Comedians in the early days of comedy clubs were paid very little. Initially, they received $3 a night, which was barely enough for cab fare and a hamburger. Over time, the pay increased to $10 a night and $25 on weekends, but it was still a struggle for many comedians to make a living.
Paul Reiser wrote a novel about the comedy club scene to depict the reality of life as a comedian, which he felt was often misrepresented in movies. He wanted to show the political and personal struggles comedians faced, including the tension between unionization and the need for stage time.
The relationship between comedians and comedy clubs in the early days was a mutual exploitation. Clubs used comedians for cheap labor, while comedians used the clubs to gain stage time and hone their craft. There was tension over pay and unionization, but comedians were grateful for the opportunity to perform.
Paul Reiser described refining a comedy act as a process of constant editing and experimentation. He emphasized the importance of removing unnecessary words and finding the precise order of jokes to maximize their impact. He compared it to tinkering with a delicate instrument, where even small changes could make a big difference.
The Tonight Show was the ultimate goal for comedians in the 1970s and 1980s. It was seen as the pinnacle of success in the comedy world, and appearing on the show could catapult a comedian's career. Many comedians worked tirelessly to perfect their acts in hopes of getting a spot on the show.
Paul Reiser learned from working with Woody Allen that even legendary comedians are constantly refining their craft. Allen was meticulous about details and would question why a joke worked one night but not the next. This taught Reiser that comedy is a precise art that requires continuous effort and attention.
Bill and legendary comedian Paul Reiser go deep on all things comedy, from the early days at comedy clubs like Catch a Rising Star and the Improv, the terrible pay of early comedy, the difference between being “club funny” and what works on television, Richard Belzer, Jerry Seinfeld, Larry David, and the New York comedy scene, Paul’s experience with Woody Allen, the tension between performing “works in progress” versus polished final sets, the concept of soul mates, hiring young comedy writers, and the importance of spotting talent and the subtle spark that differentiates a promising writer or comedian from the rest.
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