I agree. I wouldn’t have gone to college without a scholarship that I had to bust my ass to get. I couldn’t have afforded it. My guidance counselors made it seem like my high school learning was essentially a video game and I’m hitting the achievements. Get this SAT score; get this grade point average; do this many hours of community service and your little achievement on Xbox is a scholarship. So, I went to college, I got three things out of it: knowledge, connections, and access to technology and software I wouldn’t be able to afford.
TM: That’s true. Yeah.
GNN: So, I’m sure it’s the same with filmmaking. I mean you used to have to get into an editing suite. Now, you can learn these online. I mean, people are becoming famous for making crappy ticktock videos, so…
TM: Oh, I mean, the equipment that we were all fighting over to get to back in the day is…whatever is in your phone is way better than anything that…I mean, there are great things about college. If you can go to college, go. But you don’t need it. And definitely don’t get in a huge amount of debt for it. That’s the thing that bums me out when you see it, and it’s so predatory what they do because your entire life, you’re just programmed with this you do A, B and C. And then you’re going to end up this rich kind of….you just got to invest it in yourself. And then at 18, we make these kids sign these contracts where they’re getting 100,000 dollars in debt for a film degree, that kind of thing.
GNN: That pisses me off to hear, but I know what you mean. I have lawyer friends and you think, “Oh, he’s a lawyer, he’s gotta be rich,” but still, you don’t start out making money like Judge Judy. I mean, you usually start out in a sh*t law clerk job at first and you’re digging yourself out of a financial hole.
TM: And also being a lawyer right now. I mean, let’s just go back to automation. That’s one of the biggest careers that’s being hit by this automation stuff. Because what it used to be is you’d get in a huge amount of debt or you come from a super-rich family and you’d get your law degree and then you’d get a very low-level job at a firm where you have a couple of big names at the top of the firm. But what you’re doing is they’re talking about the cases they’re going through and then you’re just looking through all these files, finding precedent from other things like that. Well, now you don’t need that at all because of algorithms that can search all of that instantaneously. So, you don’t need low-level jobs. You can pretty much run a firm with just the big names on the top of the building. So, all these kids are getting out of law school with all this debt and there’s no entry-level– there are not as many entry-level places as there were anymore because you don’t need it.
GNN: Or, you can do what they do in the movies and go to a small town and help poor people take up a lawsuit against a big company that’s doing something bad, then they make a movie about you.
TM: Oh, that is good. Yeah. Yeah.
GNN: So, I do want to go back; I’m just curious. The other guys in The Whitest Kids U Know, you met them in college. I know that they were in your dorm. How did you come to actually meet them? How did you all get in one place at the same time?
TM: So, we all went…we all lived in a spillover dorm, which was kind of funny. Back then, if you missed the deadline to get into your school’s dorm there was a catch-all dorm out in Brooklyn where they would take all the leftovers from all the different colleges. So, there are 17 different colleges that all had people at this dorm. And there were no RAs. There was no supervision.
GNN: Oh, geez.
TM: And what it was, was it was a collection of the slackers because it was the kids who forgot to sign up for their dorm until August. And then they’re like, “Oh, wait. I need a place to live.” And they’re like, “Yeah. That was filled up in June.” So, they basically had this whole building of f**k-ups. And my friends and I set the building on fire once. And it was a big deal. People got in trouble because there was just out-of-control partying all the time. And there are no RAs. It was kind of like…remember in the Ninja Turtles movie? Here’s a reference from a movie I’ve seen! Remember when Shredder had his hideout where all the kids were just skateboarding and hanging out?
TM: Yeah. (Laughs) It was like that. So, I was doing standup at nights and one night a guy came up to me after the show and said that he liked what I did. And I was like, “Cool. Cool.” And then at another standup thing, he was in the audience and someone asked for a story from somebody from the audience. And he said a story that I thought was pretty funny. And I recognized him as the guy who came up to me earlier. So, I went up and said, “Hey, that was funny. That was a good story.” And it turned out we lived in the same dorm and went to the same college. Then I was just like, “Let’s start a comedy thing. Let’s start a comedy group.” That was Sam. And then Sam had met Zach earlier.
GNN: Sam’s hysterical on your show. He looks the least like a comedian. He just looks like a guy.
TM: He looks like the BTK killer. (Laughs) That’s what he looks like! Then we all started kind of meeting different people and then I had an idea where it was like…they had school clubs…and if you had a school club, like a movie club or all this stuff like that, you’d get $700 a semester. So, we’re like, “Oh, wow! We’ll do a comedy club where we’ll do a show every month.” And the only thing was that we had…you couldn’t pick who could be in because it’s a school club. So, we had like 17 kids and we called it The Whitest Kids U’ Know. We had 17 kids in the club. We got $700 a semester that we’d use on beer and cigarettes. And then every month we would do a show. That was the first year of it.
Then the second year 9/11 happened. So, we ran up to the top of our dorm because we were right across the river from the World Trade Center. We ran up and we just kind of kicked open the door that was facing it on the top floor. And we just barged in. We’re like, “We’re watching this thing.” And we met Timmy because that was his room and Timmy kind of got pulled into our comedy group.
So, then, after we got out of college we cut it down to five out of 17 because now we’re not a school club, let’s just do…the five of us were the ones who were always writing together and we were kind of a little more…we jelled a little better than everybody else. And then we just started playing bars and clubs around town.
GNN: And for people who don’t know The Whitest Kids U Know, it’s sketch comedy, correct?
TM: Sketch comedy. Yes.
GNN: Is it planned sketches or improv sketches or…?
TM: No, it’s all written. It’s dark. We try not to be too current event-based. The whole idea was like, “Let’s do a show that’ll make as much sense 10 years from now as it will now.” So, we just started. We had a show in the Lower East Side at a place called Pianos, where we’d do a new sketch comedy show every Sunday, and we’d try to write a whole new show.
GNN: Oh, wow.
TM: And from that, we started getting a following. And then we had a website that we would put our clips on. And then YouTube started around 2005, 2006, and…or, no, 2003. Yeah. Earlier than that. But then people started taking our videos off the website and putting them on YouTube, and we weren’t even doing it. Somebody else was doing it. And we had a couple of things go viral…or as viral as you would go back in the mid-2000s. We got 11 million views, but in the mid-2000s, that was like, “Holy sh*t.” Then our show started getting packed. We started to have an upstairs thing where there were just viewing rooms, where you could go and just sit and watch the TVs of the show that’s being broadcast from downstairs.
GNN: Oh, wow.
TM: And then we got into the Aspen Comedy Festival in 2006, and we won Best Sketch Group for that. And that doesn’t exist anymore, but that was a huge deal back in the day. The Aspen Comedy Festival. HBO would put it on every year. And that’s, basically, where everyone would get signed for TV shows. It’s where you would go and see the new up-and-coming kids, and then sign them for things. Then we got our TV show that ran for five seasons. Started out on the Fuse TV network, and then it went over to IFC.
GNN: Yeah. I don’t remember that network. Obviously, International Film Channel I know, but Fuse, I don’t quite remember Fuse.
TM: Yeah. It was a lot of Thirty Seconds to Mars and Evanescence. It was in that era.
GNN: Gotcha. So, I’m super curious about it. When I interview people, that’s because I’m interested in what they do and what they create. When I’m learning about them, I try and link it to my pretty normal life of creating training. And I know just getting a stupid piece of job aid one-page thing, you’ve got 500 people involved, and this person wants their say and that person wants their say. Now, you’re doing creative things, you’re creating sketches and you’re getting up in front of people live. What’s the process for that? Do you come in with a fully-formed idea and say, “Okay, guys, I have this fully-formed idea. Here it is. We’re going to do it.”? Or is it, “I saw a funny thing happen today, and let’s take that tiny idea and run with it.”? What’s the creative process?
TM: Yeah. I mean, there are different ways. Sometimes you come up with an idea when you’re by yourself. And you come in, you’re like, “I have this idea. What do you think about this?” Most often, because we were always working under a deadline of, like, “We have to do a show on Sunday.” That was our lives. As soon as we got out of college, we all had day jobs. But then on Saturday mornings, we would all get together and we would write the show for Sunday night. So, we would spend our whole weekend doing this. We’d work Monday through Friday. Then Saturday we would get up. Everyone would be hungover. We’d spend all Saturday writing and be like, “Okay, let’s do this one.” “Let’s do that one.” And then Sunday, we’d rehearse it all day and then go to the club that night, do the show, go out drinking afterward, show up at our jobs hungover on Monday and then just repeat that for years. That’s what we did. Because that was our schedule, how we wrote most things was we would sit down. It’d be like, “Does anybody have any ideas?” A couple of people throw things out, like, “Okay, let’s put those on the board. Let’s see.” And then, “Let’s all take 10 minutes of quiet time and just write down any ideas that come to your head.” So, then we’d all sit with pieces of paper, write for like 10 minutes, and there’d just be names of sketches, ideas. And then we’d go around and we’d pitch, like, “What about this?” And then whatever one made the most people laugh, we’re like, “All right. Let’s all jump in and write that one.” And we would do that until we had a whole show. It’s what we would do all day Saturday.
And then, when we got the TV show…the cool thing was when we got the TV show because we had been writing that way, we had the whole first season already written because at that point we had like a hundred some sketches that we were doing live because sometimes we would bring them back into rotation and stuff like that. So, the first season we already had written because of our live show and we just had to do some slight tweaks to make it work for TV and not on stage. But then when we got into seasons two through five, we just kept that process going where it was like, “They need all the scripts in by March.” Okay. Well, January, February, we’re all meeting every day and we’re just sitting and we’re being quiet by ourselves for like 10 minutes, then going around pitching, and just did it that way.
GNN: Nice. Yeah. Man. To be able to design something in a day. God, what a dream.
TM: Yeah. Well, I mean, that’s what’s nice about deadlines. Having them…it doesn’t give you the ability to overthink it.
GNN: That’s a good point.
TM: Or it puts a ceiling on the amount you can overthink it. That’s like…I mean, a lot of our stuff was like, “It’s making us laugh right now. Let’s not think too much about it at all. Let’s just do it and let’s let the chips fall where they may.” So, a lot of our stuff is very stupid. But I will say I watch it now and I still enjoy it because it’s not overly…I mean, we have some that are smart, but just don’t overthink things. Just do it.
GNN: All right. Be honest, because I’ve asked this to content creators sometimes and they try to come up with a political answer that doesn’t make them look bad. So, out of every 50 sketches you write, how many bombs?
TM: Oh, a lot. I mean, fifty sketches is a lot. Well, it’s an interesting thing. So, if we watch ten sketches of our own stuff, there’s probably two, and then we’re like, “I don’t really care about that one. That one doesn’t do it for me. Don’t love it.” When we would be live…now before we had a show, maybe like 30% would bomb. But then once you get a show, nothing bombs anymore, which is kind of a bummer because then people just laugh because they’re just like, “Well, these guys are funny. They were on TV.” They’re like, “It must be funny.” So, it’s like, yeah. I don’t know. So now, if something bombs, we’re kind of like, “Wow, it really sucked.”
GNN: So, I hate to ask the cliché question, but performing live versus being on TV. What do you enjoy more?
TM: I’m going to give the lamest answer. Well, my gut is to say that I like TV better I like the process of making television. I love editing and so I like really working on something and getting it to…as much as I was talking about overthinking in the writing process, I love overthinking it; I love overthinking in the editing; I love seeing things different ways and stuff. So, I like that you can take something and then really work on it and be like, “Now it’s done.”
That being said, touring live, there is something more fun about touring, doing live stuff. And maybe it’s also because we’re coming out of this coronavirus pandemic where no one’s been able to do shows for 18 months that I’m a little more wistful about it. But I don’t know, there are definitely pros and cons to both. I couldn’t do the touring thing as a full-time career though. I respect and my hat’s off to touring comedians, but for me, I can do three weeks at a time and then take like eight months off and then maybe go out for another three weeks. The life on the road drives me crazy. Just the sitting around in the towns and the getting up and doing the morning radio and then the…yeah. I mean, I love doing interviews. I don’t love doing interviews at 5:00 AM.
GNN: No, no, absolutely not. But yeah, one of the people I interviewed was a comedian named Wayne Federman. And he is a guy who is exactly what you said, he is a touring comedian and before I interviewed him I watched him in a documentary called I Am Road Comic. It’s him and a bunch of other guys that just stay in crappy hotels and perform at little venues….and I’m like, “There is no way I could do that.” I don’t know how you can be funny when you’re riding on a bus or in coach on a little airplane. I guess if you can make light of all your whole experience, like you said, riding on the bus and smelling like bus and ass, it’s all well and good but yeah, I don’t know how anyone could do that kind of thing.
TM: I mean they’re basically the Navy SEALs of comedy. I mean, some people love it though.
GNN: No, absolutely.
TM: I mean, some people like it. I mean, I’m fortunate enough that when I go out on tours and stuff like that, I’m going usually with at least one or two of the guys. Even when I’ve been coming out with my music, I’ll bring one or two of The Whitest Kids with me so we can do some Whitest Kids sketches, then we can do some music, and it can kind of almost be like a variety show. So, I’m traveling with two of my best friends in the world and it’s still crushingly lonely and it seems so bleak. So, I can’t imagine the people that do it by themselves.
GNN: So, you also made a movie. Miss March?
TM: Yeah. Rotten Tomatoes hated it. All critics hated it.
GNN: Eh, the critics can take a leap. They’re wrong all the time. But when I was doing research, I found a Reddit that you had done like eight years ago about the movie. They came to you with the idea…it wasn’t your idea, right?
TM: Yeah. Miss March, no. It was a script that our manager’s husband and someone else had written. And the studio liked it but then wanted us to be in it. We had just done one season of our show at that point. So, they came to Zach and me and they were like, “Do you want to do this movie?” And we didn’t really care about the script at all because it was…it just looked like a road teen sex comedy. It didn’t really do anything for us. But they were like, “You can rewrite it and you can star in it and you can direct it.” And then we’re like, “Well, we’d be stupid to not now.” (Laughs) I mean, this is Fox. This is a studio saying…so we were like, “Okay.” We rewrote it and we just kind of made it…so we did all of the teen sex comedy tropes, but we were like, “Well, what would be interesting in this scene or this scene or this scene?” And I think the problem with it is that we were coming out of sketch and we’re also 26 years old, 27, and we’re writing and directing and starring in a movie. So, there’s a lot we hadn’t learned yet. So, the result is that you’ll get an incredibly uneven movie that I don’t believe works as a whole. But there are several scenes in it that I’m proud of to this day, so it’s like a sketch show, where it’s like, “This scene, oh, that worked great. That was fantastic.” Then the next scene is like, “Skip that one. That didn’t work.”
GNN: Did you get to meet Hugh Hefner?
TM: I did. Yeah. We directed. He was very…old…at that point. (Laughs)
GNN: That’s a great adjective.
TM: Yeah. I mean, he was nice. He wasn’t allowed to have cookies. Probably a sugar thing or something like that. But there were cookies around. And I remember one of his handlers looked the other way and he grabbed a cookie and he saw me see him grab a cookie and he was like, “Shh,” and he ate the cookie. And I remember, that’s such a weird image of Hugh Hefner from the one that you always hear about. Because in your mind, it’s like orgies with models and stuff like that. But then, by the time that I met him, he was like a grandpa who was stealing cookies and, “Don’t tell.”
GNN: Was he handing out Werther’s Originals? “Here you go, son, have a candy.”
TM: Yeah. I mean, he was sweet, but it was not the image that I had but, also, that was the other weird thing about the movie is like it was all about the Playboy mansion, so like we’re writing…so my character’s obsessed with Playboy. I play like the wacky guy like that, but Playboy didn’t really mean that much to my generation. I mean, the internet kind of was around like by the time we were 12, so it was sort of like right there. I mean, I don’t know. It just wasn’t as big of a deal, so it was a little…it was a couple of years late, that movie.
GNN: So, let’s move back to your on-stage performing. Your parents were musicians. I never did ask where the music came into the picture. You’ve done a lot of music videos…
TM: I don’t really play on those albums. So, I’ve got guys that…I mean, I can play chords, but I write the melodies and everything, and I’ll just hum it all into like a machine where this goes and I’ll write the melodies, I’ll give it to my music guys and, yeah, I mean, I just started doing music as part of sketches. In Whitest Kids, every season, I’d have like two or three songs in there. Then, when Whitest Kids ended, Comedy Central was like, “Do you want to put out albums?” I was like, “Okay.” So, then I just started…for the last 10 years, I’ve been putting out albums with Comedy Central and they’ve done a couple of comedy specials like concerts. But even then, I’ll have my guitar just so that I can do the rhythm for myself. But I’m a comedy writer. I have my good musician guys that are there on stage with me too. Plug their guitars in. I’m just doing this for me for my own little rhythm kind of thing.
GNN: Okay, gotcha. I didn’t know if you were more like Craig Robinson, who does music-slash-comedy. I still have to watch more of your stuff. You have three albums and two comedy specials, I think total, right?
TM: Yes. Yeah.
GNN: So yeah, I definitely want to delve more into the work because like I said, some of these songs that Justin Bieber-esque song, you do Help Me, with the kid, that’s hysterical. Yeah. And the Kitty History song…genius.
TM: Oh, thank you.
GNN: Now, here’s something I’m curious about. When you’re performing, I always like to ask comedians this because it seems to be a more and more common occurrence when I go to shows. How do you handle hecklers? In the last few shows I’ve gone to…there always seems to be someone who thinks they’re the main attraction…
TM: Oh, yeah.
GNN: I went to see David Koechner and a guy started during one of the opening acts and that guy straight up told the guy that David would give him one chance to act up, and sure as hell he did and they kicked him out.
TM: Yeah. That’s the way to do it. I mean, look, I haven’t had too many horrible runs with hecklers. I think it’s a little different with sketch comedy because there are just more people on stage and you can just power through. If someone yells something out, you can just be like, keep going. Just stick with the script. Let’s hit this thing, the laughs will drown this guy out.
Now, sometimes when you’re doing…in sketches, because we do sort of a variety act kind of thing, and sometimes we’ll be doing more of like a stand-up talking to the audience. And if you get people who are just making mistakes, maybe it’s their first time at a club and they’re having a good time and it’s not mean spirited, you can kind of just be like, ‘Okay, okay, enough, enough.” Like that. And then go on like that and they’ll be fine. Now, the people that want to, they feel like they’re being additive if they’re helping, then I mean, we just always go like, “Would you shut the f**k up?” We’ll stop and we’ll just like, “Shut the f**k up.” And it will be like, “Security, can you get this f**king guy out?” We’ll just call it. I mean, it’s not a democracy, when you’re on stage, it’s a f**king dictatorship…I have no problem bouncing people.
GNN: Yeah. And it’s funny because I’m a talkative guy, but if I’m paying $20, $30, $50 for someone to entertain me, I am not I’m not there to be, “Hey, watch this. I’m going to make the show funnier by being a funny guy.” I sit there, I don’t take shit. I just enjoy it. I go to basketball games and people are like, “I don’t even get up to go to the bar.” I enjoy. I am there to get my money’s worth out of someone entertaining.
TM: Yeah. It’s a show, there’s an itinerary. We’re doing things.
GNN: Right? And back to what you were saying about the first group that’s just having a good time…I find that it’s typically bridal showers that fall into that category.
TM: Yeah. It’s largely bridal showers. But I feel like they’re rarely…usually you can quiet them, in my experience, they’re not coming at it from a place where you need to kick them out. And it’s the guys who take the opposite way from what you’re thinking about it, which is like, “I paid this money. I should be able to do whatever I want.” That’s the attitude where you got to just eighty-six of those guys.
GNN: Well played, sir. So, moving on. I ask this one thing because a lot of people who read the site are creators and younger people. I’m probably an old man on this site as far as the writers go. Any advice for people who want to get started in entertainment? Because these days, the internet allows you to be seen. It’s great for anyone who wants to perform. But here’s the problem. In a world where anyone can be seen, I want my stuff to be seen. It’s a marketplace. Imagine a mall with 10,000 stores. I can film something on my phone and get it online in five minutes, but so can three trillion other people. Do you have any advice for getting seen in a crowded marketplace?
TM: I don’t! I don’t, because it’s not something that I had to deal with when I was starting out. It wasn’t oversaturated yet.
GNN: That’s a good point.
TM: So, I can’t sit here and pretend that, like, “Well, this is what you do,” because it’s sort of hypocritical. I mean, every generation has its own issues and its own problems. And I think that expands…I mean, I see it now when you’re releasing something where it’s just harder to get the people’s attention because there is no…and it’s a problem with everything. It’s television. No television shows have a real cultural impact anymore. It used to be that a show would be watercooler talk, everybody would talk about it. Now, you have a show that everyone loves, and then two months from now no one’s talking about it ever again. And then you see, like, “Oh, they’re doing a third season? That thing’s still on?” It’s almost like movies and television have gone the way of music, where it’s like they don’t really have the cultural impact anymore. Everything has become so niche and fragmented. But, the silver lining is, I think in some ways it’s easier to have a career doing arts or something that you love through things like Patreon or Twitch or all these things. You can find people, and people are more likely to support artists that they like their stuff. So, I think the bar for actually making a living doing something in the arts has gotten a little easier. Now, having that thing that you make have any sort of cultural impact whatsoever has gotten much harder. Does that make sense?
GNN: Absolutely. As a Weird Al fan, I’ve read articles where they’re saying it’s harder for him to write really good parodies because there are no Michael Jacksons or Nirvanas anymore…no culturally impactful things. The last few albums he did he’s parodying Miley Cyrus and Imagine Dragons…these very disposable songs. Now Weird Al’s working on all these other projects because you’re right, he used to parody culturally impactful things. And in music, there just isn’t.
TM: There isn’t. And even in television, I mean, I guess you would say Stranger Things for right now, but even still, I mean, it’s not…it’s always been funny, like that Avatar movie that came out. And people have talked about this. It made more money than any movie it’s ever been made. So, there’s still money to be made in the business. But you talk about a movie with zero cultural impact. I mean, are there huge Avatar fans? But it’s like the most successful movie ever and they’ll make more of them. But it’s not like people care that much anymore. It’s gotten weirdly fragmented.
So, I mean, I guess what I would just say is just do it because you love it. Make yourself happy first and foremost and don’t try to be like other people, because that’s where you’ll actually carve out your audience. Again, don’t overthink it. Just do what is funny to you or what you love to do. And if you find enough weirdos like you that that rally around it, that’s fantastic. And if not, you still did something that you love to do. You can’t please anyone anymore. Entertainment has become so personalized and so specific and there are so many different things that everybody can…and actually, so you can’t have something that everyone likes now. But what you can do is still make something that a small group of people loves.
GNN: Absolutely. That’s a good point. See there, you did have some advice! See, you overthought it. You had advice. So, here’s my next question…a lot of your songs are kind of knocking different aspects of society: The Ballad of Billy John is poking fun of mean comments on the internet; Kitty History pokes fun at conspiracy theorists. So, if you could snap your fingers and “Thanos” one of your pet peeves out of existence, what would it be?
TM: That’s a great question. I really can’t stand people that use the word, “hubby.” (Laughs) I hate it. I hate it. And, “man cave,” those two words. But out of existence? That’s pretty severe!
GNN: Oh, I would have no problem with either of those. I have a room in my house that’s “The Scott Room.” When people call it a “man cave” I say, “I am not an animal that is relegated to a f’ing cave.”
TM: Yeah. Every time someone’s like, “This is the man cave.” I’m like, “You loser.”
GNN: Yes…I agree.
TM: Stand up to your wife a little! (Laughs) Why don’t you guys just not pick at each other so much? Just try to find compromises.
GNN: Okay, we’re getting close to the end. This will probably be the hardest question of the group, but I have to ask it. I have to know…with this whole…everyone throws around woke and cancel cultural nonsense. Is comedy harder now to do than it was when you started, or do you just don’t care?
TM: I don’t care. It’s different. It’s different than when it started. I think that…I don’t think that there’s a whole lot of reason to complain about it because comedy has always been subjective and each generation changes and they kind of want different things, though I don’t understand the people who are like, “Oh, you can’t make this generation laugh.” Yeah, you can. You can. You might need to change some things and also, you don’t have to.
You can still…your audience won’t grow, but if you want to just keep making the jokes that people your age liked and will still like, that’s fine. You can do that. You could probably and…I mean, there will be a niche for that. Everything is so fractured now, so I don’t understand when people get upset about it. And then on the flip side, I understand why people get upset that people bring it up where they’re like, “It’s not a thing.” But it’s like, well, who cares if it’s not a thing, then who cares? You’re getting mad that it’s not a thing. Which makes me think that…it’s just like, everybody, just calm the f**k down.
Yeah, generations change. In the ’90s, they didn’t like what people…if you showed them a comedy routine from the ’70s… there are exceptions to every rule, like Monty Python. There have been classic movies from the ’70s. But most of the sh*t that you would see on the Johnny Carson Show isn’t going to make a lot of kids from the ’90s laugh, and now, it’s like a bunch of comedians who grew up in the ’90s, you’re going to have to adapt it a little bit because people change, cultures change.
GNN: That’s a good point. And that’s I wish more people knew that. You’re right. I almost get more aggravated at asking the question. Again, it’s people who write articles, like 20 things from the 80s that wouldn’t be PC now… like Revenge of the Nerds. People want to pick on that. It’s like, come on, guys.
TM: Right. I mean, yeah, I’m kind of like, yeah you know what? You wouldn’t do that now. That wouldn’t work now. The times are different. At the same time, those people weren’t monsters for making those jokes back then. It was a different time. Things change.
GNN: I don’t think they were saying, “I’m writing this knowing that 30 years from now this is going to be super offensive.”
TM: Yeah. Yeah. It’s weird that…I don’t know. So, when anyone ever gets mad at somebody for not liking anything on either side, if it’s mad at the kids for not liking the humor that was 20 years ago, and if it’s mad at the humor 20 years ago for not being the way that you would like it to be now, it’s just all just silliness to me. Comedy is subjective and that’s the end of it.
GNN: Right, so now here’s a little easier question. I love to ask people because I’ve heard some great answers here. What’s your dream project? Tomorrow, you all of a sudden find you were adopted. You have rich parents and they can afford to bankroll any project. What is Trevor Moore’s dream project?
TM: Oh, man, you know what I would love to do? I would love to start an independent streaming service. I mean, if you’re going where the money’s no option, I think that would be it. I love what Twitch is and the format where there’s the audience interaction. And I think it’s a sea of change in entertainment where I don’t think the kids who grow up on this will go back to watching content the other way. There’s a sense of community that kind of can happen with this and so some sort of streaming thing that’s like a comedy-based thing, that’s emphasis is that. But I don’t know. I’m just more fascinated with that stuff right now.
That being said, I’m writing a movie right now that I’m very excited about, but I don’t want to talk about it because I don’t want to give the premises away to anybody. But that’s one of these things. So, we’re doing a Whitest Kids movie. It’s going to come out next year. It’s an animated film. But then I’m writing something that I want to do after that, which it’s one of these things where I’m like, “I don’t care if anyone likes this.” Going back to what I’m saying, I’m going to force this through anyway. I’m going to make this thing, and even if it’s just me that likes it, won’t be the first time, so. (Laughs)
GNN: So, you talk about your movie. If people want to learn more about projects that you’re doing they can go to trevormoore.org. I see that you’re an organization.
TM: Yes. The organization.
GNN: When you sign up for a website, you don’t have to justify that you’re an organization? How the hell did you get trevormoore.org?
TM: No, anyone can get an org. You can’t get .edu or .gov. That’s what you can’t get. But, yeah, there’s a Trevor Moore in England who makes cabinets and so, back in the day, he jumped on the .com so I couldn’t get that. So that’s why I’m trevormoore.org.
GNN: There’s also a hockey player, isn’t there?
TM: Yeah. Trevor, who’s doing really great. He’s kicking ass right now. I think he plays for the Leafs so I don’t know what he’s going to get because I already got the .org. And the cabinet guy’s got .com. So, I don’t know. Maybe they’ll give him a dot hockey or something like that. Actually, if he wants .org, I’ll sell it to him. He seems like a good kid. The Whitest Kids site has all of our stuff on it. We Twitch stream. We’re still raising money for this animated film that’s going to come out next year. And it’s OfficialWKUK on Twitch. And what we do is each one of us does a show every night. So, Timmy will do a show one night. I’ll do a show the next night. And then on Saturdays, we all get together as a group and we watch old sketches. And we just kind of do commentary on them and just talk about current events and things like that.
GNN: So, you Mystery Science Theater yourself?
TM: We wait until after it’s done. We show the sketch and then we talk about it.
GNN: Oh, I see. Okay. Yeah.
TM: And then we just started a YouTube channel. We never had a YouTube channel all this time because we just let other people take our stuff and put it up there. So, during the pandemic, we started a YouTube channel. And it’s been really nice. I mean, our show has been off the air for 10 years. But we just are re-uploading everything in HD. We’ve got 110,000 subscribers to it. And it’s again, OfficialWKUK at YouTube. And I think that’s our stuff. Oh, and season two of the Trevor Moore Show on Comedy Central’s YouTube page or you could just search it on YouTube, Trevor Moore Show. And it’s all together now. I got an email this morning. They just all curated it together on Comedy Central’s main webpage. So, all the episodes are living there right now.
GNN: And if people want to stalk you, you’re on Twitter?
TM: Yeah. I’m on Twitter.
GNN: itrevormoore, @itrevormoore?
TM: Yeah, @itrevormoore like iCarly.
GNN: And people can get your comedy albums or see your specials? I believe they’re on Amazon. I don’t want to be an old peepaw because they don’t call it iTunes anymore. It’s Apple Music, right?
TM: It’s Apple Music. Yes.
GNN: And your website links to Apple Music…right?
TM: All that stuff.
GNN: So, if folks want to check out your stuff they can hit your website or Apple music. So, my obligatory final question…what are you geeking out on, right? During the pandemic, what were you geeking out on? TV? Music? Movies?
TM: I’ve been listening to a lot of…so I have a three-year-old son who kind of went into the pandemic as a baby and now he’s a dude. And so it’s been interesting because I’m kind of just following his lead on music lately, what he’s really gotten into the ’60s, ’70s era country trucker songs, songs about trucks and stuff. So, we listen to a lot of Jerry Reed, been watching a lot of Smokey and the Bandit and stuff. And then that sent me on this thing. I just bought a still last week that just came in yesterday or two days ago. So, I’m having a party this weekend where we’re all…me and a bunch of my friends are learning how to make moonshine. I don’t know if it’s a mid-life crisis or what. But I’m getting into this whole kind of truck driving, moonshining kind of stuff. I haven’t been watching that much television. I’ve I watched a lot of TikTok.
GNN: I just can’t get into TikTok. It just isn’t my thing.
TM: Then you’re not using TikTok the right way then, because here’s the thing: Tiktok is whatever you want it to be because it curates off of what you like or what you click on. So, my TikTok is mostly people being like, “Hey, what’s up? I got 60 seconds. I’m going to tell you why aliens made the pyramids, and they’re still here walking among us.” And I’m like, “I’m in. I’m watching that.” And then because I like that, I’m getting all…so my TikTok is like just conspiracy all crammed into 60 seconds. And I love it. It’s so addictive.
GNN: So, like, “Is Earth flat or round?”
TM: Exactly. I would love that if it was flat. How great would that be? I would love there to…unfortunately, I think it’s round, but I would love, I would love some huge thing like that to be true if they were just lying to us about the biggest thing forever. Part of me so hopes that when Elon Musk finally goes up there, he’s going to come back down and be like, “Guys, it’s flat.”
GNN: Well, thank you for your time. I’m looking forward to watching more episodes of your show and listening to more of your stuff. How many episodes are in the new season of your show?
TM: I think we just put them all out. So, there’s six. There’s six in that season, and then we’ll see if we go do more. So.
GNN: Fantastic. Again, thanks for your time and good luck with everything, your movie…well, your two movies that you got in the works.
TM: Thank you. It was great talking to you. This was fun.
GNN: Trevor, have a good week, man. All right.
TM: You too. Thanks, man.