 Colin right out of the gate was that, he flew in yesterday morning and he landed at 8.30 a.m., which for three hour difference, you know what time he left very early at the crack-a-down in Toronto that morning. And he landed in Vancouver and made his way to the hotel and then he wandered around Granville Island and he made his way to the improv center and then sat outside the bench. I know. Right? He just hung out and married shortly. Improvisers came by, he had a lovely conversation with Mary and a bunch of other people and they started to jam and I tell you that's the kind of guy he is. He is kind and smart and funny as hell and I was very lucky to work on the documentary called Act Social with Colin Mockery and we did a little gig at Microsoft together and that project was where Colin and I co-hosted this interview show with leaders in the tech sector. I play the, it's sort of technology for good and I play the host that is like this positive Pollyanna, you know, type and he played the curmudgeon rumor who does not know what the cloud is and he killed me. Thank you. I received only one director's note from that entire day of filming and finally the director said to me, Nancy, we're going to need you to not laugh at everything Colin says. But oh no, I'm like, oh my God, a scholar barber. I am, I am a huge fan. And so in the spirit of AIM, I'm throwing some interview questions out of the window. We're going to get a little bit of background information. We're going to have a few questions that I will ask of Colin and then you do it. You share and ask him anything you want because he told me there's no topic off. Let's start at the beginning. Talk about your discovery of improvisation. I was in theater school, studio 58, there's a couple of studio 58 people here tonight and a friend of mine was doing a play reading at the Waterfront Theater just over there. And part of the evening was this thing called theater sports that this guy in Calgary had come up with. So I saw it and I thought, oh, this is something that looks like it would be fun to do. And then a couple of months later, they started a theater sports league and there used to be a theater called City Stage on Thurlow and it was decided McDonald's. And Ray Michael, who owned a theater, very kindly said you guys can have Fridays and Saturdays after the main show. So the first little while it was us running into McDonald's going, hey, come see our show. And they would say, what's it about? We go, we don't know. You have to yell things at us and then we'll make stuff up. And then within the year there were lineups around the block and it became the big thing to do in Vancouver and then we started doing, we did an improvised hamlet. We did an improvised murder mystery called Suspect. It was very popular. And it just kept growing. And I actually made more money from that than I did from anything else, which is unusual. So that was good. And then I just sort of, and then from that I got theater for some reason. And then Expo happened and I was doing 11 shows during Expo. There were a couple of improv shows, a couple of scripted shows. And then I, my good friend, Ryan Stiles was doing, I'd been hired, don't applaud him. Thank you. Thank you, one good guy. He had been hired by Second City. Well, we auditioned together in Second City. There was three of us. They hired the other two guys. Whatever. So Ryan did it. And it was also Patrick McKenna from the Red Green Show was also in that company. Gary Jones who still improvises in town. So of course, because they thought he was funny, they brought him back to Toronto beyond the main stage. And my girlfriend and I at that point had moved out to Toronto because I wanted, I was feeling comfortable in Vancouver. And I thought that was a bad thing for me. So I thought, hey, why don't I go somewhere where I don't know anybody and start again. I mean, I was young. So we went out and Ryan called me a couple of months into my residency there. And he said, you know, they're looking for someone from the touring company. I mentioned you come in and audition. So I did. And so I got hired by the woman who later became my wife. It was a difficult audition. It involved cleaning and something else. So, so there was that. And then at one point, I was doing a show there. And we were told that these producers from a show in Britain called whose line is anyway, we're doing a cross country tour. So they came to the show. They love the show. They asked us to audition at eight in the morning. Now, when you're in a second city, mornings are not your friend. You do the shows that you do an improv set, and then you kind of decompress afterwards. So, you know, four o'clock would be the usual time you get to bed. So we all auditioned. But because we auditioned as a company, everybody was being nice. So everybody was being very supportive of everybody. So nobody stood out. So none of us got it. Yeah. The next year, my wife, dad and her writing partner, Linda Cash, written a show that was being produced in LA. So I went down with her because she was pregnant seven months at a time. So I thought might as well. So we went down and they came through again. And I was auditioning with people I didn't know. And it was, Hey, screw you. Look at me. So this is a lesson for the kids out there. I know it was an ensemble art form, but you know, at times. So I got it. And then my daughter was born. She was two months old. I went to Britain, did a show. I sucked. I came back. And then the next year they decided to shoot in New York because the show was big with college students on the comedy network, which at that point was called Ha. I mean, not even Ha, it was just Ha. So Ryan talked them into using me again. When I came back, they put me with Ryan and, you know, we worked together for 10 years before that. So of course we flipped. And then it was a slow every year for seven years. They would bring me back and go, we're giving you one show. And then I would do all of them. But the next year would be if we're giving you one show. And so the very last year we shot in Britain where they said, yeah, we're giving you everything for seven years. Yeah, they weren't sure. And then it went to America, the British producers had always wanted to do an American version because of money, apparently. Although I gotta say never saw much of that. But still, they went, I think first they were associated with Paramount and they wanted Jenny McCarthy to host. And they wanted young, good-looking improvisers. And Dan said, it works with the ugly guys. So at that point, Ryan was doing the Drew Perry show and Drew was a fan of the show. And he told Drew, you know, they're looking for someone. And Drew was big at ABC at that point. So he got involved. And then immediately, we had a summer series that did really well. And they put us after Drew's show, did incredibly well. Then someone realized how cheap the show was. I mean, it was the cheapest show in television history. You know, friends were getting like, you know, a million dollars an episode. Our show cost one friend. So once they found out how cheap we were, they put us up against, I don't know if you've heard of these shows, survivor and friends. So we were killed every week in the ratings. But because the show was still cheap, we still made Warner Brothers money. So it went on for a while and then it didn't. And then it came back. Whose line had just finished taping its very last season. But now that may or may not. Here's the thing. I constantly, I'm reminded I should not be on social media. Because when we came back, when Aisha was hosting, Ryan had done an interview in some Washington paper saying, oh, we're coming back. Aisha, Tyler's going to host. So I thought it was common knowledge. So I tweeted, hey, everyone, whose line is coming back more details later. Then it went, I believe, what the kids called viral. And I was getting calls from the coast saying it was, you're not supposed to say anything. I said, but Ryan said something and said, nobody listens to Ryan. And then on this one, I said, this is the last show we're doing. Who's laughing. And I got calls again. It's like, nobody knows that. And I thought, I thought we had discussed this. And now the CW is a non scripted network. So who knows what's going to happen? It really is like the walking dead. You cannot kill this show as much as we can. So 30 years, 400 episodes. And yet beyond that, in a very interesting, almost sociological way, you introduced improv to society, right? How many, when Colin and I were doing a quick little waiting for our dinner, how many people who talked to Colin said, I grew up watching this show. So many, right? And I, and, and apparently there are, it is one of the highest-grossing YouTube, like they just, I, anybody else other than me, like watching these line reruns on YouTube, and the audience is getting younger. That's why it came back. Brad sure wouldn't I, Brad's on the show also. No, don't applaud him either. I will tell you who you can applaud. Yeah. So Brad and I have been touring for 20 years and we saw about, I guess, 12 years ago, our audiences were getting younger, which doesn't happen for touring shows. And we realized it was because of YouTube. These kids who weren't born during the run of the show were catching up with it on Whose Life. So that's why the CW, a network who's really the rest of the cast of every show could be our children. We're that old and they were that young. So the CW picked it up. And so that was great. So it's, it's, I'm, I know there was, well, it wasn't backlash, but I know there were improv purists who weren't quite happy with the show. And I understand it. It's because, you know, it's jokey, it's jokey, it's jokey. But because of the constraints of television, it had to be, everything had to be two to three minutes long. And it's hard to do. So I always said, you know, Whose Line is sort of the vaudeville of improv. It sort of shows you what it is, basically. And then it's up to you to go out and find other kinds of improv that take it in a different direction, long-formy, whatever. So I'm very happy that we sort of introduced it. I'm really proud that families could watch it, even though some stuff is suspect. But, you know, I would often get people saying, you know, our family was the one show our family would watch together, then we would play games afterwards. And so, so I'm proud of the legacy of what Whose Line did and what sort of got started. Indeed. And when we were out last night with friends and people recognized Colin and Granville Island, there were people who, you know, greeted him in a different way. You know, oh, you made me laugh, right? You know, that we had that connection. And there is just such a gratitude for that spirit and the purity of what Whose Line brought. Sure. And I mean, and this is absolutely, it's been proven, I'm adorable. It has been scientific studies. What I think what was great about the show and what's great about when people come up and talk to us, they truly feel like they know us because we were not playing characters. We were slightly exaggerated, hopefully, images of ourselves. So people, especially young people who grew up with us, really felt like we were part of the family. So it's really not like we played serial killers and people who weren't afraid of us. So it was, people always felt very relaxed talking to us, which was nice. Right. Well, you know, you said we did the vaudeville of improv and then opened the doors for many and so that other people can bring improv and teaching improv. And there's tools and techniques to do a lot of other things. And that is what we all hear in this room. We're on a mission. So friends, what else? Yes, and what do you want to ask this adorable icon? What was your worst show? I'll tell you when it happens. So not true. I'll tell you the worst show. Ryan Brad and I did a show at the Laugh Factory in Los Angeles. And I think everyone was given 20 minutes. First 10 minutes, we didn't get one laugh. But we thought, we're going to keep going until that happened. Around minute 25, we thought, I think it's going to happen soon. We kept going, nothing. We left to silence. We walked out of the theater. Each of us went to our cars, drove home, and didn't talk to each other for two weeks. And then, not that we were blaming each other, it's just that it was so fresh and horrible. But also, there's something about it that makes you feel so alive. I mean, you are so aware of everything. You can hear everyone breathe. You can hear your heartbeat. You can feel every bit of sweat that's going down your back. Yeah, so I think you need those times, because it certainly keeps you humble. And it's when you get back on that horse and ride it, you're much more respectful of, oh yeah, it's worth in many ways. So, how many people here have heard of hip-rub? An amazing show. And many of you here have seen the TED talk called Your Brain on Hip-rub. And when we produced the documentary called Act Social, we substantiated the scientific work of Dr. Charles Lin. He was the neuroscientist and musician who put individuals through a functional MRI machine to look at what is happening in a brain scan. What is happening when we are in a state of creativity, spontaneity, improvisation? And he found two things. The part of the brain that is suppressed is the lateral prefrontal cortex. That's the part of the brain that is responsible for self-monitoring, you know, that guardedness that we feel. Don't do this, right? The part of the brain that is activated that gets the blood and the oxygen is the medial prefrontal cortex. That's the part of the brain that is responsible for self-expression. And we all know that feeling of freedom and connection and playful mindfulness and presence that is magical and that comes alive. Interestingly, that same neurological event that happening happens in common shows. So talk to us a little bit about that show, how that got started, how you actually brought that to the stage. Yeah. How many people have improvised in an MRI? Okay. I spent an hour and a half in an MRI improvising while Dr. Lin checked out my brain. And everything Nancy says is true. What happens? Asaq Meki, the hypnotist, was taking classes at Second City and he realized what the instructors were telling him to do, you know, get out of your head, just do sort of subconscious comedy. He realized that's what I do in my act. So he thought, I wonder if I work with an improviser and we hypnotized normal people, whether that would work. So he contacted my agent and then we met and I thought, hey, this sounds insane. So let's do it. So we kind of got together and it's one of those things that you can't rehearse. So we kind of talked about it and then Second City was kind enough to let us come in after a show. And then as we're walking on, I asked Asaq a question I should have asked him weeks before. I said, oh, hey, if I asked them to do this, will they do it? And he said, I don't know. He said it depends on the subject. Some will immediately, some will just seem really stoned and some just will not respond at all. I went, okay. And then we went out and did the show. And it went well. And from that time to where we are now, it's sort of like going from Pong to Grand Theft Auto. The games we were doing originally were very simple games. And now I'm doing, I learned through this, because I thought it's just going to be traffic control for me. Just I'm going to have to sort of do everything. But it wasn't that way. It was like they were real improvisers in that they react immediately to everything Asad and I gave them, which is great. The downside is they don't have a game plan. They're not going, hey, I'll say this so we can head in this direction. They say, I'm done. They truly in the moment. That's as far as they're going. So it makes it very interesting for me trying to find a way to keep the narrative going. But it's been, it's been so exciting to work with people I don't know who are in a trance. And everything that I thought I knew about hypnotism, I realized I got from the Flintstones. It's wrong. They're aware the entire time. And when we started doing it, I would talk to them afterwards and say, so do you remember what you were doing? And they say, oh, yeah, yeah. I remember everything. It's just everything you said sounded like such a great idea. I just went with it. I thought, man, I could use that. And then there were some people, there was one guy who said, you know, I wasn't really hypnotized, but I didn't want to ruin the show. So I just went along with it. And I said, Oh, because in the scene where you proposed to me and started kissing me, you really seemed into it. And he went, what? You were hypnotized. So it's, it's been fast. What I love about it is they give suggestions or they give you things that you you can't predict. You know, when I'm working with Ryan and Brad and Wayne, even though we're improvising, I have a general feeling of where they're going to go and what's going to happen with the scene with these people. No, we were doing a scene where I'm a superhero. I'm looking for a sidekick. So I got from the audience, the Gibraltar kid. So he comes out, I go, Oh, so you're the Gibraltar kid. So what's your superpower? Are you, you become strong like a rock? Do you harden me? No, I have residency in Gibraltar. I said, what? He said, anything happens in Gibraltar, I take care of it. And I said, Well, I'm based in North America. He said, I can't work there. I don't pay for it. So it became this whole scene about how to get him someone to allow him to come to America to help fight crime with me. So, and then there was one woman who I said, what's your superpower? She said, delayed gratification. I thought there's that long legal. Okay, I mean, they're in a trance. I don't want this to get weird. I don't want it. So I thought, I'll just let that go. And I said, Oh, interesting. So I said, so if say someone is robbing a bank, what happens? She goes, Well, I go up to the bank, but I don't go in right away. It was just, it was just amazing stuff that was just totally out of nowhere and bizarre and gave me a lot to work with. And yeah, I just love it. So we're coming to the Vogue November 17th date. So yeah, lots of tour dates online. We were lucky to be there for your off Broadway sold out in New York. It's now going for a pretty heavy run in Vegas here in Vegas. Yeah, Vegas is different. So for one thing, it was 140 degrees last week. That's hot. All right. As Colin and I sit here, beside two firms, I invite you to ask, come up and please. Wow. Okay. Let me, if I may, um, brain neuroplasticity, you know, if Colin has achieved this, this ability to have, but through it through improv, a suppressed lateral prefrontal and the self expression, he has built those neurons. And from plasticity, what is the effect of living this way, living in a constantly creative improvisational mindset? Great. I've got to the fluff questions right away. About 15 years ago, my wife and I had a discussion over wine, as we usually do. And we thought, why don't we use the rules of improv in our life? So why don't we say yes, and to things that may be a little outside of our comfort zone. Maybe things we're not quite sure about and see where it takes us. The next day, we get a call from World Vision saying, we want you to go to the Congo, not one of our vacation destinations. And we were invested in this. So we said, yes. So they sent us forms saying, if you get kidnapped, we will not negotiate. That made you think a little. But we thought, no. We said, yes, and so we signed them. We went to the Congo. And this was right after Christmas. And it was one of the greatest experiences of our life. We were there to showcase certain children to get sponsored. So we would drive into the jungle every day. And we had that sign on our band that said we had no guns. Which I thought was, isn't that kind of, I was so worried that was my penis. So we went into the jungle and we met these people in incredible poverty. And we had just come from a North American Christmas, which was just insane. But these people had this incredible spirit. Remember Deb by the river with all the kids doing that? It was amazing. Meeting this little girl who we ended up sponsoring her because she was 10. And the fear was her grandmother was going to die. And when she did, they were going to marry her off to someone in the neighboring village. So not what she said. Good thing you don't need tape. Yeah. Yeah. So a 10 year old and she's and she was saying, she spoke French. So she was saying, you know, like, I'm too young to be married. I want to be a nurse. You know, she showed us her doll, which was a clothes peg, half a clothes peg that she painted a face on. And so it was heartbreaking, but also I don't know, it was just enlightening was one of the best journeys we had. And we met a lot of incredible people and people from World Vision were amazing. One guy had a fart machine that just brought so much joy. It's amazing how international. It's just amazing. So so from that, then I decided we would we do that more. We also try to listen more to each other because many times we'd have arguments and then halfway through realize we were on the same side. But somehow we had gotten screwed up. And then when our son transitioned to our daughter, that also really helped, I think, having an improv background and being able to accept and support. So I mean, I can't I can't tell you how fortunate I've been in my life that truly and I'm really I'm not being humble. There's only one thing I can do. And the fact that this show from England came and showcased that and gave me a career, I'm working, I'm making a living doing something that didn't exist when I was a kid. So I've been incredibly fortunate and it's gotten me to all these amazing places, meeting these incredible people around the world. And it also it's enriched my life because it's helped me. I mean, I still have ways to go in certain areas. But I feel like it's really helped me connect to people because I was very shy, very introverted through the success of whose line and through improv. It's really helped me make a connection able to make a connection quickly with people outside of, you know, being the incredible star I am. So improv is being really important in my life in so many ways. It's enriched my relationship with my wife, with my daughter, with my friends. So it's constantly telling people, take improv classes. You don't have to go into improv as a job. But it will make you a better person, a better listener, a better teammate, a better workmate, a better partner. There's no way you will lose anything by taking an improv class. We'll do another one. I'm mentioning Kinley. Back when your daughter was transitioning, there was a little bit of hate back to Colin on Twitter and he tweeted out, look, if my 87-year-old mother can accept this, the rest of society should too. And then he, of course, and then you followed up with something like, she does call it the BLT. Yeah, she had some learning to do. Yeah, stop the BLT mom. Please stop saying it out loud. But the connections made are real. And the formative relationships and how we are open and listening. And, you know, is there anything that you continue to work on as you unlearn? Are there things that you feel you need to do? No, I'm done. No, I mean, there's always something. I mean, as often as, you know, I've been doing this 43 years. And there's never a point walking out on stage where I think, all right, it's all going to be great. It's constantly reminding myself, I'm being in the moment, not planning, I'm concentrating my partner, I'm here to make him look good, or her, or them, and we're here to have fun. And there are some times where I forget that. So I'm constantly reminding myself that also it isn't hard. It's, I mean, it's what we all do in our lives, we improvise our lives, and our lives can be as hard as we make it. I mean, obviously, there's outside influences that can also take care of that. But when you're improvising on stage, there should be nothing except the audience and the people you're working with. And the audience is also such a major part of the whole experience, because they're giving you ideas. They, you can feel their energy when they so want you to do well with something that you've given them. And they sort of dictate also how the show goes. It's like, okay, they're not going for this, let's go this way. We were doing Zoom shows during, you know, that time. And it was great in a way. We had a great technical team. So Brad was in Vegas, I was in Toronto, we were in our basements, we had these green screens, and we could actually do things that we couldn't do on stage. And we were able to go actually into people's houses and talk to them. But we were doing a show to silence, which Brad is totally used to. A little bit of a learning curve for me. So it was also nice to remind me how important the audience is and how important it is to the success of the show. Absolutely. Absolutely. More questions. Yes, sir. A moment ago you mentioned your penis. Yes. How is it to work with TV censors here? Television censorship. When we did the show in Britain, you could pretty much do anything. People were screwing the queen. They were f-bombs. When we came to America, it was different. They decided because there wasn't a script for them to see, they put a censor in the booth to watch the show. So there was one scene where I was supposed to be in love with Greg Cruz. So towards the end of the scene, I kissed him. A voice comes over the intercom going, can you make something else up? In the scene previously, I killed three women and thrown them out a window. That was fine. It was fine. So the unfortunate thing or the fortunate thing was Drew, who was hosting the show, has a real button about censorship. Right. So the next 10 minutes was unusable and he would introduce, now we're going to play motherfucking greatest hits. So they came to an agreement, the producer and the censor. We would do the show and then after the show they would have a meeting and talk about blah, blah, blah. So there was one time after a show, Dan Patterson, the producer, came up to me and said, hello. Good news. We lost two pussies, but we got a penis. Okay. It was odd because we never knew where the line was. Obviously we knew we had to get a show out, so we weren't going to do bad language. But there was one hoedown that Ryan did and they bleeped out him saying, hey. But the audience made assumptions a thousand times worse than that word. So they seemed pretty upset with any sort of same sex love or any kind of sexual thing, really. Violence was great. The audience, however, the audiences get so upset when you kill a mime animal. And you have to go, yes, I broke the neck of a kitten, but it was nothing there. It was fake. I punted a baby, nothing. So I don't know. We had a question in the back, yes, by the post. I mean, obviously, I think that's great. I think just from an entertainment value with improv, how it's expanded into different long forms and improvise one act plays, Dungeons and Dragons, having it apply to other occupations, other fields of interest, I think can only help the world. I know it's, oh yeah, I'm going to get controversial. Things like science, I think they tend to improvise more. They're constantly trying different things. I think in government, we need a little more improv, like maybe embracing failure. Definitely using the improv skill of listening is something that I think should be mandatory if you're going to run for any kind of office. When you watch these panel shows and you just see people, just like everybody talking over each other. It's like, well, how is anything going to be, listen. And of course you're going to disagree with times, but sometimes you may surprise yourself and find yourself agreeing. My father-in-law, one of the loveliest men I've ever known, was a Reagan Republican. And we would have discussions at times about politics, and it was always respectful. And he knew I was never going to turn into a conservative, and I knew he would never become a liberal, although he had many liberal qualities. Like, he wrote poetry. No. No, but he was heavily invested in the arts. He would do extra work. He painted. He was just a lovely guy. And so we would listen to each other. And there were times we would make points and I'd go, okay, that makes sense. Financially conservative, I can see absolutely. But I feel especially now it's incredibly weird. It's just nobody's listening to each other. And the fact that if you're with the other guys, you're a traitor to the country, it's upsetting. And I don't know how to fix that, but somehow they have to find a way to just step back a bit, take a breath, and listen to each other. Certainly you can still disagree. But maybe there's a way we come to some sort of a middle, and maybe think about the country that you're supposed to be serving, as opposed to the party that you're serving. We had a wonderful plenary by a man named David Diamond. And my business mentor likes to remind me that listening is a sacrificial act. The payment of attention and that is allowing myself to be changed as a result of what I just heard. I saw him. Hello. Nick, right? Yeah, I saw the last one laughing at the show. I was just wondering how hard it is to not get that feedback of all the fellow comedians not laughing at you. For those of you who don't know, there was a show called Last One Laughing. And it's 10 comedians in a room for six hours. And the last one not to laugh wins. The weird thing is, we all kind of knew each other. I would say I knew everyone. May Martin, we were Twitter pals, and that was the first time I had met them. And John from Montreal, that was the first time I met him. So usually when you get together with comedians, it's like you talk about your horrible gigs and all the horrible things that is being in the world of comedy and everyone's laughing. So immediately you have to think, oh no, that isn't it. Two of the participants, Deborah de Givani, great stand-up, and Caroline Ray, I said to them, you're not going to make it past the intros because they love people and laugh at people all the time. And sure enough, they were gone. I think Caroline actually committed humorous suicide. She broke herself up twice. So it was, I think most of the people who ended up getting a mark against them, they did it themselves. I know because I forgot halfway through what the rules were, that you're not supposed to laugh. And we were having lunch, so I thought, oh, we're on the lunch break. And apparently we weren't. So that's when I got my, you were allowed two days. So it was very hard to concentrate, especially when it got towards the end. And I was pretty drunk. There was a working bar and ended up, there was two of us, and there were shots happening. And as the clock was ticking down, I thought, oh, we've got five minutes. I've used all my best stuff. So it was great in that it was a great mental exercise to keep in the game. But it was also horrible in that you weren't allowed to laugh at people who make a living being funny. And there was some really funny stuff that I couldn't laugh at. And I felt that, so afterwards, I would go, you know, that thing you did, that was really funny. You know, the rules of the game, I couldn't laugh at you, otherwise. Colin won that show. And with his sizable winnings, donated it to a trans camp, Northern on the Rainbow. Yeah, it's a camp called the Rainbow, where it's all for that. Okay, one more. The gentleman right there. I had a moment, a moment for me that sort of changed my outlook was the very first whose line I talked about when I did in Britain, when I sucked the air out of the room. Because I psyched myself out, thinking, oh, I'm in a different country, even though we speak the same language, we'll get my reference, blah, blah, blah, blah. So I didn't do anything. So I was really tentative and not memorable at all, and just was bad. And from that moment, I thought, why did I do that? And I sort of made a conscious decision to go for it every time, even if I had nothing, just to totally commit and do something. So even if it wasn't working for me, it would work for the people I was working with. So that was one lesson. Another lesson was Ryan Styles, don't clap. Ryan was a stand up. Not the best. I mean, his two main jokes, one was about Dolly Parton, and one was about a low budget zoo that had a picture of a giraffe. So that was not where he was going to make his mic. But most of it that, he would just kind of improvise with audience members and talk to them. But when we work together from the very beginning, and sometimes I have improvised with other stand-ups, and they have, it hasn't been great, because they're used to being the one person on stage. So they're not always, and that's his sweeping generalization. Great Proops is also a stand-up, and he's also lovely to work with. But what I learned from Ryan was, he took as much joy setting you up for a joke as he did getting the punchline. So if you, if he set you up for something, and you knew exactly where he was going for, and you did it, it was like he had just given birth. He was just so happy for that moment. And so for me, that was an important thing of, oh yeah, you don't have to come up with the killer line all the time. It is an ensemble thing. So building is generally, in fact it's probably more important than getting that line, because a lot of people can easily come up with that killer line, building it in the right way. So it's just the perfect, the perfect law where you can just smash it back. That's a skill. So I can't believe how important Ryan Styles has been in my life. He's taught me a lot about improv. He got me a wife. Not sure about the kid. No, she has a lovely nose. So, no, but Ryan has been a very important part of my life and a really good friend and given me so much obviously. And so, so yeah, so those were the two main things. And now I'm so comfortable just walking out on stage. And the only place where I am totally comfortable, because I'm with people I trust. I know what my role is in this little world that we have. And it usually works out. And even when it doesn't, it's still a win. And those are absolutes that I don't have in life. So yeah, I'm very glad improv came into my life. And I'm glad with all the people that I've worked with, because they all teach me something. I mean, when I first started doing improv, I would watch everyone who was better than me. Okay, what are they doing? Right. How can I skill that? And they kept my own. So no one knows I told them. And there were, what I love, there were people who weren't in the arts. We had an incredibly funny guy who was a cable installer. We did a playwright. So just reminding myself that I don't know everything and never will know everything and just soak up everything from the people I've worked with. And I can't lose. I just realized, like everything I said doesn't really apply to what I do on stage. Thank you. I just want to say that last night, I had the honor of having this third piece to do with people. And Colin said that improv was, I guess he said the vaudeville of vaudeville, but my friend said the vodka. Yeah, it's the vodka. It's the vodka, the vodka. You said that when you went to Britain, that you just sucked it, and you had my own skills. And so Vanessa Wilde, you may have seen with her lovely hat. Were you there? You were at a show? She today made these hats, and we have for each of you, we dare to suck hats. I want it!