BONUS Ask Marc Anything #8
okay here we go another episode of ask mark anything are you ready how does your new garage studio feel compared to your og garage studio well it's definitely different we had to overcome some obstacles here and you have to understand something about the original garage is that it had my entire life's worth of stuff in it and it was always growing there were hundreds of books in there
The walls were lined with bookshelves.
There was art and bits and pieces of ephemera all over the walls, photographs, pictures, paintings.
There was guitar equipment there.
There was a rug on the floor.
There was all sorts of tchotchkes and a desk full of stuff.
It was not cluttered, but it was packed, which gave us a lot of...
Sound quality because it was very homey and there was no empty wall space.
So the sound was kind of great in there.
So when I got this place, it's a bigger space, I think.
And it was clean.
It was.
And once I had to make it a house, it became a different thing.
It was a bouncy room.
So I didn't really want to clutter it with all this stuff that I had in the old garage.
I wanted to go through that stuff, and most of that ended up in my home office upstairs in my house.
So the walls are pretty sparse in here, but it became really about soundproofing this place.
And I had some kid...
who made me all the panels.
And there's panels on the ceiling, and there's movable panels surrounding the desk I'm sitting at.
And the guitars are out here, but there's not much on the walls.
There's my Frank Kozik, Gimme Shelter poster.
There's a picture of Chuck Berry, a picture of Helen Wolfe.
There's a sort of a strange piece of art, a silk-screened WTF in sign language I have up here.
But I did choose some select clutter references
from the old desk in the old garage, which seems to be sort of out of place because there's no clutter to counter it.
But I have like bits of stuff.
There's all kinds of weird stuff on the desk here that was on the desk in the original cluttered garage.
So it looks kind of par for the course.
But here it's very, it looks like why this stuff?
And I think it was just familiar to me.
And I thought like, well, I got to have something on the desk.
I don't want it to be completely sterile in here.
But the sound is real good.
The kid who made me these panels, it was funny.
When he first brought them over, they just reeked of weed.
And he felt guilty, so he had to redo some of them because they reeked of weed.
But that's the primary difference, is the other place was weirdly homey and authentically cluttered.
This place is...
More of a studio really is the main difference.
But and I had to get used to that because I thought that the original garage meant something.
And it did because people would walk in and be like, what the fuck?
But as I got more confident in my in my conversational skills, I really I thought that I needed all that stuff.
And I don't really need it.
That was the biggest adjustment is like, dude, the conversations are the conversations.
It's not about the garage, though.
I do have the chair, the original chair in here from the original garage.
The one Obama sat on is still here right there.
And some of the clutter on the desk.
Ever considered getting a studio instead of doing it at home?
No.
Why?
It's a really short commute to work when you do it at home.
And now I have a separate building anyway.
So, no.
I've done it in studios here and there during the course of the thing.
But no, I never considered that.
Why would I do that?
Why?
Leave the house?
No.
When and why did you choose not to record video for your interviews?
From the inception, this was an audio podcast, an audio product.
Part of the thing that Brendan does, and certainly that I do, is this was never meant to be video.
Because there's a production element to it that Brendan, that's his genius and that's what he does.
There's editing that needs to be done.
It's of a piece and it's of creating an audio show.
So, you know, the music and the editing and the configuring ads and stuff, it was always what we did.
And it is specific.
We never set out to do a video podcast and we couldn't do what we do in a video podcast because we structure the thing.
What makes Brendan a great producer for me?
Look, Brendan understands me more than anyone.
Brendan has listened to me for more hours than anyone.
Brendan was with me at the beginning of my radio career.
Brendan understands exactly how my brain works and how to feed it.
And Brendan knows how to make things understandable to me when I need to understand things.
He also knows how to present things to me to sort of...
make the interviews better or to inform me about things.
He's also, look, it's all him in terms of, like, he handles all of that.
But a producer's job is also to sort of structure and inform and present talent, me, with, you know...
what he thinks should be, you know, focused on, which he does, you know, most of the time.
A lot of times I don't know everything about a guest, obviously, and he sort of has some ideas in his head that usually gel with mine.
But also I just, you know, trust him with everything.
He's the smartest guy I know and always does a brilliant job.
And I trust him with my monologues to sort of, you know, get my back in those.
And there's just really no one...
Like this show doesn't exist without Brendan.
There's no moving forward without it.
We are really sort of partners in the truest sense.
So, yeah, that's why.
Because he's, you know, whether he likes it or not, he's completely kind of professionally enmeshed with my brain and also has this amazing skill set on top of there.
And if I ever have questions about anything, I'll answer them.
All usually professional, occasionally personal.
As the podcast has grown over nearly 14 years, has your approach to booking guests remained the same in present day compared to when the show really popped in 2011?
No, it's very different because usually I was drawing from my people I knew or people who I knew knew them.
You know, it was sort of...
I don't know if we were working with a booking agency at that time, but eventually you've got to be in the loop with people who are moving through interview programs.
So it's very much different.
I'm not sure exactly about 2011, but at some point we started using Central Booking.
who also books TV talk shows, to sort of pitch us people and tell me who's available.
So I know, because I don't know everybody anymore.
And a lot of times I don't know the work of people that are pitched.
So it becomes sort of this full-on immersive learning experience, deciding to do particular guests and whether we should do them and who's available and all that stuff.
So I think it's almost completely different.
Were there any episodes that you felt like you just didn't get it right?
Yeah, there are.
There are probably more than I want to admit, because a lot of times, certainly at the beginning of the podcast, I had my own expectations.
And a lot of times I didn't necessarily meet them.
And I'd walk away feeling like I fucking screwed up, forgetting that...
a lot of my guests, their fans have never heard them in this context before, have never really heard them talk about anything at length, and that their experience is going to be different than mine.
So a lot of times, whether I think I got it right or didn't, I kind of suck it up and realize that it's going to be something exciting and different and new, not only to me, but to anyone who listens to it and who's a fan of that.
Sometimes you get...
You know, repeating stories and that kind of stuff.
But that's just the nature of being a public person.
But there are times where I didn't get it right.
I think that my interview with Darren Aronofsky was a kind of a fucking mess because I didn't get through the entire movie he was there to promote, which was Mother, which usually I used to be able to get away with that.
You know, because it's really kind of a life career interview.
But, you know, he was very invested in that movie and I couldn't get through that movie.
And also that night, he was there at night for some reason and Buster had gotten out and I didn't know where the cat was.
So I was freaking out about the cat because it was nighttime and coyotes were coming out.
I didn't watch the movie that he wanted to talk about.
So I felt like that in my mind stands out as kind of a...
not getting it right moment.
There have been other times, but usually I get most of it right.
And between Brendan and me, sometimes some organizing, sometimes omissions aren't that bad.
You can't talk about everything with everybody.
But I felt like I really, you know, screwed the pooch on that one.
And, you know, since then, I make sure to be pretty thoroughly engaged with, you know, especially if I like the person's work, with the work they're there to promote.
Also, that happened with John Cale, though I seem to have saved that after an hour or so of talking about the Velvet Underground and noise music.
You know, I realized that I had not heard the CD or the album he was there to promote.
But I kind of saved it.
It worked out okay.
But that was another...
thing I didn't get right.
And the same lesson was learned.
Which non-comedian guest on the show was truly and unexpectedly hilarious?
Oh, well, just in recent memory, Hugh Grant totally surprised me and was very funny.
There's been a lot of funny people.
I think I remember Josh Brolin being pretty funny.
But Hugh Grant was like a total curveball to me.
Hilarious.
Is there a hell no guest from the early days that you never would have had on that you interviewed recently recently?
Yeah, I mean...
A lot of my tunes have changed because back in the day when we were just doing people I knew or people who I knew knew them, there was a lot of people that I was curious about.
And then early on, we didn't do a lot of actors because I didn't know if they were really great at doing interviews.
But as time went on and we talked to more and more people and I wanted to learn more about acting, we had more actors on.
So I would say there's probably some people that I wouldn't... But I remember there was a time where...
You know, Huey Lewis came up and I'm like, Huey Lewis.
But then you start to really think about these people, you know, and their careers and what they've given the world or what their, you know, what their output has been.
It's like whether I like them or not, a lot of times they deserve certainly to be...
reckoned with and, and to be sort of like engaged, whether I like them or not.
So yeah, there were definitely people.
I don't remember who they are, but my context has changed since early on.
But I was like that pretty early on.
So like, even if I didn't like them, like, dude, this guy's got a story and it might not be for me, but you know, with like Huey, Huey Lewis, like who doesn't know Huey Lewis songs?
And that turned out to be a great interview.
Did you ever have an awkward moment with a guest right after the microphones went off?
Yeah, I guess so.
I mean, sometimes there's just weird, you know, what do you do after that?
Famously, there was, you know, I remember like early on Conan O'Brien was lingering and I had this moment where I'm like, wow, this is weird.
I kind of want him to leave, you know, because I got things to do.
There was that.
Then there was like, I had awkward moments before the shows sometimes.
Like, I remember when Lisa Lampanelli was on that I didn't know she was coming.
And like, I almost was on my way out the door and she showed up with a publicist.
And I was like, I just had to go like, oh my God, how did I not know she was coming?
I knew why she was there.
And I didn't say like, I didn't know you were coming.
I just played it like everything was normal.
But that was, that was crazy.
Well, I don't always know what to do with guests after the microphones go off.
Usually they, you know, we kind of like detach.
I mean, there've been times where I can't remember when Kristen Bell had to eat, but if it was before or after, but I remember I had to feed Kristen Bell.
I just happened to have a lot of leftovers and I eat exactly like she did.
So that was fun.
I had to feed a few people.
Jonathan Glazer, I cooked him a sausage.
Um...
Oh, yeah.
Alana from Broad City.
She needed a bowl of puffins.
Roseanne Cash had some cantaloupe.
Vice President Gore.
He needed to eat before we went on, but he brought his own food.
Oh, there's also people that I didn't have on because I didn't know who they were.
And I don't think they'd come on now.
You know, like Tiffany Haddish.
I didn't know who she was.
And she said, someday, Marc Maron.
And I'm like, all right, lady.
And then, you know, she's this huge star.
But I think she doesn't come on either because she doesn't care or she's just, you know, spiting me.
But yeah, there's been awkward moments.
does Scott Rudin still book guests for you?
He never really booked guests for me, but he was sort of a fan of the show and he was producing a lot of theater.
And that was sort of out of my wheelhouse and I wasn't in New York.
So Rudin would suggest, I think we did quite a few playwrights
on his suggestion.
I think they were mostly playwrights or, or theater producers that, um, that he was, these were productions that he was involved with and he knew me and he knew the show.
So he would email and it was kind of intense getting emails from him, but it was usually in the world of theater is my recollection of that relationship.
Have you ever regretted having a guest on?
Uh, look, I, I,
I don't have regrets.
There was a couple of kind of things that kind of went sideways that, you know, like one, we didn't air.
Franklin Ajay came on.
And at the time, I thought like I would have Al Madrigal, who was a huge Franklin Ajay fan.
Come over and do the interview with me.
And on that day, there was a lot of plumbing problems at my house and there was workmen there and Franklin wasn't really into it.
And it was awkward, you know, having three people there in that that never made the air.
Billy Braver, another old comedian that no one really knows, that was sort of.
That got weird because I thought it would be interesting to talk to somebody who retired from comedy, but he wanted to get back in show business.
And I thought it was a very kind of weird, painful episode.
But he refused to, you know, we weren't going to air it, but he was very adamant about us airing it.
And he threatened to, you know, have Barbra Streisand's lawyer contact us if we didn't air it.
But I don't have any regrets here.
You know, there's an episode with Wendy Liebman that never aired because I just couldn't really get her talking in a conversational way.
But I think she's pissed off at me about that and about other things.
So I don't know.
But that never made the air.
It just wasn't really airable because we couldn't really get a conversation going.
I don't have any other regrets.
Which guest stayed over the longest after recording just to shoot the shit and hang?
I don't know, you know, Jon Hamm, I remember when he was on, we hung out for a while on the porch.
I think David Crosby lingered for a long time, which was kind of interesting.
I really, because we talked for a long time on the mic and then after the mics went off, he still wanted to hang out and he wanted to come back.
I thought he was going to sleep over.
Rest in peace, David Crosby.
How long were you doing stand-up before you felt like you were doing consistently well?
I don't know, like 25 years?
I don't know, man.
Sadly, it wasn't that long ago.
Well, I guess I started getting paid in 88, 98, 2008, 2010.
Yeah, man, I got to tell you, man, it wasn't like really... I always did well, but I fought for it, and it wasn't me at my most comfortable.
But I don't know about consistently, but I was always...
I was always doing the job, but I don't know if I was that consistent.
I think I'm pretty consistent now, but I think it was fairly recent within the last 10 years, certainly.
Well, yeah.
I really started doing comedy in New Mexico after my last year of college.
I think I did it a bit.
No, no, it was really after that.
And, you know, I did open mics in Albuquerque.
There wasn't a club yet.
And I did a Chinese restaurant, but yeah.
And then I moved to Hollywood and I became a doorman at the comedy store and I was working at the comedy store in the belly room and trying to get my shit together.
And,
And then at some point in time after that, I was opening.
I was doing the host spot a couple years.
I was doing the host spot at Laughs in Albuquerque, New Mexico, while I was just out of L.A.
Maybe I had 10 minutes.
So I was doing that.
And then when I got back to Boston after I cleaned up the first time,
Um, in 87 or so I was doing as many open mics as I could.
You had to sign up, you had to wait around.
And then after, and I think I was doing some opening gigs, but by, but like 88 was when, you know, I had about a half hours of material and I was started working after I won a competition or came in second.
Um,
So I don't know.
What's the question?
I always made friends with comics.
I got to San Francisco in 92.
So I was doing Boston, New England, one nighters for a few years.
I moved to New York in 89, but that was my only social circle is that mics were different when I was coming up.
They were usually only at comedy clubs.
They had a certain night.
You did them.
When I was in Boston, it was a catch rising star.
There was a kind of, it wasn't quite an open mic, but kind of, it was a signup thing.
I think it was on Sundays and Mondays, but all I ever hung out with was with comics.
Who else are you going to hang out with that?
You know, once you enter the life, you live the life.
Um,
I was playing actual shows pretty early on as an opener.
But then, you know, here and there.
But the way the one-night thing worked in Boston, you did a half hour to open.
So that's really a feature spot anywhere else.
These were two-person shows.
So by the time I was out in the world...
And opening these road shows, these two-man shows, I could feature pretty effectively.
And I headlined.
By the time I got to San Francisco in 92, 93, I was starting to headline pretty quickly.
I didn't spend a lot of time as a feature.
Wondering about your early days, weeks, months of sobriety.
Was it hard to be in comedy clubs where booze was readily available and probably free?
Well, look, man, I was so ready to stop by the time I stopped.
I was dating a woman who got me sober, who was sober, who was also starting a career in comedy.
She was with me all the time.
I was going to at least two meetings a day.
for years, and I was heavily sort of socialized into program.
A lot of the people I was hanging out with were in AA.
For some reason, I don't remember it being that difficult.
I was smoking a lot of cigarettes, drinking a lot of coffee, and I didn't feel like it was... I don't know.
I was in the life.
I was immersed in sobriety, so it did not...
feel that hard to be around the booze.
I don't know why that is.
And it still doesn't.
I never think about drinking.
But it's been almost 24 years, I guess.
Isn't that right?
Yeah.
Wow.
Shit.
What was a movie or show you auditioned for that you truly wanted the part but did not get it?
A Serious Man, the Coen Brothers movie.
I worked pretty hard on that, and I wanted that lead.
I read for the lead of that.
Not that I was ever in the running or even capable of doing it, but I wanted that.
That Michael Stuhlbarg got it.
And, you know, like, he did a great job with it.
And he's a great actor.
And, you know, he's definitely at a level I'm not.
I don't know if I could have handled it.
They certainly weren't going to give me a lead.
But was there another role in there for me?
I don't know.
Look, I wanted it.
I worked to do it.
There was no chance I was getting it.
how long did it take you to create the show Marin?
And what was the writing process for the pilot episode?
Well, I mean, you know, we had pitched that show to apostle, the production company, and we got to work on the pilot really came out of a pilot presentation.
We did, and we shot, I wrote it with Duncan Birmingham, a writer that had to deal with, uh, apostle.
We wrote that what was supposed to be a pilot presentation.
We cast it.
W Kamau Bell was in it.
Um,
Ed Asner was in it as my father.
But the pilot episode really came out to be about 22 minutes.
And that was sort of what we took around to try to get it made to networks.
So that began the process.
But that was just me and Duncan.
And then once we got the deal to write the show, I hired a writing team to run the show, Sievert Glarum and Michael Jammin.
And I brought in Jerry Stahl and eventually Dave Anthony.
And, you know, but there was only a few of us that first season.
So we just started hammering out show ideas based on my life and breaking them down in the room.
But it's a pretty small writer's room.
That's how it came to be.
It was all kind of it started with a pilot presentation.
Yeah.
Walk us through what it's like for you before you go on stage for a big show.
Are there any superstitions?
Do you pace?
Eat the same foods?
Walk in from the same side?
How far ahead before the show do you arrive?
Do you run through some stuff?
What do you tell yourself?
I...
At different points in my career, I had different superstitions.
When I first started out, I needed to be wearing a shirt with some sort of skeleton on it.
I had pinky rings.
I had certain jackets I thought that were good luck and certain colors I couldn't wear.
But ultimately, as time went on, I like having... Right now, on my rider, there isn't much.
I like having the Zevia soda, the ginger ale, some cashew nuts.
What I really like doing is...
getting to the theater for a sound check, spending time on stage.
I like when they play.
I have a song list for the pre-show that I spend time on, all songs I like listening to.
So a lot of times what I like to do before a show is spend time on stage in the empty theater and then sit in the theater in the center and have them blast some music that I like in the big room.
I love doing that.
But that's really the only stuff I do anymore.
Sometimes I'll go over my set list, but not in any panicky way.
Once I get going, I know what I'm doing.
I usually bring notes up there, whether I look at them or not, it's another story.
But yeah, I just like feeling the theater before the show and hearing my music loud in a big theater.
You talk often about your career and how at one point you were a nobody.
Do you think about how you got to where you are today in terms of how you must at some point have pictured the kind of career lifestyle that you wanted?
Do you in present day think there was some sort of universal force that you put out in the world to help you achieve the kind of success that you have today?
Or is it all just random lucky timing?
Well, I wouldn't say that.
I mean, I worked hard.
And I always worked hard.
And as a stand-up, I was hammering away for years.
I never quit.
I never, you know, slacked off.
You know, when I lived in New York, I was doing as many sets as possible.
I was working as much as possible.
I was generating as much new material as possible.
I was doing TV sets.
I was doing half-hour specials.
You know, I did, but I was still not a known quantity.
I did all those, you know, Conan O'Brien episodes and fucking Letterman and everything, but I still couldn't sell tickets.
So I don't know.
What kind of career lifestyle that I had in mind other than being a recognized comic that did relevant work, like one of the people that people knew, a comic that was well known.
I don't know what the lifestyle was or what went along with that, but I was trying to be a successful comic.
Do I think there was some universal force that I put out in the world?
No, I just worked really hard.
And by the time the podcast happened, you know, I was sort of down for the count in terms of being a comic because I really didn't have a draw.
And the podcast changed all that.
And I think if there was any sort of cosmic timing, I don't know if it was lucky because I had a skill set.
There's like lucky timing is only relative to what you can show up to do.
I mean, if you have lucky timing and you can't deliver the goods, what fucking good is it?
You'll just like, hey, God, where's that?
What happened to that guy that did that thing?
He had great timing.
Well, he really didn't know how to do it.
He just had that one trick.
So by the time...
things clicked into place and the podcast was taking off, you know, I was a, you know, I'd been doing comedy, you know, like 88, 98, like 20 years plus.
So I was ready to go and I'd been doing radio a few years.
So when the cosmic timing worked in my favor for once, I had the goods.
So timing doesn't matter if you can't do the job.
So if there's anything that,
any universal force that I put out in the world.
It was just years of working hard and, and focused and committed and without any other options.
Yeah.
I'm turning 40, and after decades of resistance, I've given in and gotten into Steely Dan.
I never thought it would happen, but here we are.
Has this happened to you?
Look, I like the Dan.
I have no problem with the Dan.
I can appreciate their music, and I can appreciate their genius, and I can appreciate everything that, you know, you're supposed to appreciate about Steely Dan.
But that doesn't mean I listen to him a lot.
And Donald Fagan is a fan of my show because he emails me sometimes.
It goes back and forth.
I don't know how much he listens to me.
It might be more than I listen to him, but I like hearing from him.
He's kind of a funny guy.
What kind of pick do I use now?
Oddly, I use these very thick picks.
Big triangle picks.
They're red.
They're from a company called V-Pick, a guy who makes custom picks.
It's really thick.
I mean, it's got to be over a millimeter.
And it's the Ed King model.
Ed King, who was the guitar player for Strawberry Alarm Clock and the first three, maybe two or three Skynyrd records.
Maybe just the first two, actually.
He was the original guitar player, one of them for Lynyrd Skynyrd.
The Ed King model at V-Pick is what I use.
What is the heaviest rock metal band that you like?
Heavy rock metal.
I'm probably dated with it.
You know, I like a lot of the Sabbath stuff.
I love ACDC.
Out of the sort of pantheon or the old heavy stuff.
Look, I don't know how heavy ACDC is, but I love them.
And I certainly have a lot of love for Sabbath.
And I don't mind...
Metallica, I don't mind.
Megadeth, Anthrax is okay, right?
But I don't know those guys a lot.
I'd have to say, sadly, because it's dated, just Sabbath and ACDC.
What was the last meeting you went to and what was the topic?
What's your sobriety date?
Huh.
I feel like I just went to a meeting out of town with somebody.
I don't remember what the topic was.
It was probably a step or a reading out of Bill Says or a big book portion.
My sobriety date, I think I landed on August 9th.
is my sobriety date.
And I can't remember the last meeting I went to.
I feel like it was out of town.
I might have been on one of my recent trips to New York.
I think I went to Perry Street.
And I don't know if there was a topic.
But I always tend to go to one meeting at Perry Street when I go to New York because that's like an old-timey recovery clubhouse that was one of the places that I first got sober in.
What was it like to live in the East Village in the early 90s?
What were your memories, places to eat, and what bands did you see live?
Well, I was not... Sadly, I was not a big band guy.
I was there from 89 to 92-ish.
And I lived on second between A and B. And next door, there was this weird can recycling place.
And then there was a storefront that had a few things in the window, but it was a heroin drug front.
There was a lot of junkies around.
There was like...
a weird sort of sculpture garden on the corner of 2nd and C. And I remember we used to go to 7B.
We used to go to Veselka.
We used to go to Kiev.
A lot of the comics would go to Kiev because I think it was open all night.
It's gone.
It was a Ukrainian place.
And then Veselka came.
I remember 7B was around the corner.
Two Boots.
I lived like down the street from the original Two Boots.
I ate there a lot.
Where else did I eat?
But I had this little kind of one-room apartment.
And I just remember it being a little intense down there.
I had a VW Golf that got broken into a lot.
The tires got flattened.
I needed it to drive to Boston all the time.
And I drove around the city, too, at night doing spots.
But I just remember it being consumed with sort of a druggie, kind of grimy element.
And there was a bar.
What was that?
Seven and B wasn't seven B. Wasn't that a restaurant there?
And then there was the burrito place right there.
Oh yeah.
Dojo.
I used to go to dojo a lot.
And, and back then Tompkins square still had the band shell.
It was before the riots.
And there was such a, there was always like this homeless flea market going on.
There's always stuff along Avenue a for sale books and weird.
I wrote jokes about that place about, uh, you know, being down there.
Um,
Yeah, man.
Then there was the stuff over on the Lower East Side where we used to do the Luna Lounge at Luna.
You know, there was the hat.
There was the sombrero.
You know, Katz's wasn't really where we ate.
There was a Middle Eastern place right there on Houston I went to.
I don't know, man.
It was heavy back then, you know, before I went to San Francisco.
But sadly, I didn't do much music.
It was all comedy all the time.
What are you optimistic about for society?
Not much.
Not much.
I keep plugging, you know, day to day.
I wake up in a dark place most days.
And then as, you know, as the day progresses, if I exercise and get coffeed up, I don't know.
I'm excited about the possibility of...
There's good art being done, both in movies, streaming, stand up, music, visual arts, painting.
I still believe there's a lot of creativity out there that it's finding its way.
And that always is exciting to me.
I don't know if I'm optimistic.
I sadly don't have much optimism about the future of America, you know, really in the broader cultural or political sense.
I don't have optimism about the sort of future of, you know, climate or the world.
So, you know, I got to keep it kind of small and keep it with my interests.
I find myself, you know, finding lately music and movies and, you know, art that I enjoy engaging with that keeps my brain kind of juiced.
But but sadly, I don't have a lot of optimism.
And and, you know, each day I wouldn't say it's a struggle, but I really have to kind of pull it together to to sort of make the best out of the life I have left.
Thanks for asking.
Nice talking to you.