Bert Kreischer’s Netflix Special Secrets: Hollywood Gold Rush and Wife’s Sex Joke Note

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“I’m a glass half-full motherfucker,” says Bert Kreischer.

As a movie enthusiast, I could almost imagine him grinning over the phone as he talks about his forthcoming Netflix special, “Lucky.” The fitting title, “Lucky,” spans an hour where this former wild child, now family man, reflects on his blessings.

Immediately following my heartfelt expression of gratitude towards my fans, I found myself walking in the bustling streets of Los Angeles. Suddenly, during an interview, I felt compelled to pause and snap a selfie with a delighted stranger who happened to cross my path. (“This is insane!” he exclaimed, his voice echoing over the phone line.)

Kreischer’s fourth special for Netflix, titled “Special,” premieres on March 18. This comedy show delves into tales about his family – his wife and daughters – that can be endearingly sweet one moment, crudely funny the next, and surprisingly both at once.

Kreischer’s fourth special for Netflix, called “Special,” will start streaming on March 18. It offers a unique blend of heartfelt and vulgar stories about his family – his wife and daughters – that can make you laugh one minute and tug at your heartstrings the next.

Beyond expressing gratitude for his family, Kreischer also feels profoundly blessed to be alive and employed at this moment. When questioned about the current state of the industry, he shares with EbMaster that the world of TV and films is poised for an extraordinary expansion in Hollywood, an exciting and unpredictable growth spurt.

There’s not much optimism for the entertainment industry nowadays, but Kreischer feels that comedians are stepping into a time of financial autonomy and creative liberty. He enthusiastically endorses his fellow comedy friends such as Tom Segura and Shane Gillis, and their projects, which he praises as being free from any studio interference.

Kreischer states that we’re experiencing a boom in comedy, likening it to the Gold Rush. He sees a wealth of prospects in Hollywood for everyone, as they seem poised to arrive soon.

In a comprehensive interview filled with insightful discussions, Kreischer shares thoughts on political humor, his refusal to perform at corporate events, and the single piece of advice his wife offered regarding his use of sex-related jokes.

Upon viewing your special, it caught my attention that some men were not wearing shirts in the audience.

The incident began when I was involved with clubs. Men would remove their shirts during performances and watch without any clothing. During my third performance at Red Rocks, we had a camera that focused on men in the same way as it did women, by filming them while they removed their shirts, or a kiss cam. We continued this practice throughout our arena tour – we would only highlight large men who then took off their shirts. No woman was ever captured by the camera.

You’ve created a monster.

I deeply admired Jimmy Buffett. We’d attend his concerts, and there was always an exciting atmosphere as the crowd would come together in a unique way. It was intriguing to witness fans dressing up extravagantly. To be honest, I never imagined that my experience would become as significant as it did, but it’s quite fascinating to see a group of larger men embracing body positivity and confidently removing their shirts. These are individuals who typically wear a shirt even when swimming, you understand.

It seems as if you manage to unearth aspects of these men, some of whom are married and attend your performances with their spouses, which typically remain hidden or unnoticed.

I’d like to understand my brand more deeply. It’s tricky to spot the woodlands from within. I believe I grant them the liberty to celebrate. That sounds great for a tour – “Liberty to Celebrate.” That’s an exceptionally good name for a tour. I think I just named my upcoming tour. I’ve always been the guy at children’s parties where dads will approach me and say, “If you crack open a beer, we can all have a beer.” I’m also shamelessly devoted to my wife. Being faithful to your spouse is incredibly rad. These guys [my fans] are men who feel fortunate to be with their partners, grateful for the lives they lead, and proud of their children. And that one night is the night to let loose.

On one occasion, I strolled through Savannah, Georgia prior to performing at the Enmarket Arena, and I stumbled upon my enthusiastic supporters celebrating before the concert by the river. It left me green with envy! I couldn’t help but think, “Man, I wish I could join them!” I believe they sensed my longing. I have a soft spot for getting deeply involved in something and being passionate about it. I get excited when I discover something new and then develop an intense fascination with it, like, “Guys, have you heard of the Red Clay Strays? They’re coming to town, and they’re going to be your next favorite band.” I make sure my friends and team, including Shane Gillis, Mark Normand, Big Jay Oakerson, my wife, and several others, join me. I secure tickets for all of us. We attended Jimmy Buffet, Goose, and Wilco concerts together. In a nutshell, I’m fortunate to have fans who share my enthusiasm.

I noticed you picked a Red Clay Strays song to close the special.

I’m close pals with the musicians who perform that opening tune. I discovered them before they became popular, and we’ve been friends ever since. They came over to my place for a party and played some tunes. I even managed to gather a large crowd to watch them live at the Troubadour. Those lads are incredibly talented, and I’ve grown quite fond of their band.

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Does it ever strike you that people who are into music might aspire to be musicians or actors, and vice versa? Is this something you can relate to when you attend a live performance?

I sure do appreciate having a well-prepared setlist that consistently delights the audience, rather than fretting over material at the Comedy Store. With time, you can perform your best jokes again and again, much like Creed filling stadiums now. It’s funny, but deep down, every comedian aspires to be a rock star – craving respect and allure. Yet, the most attractive aspect of us is our unattractiveness – we’re goofballs at heart.

To start off the performance, you dramatically take off your shirt and toss it up into the air. It amazingly lands right on the microphone stand. Can you tell me how often this trick worked successfully compared to when it didn’t during the tour?

The outfit never worked as planned. That’s why you can see the excitement radiating from my face. We had an outlandish suit tailored because I realized that in all of my special performances, I was wearing the same thing – jeans and no shirt, which made them indistinguishable. Netflix tried to market my specials with different outfits on the thumbnails to attract viewers, but I’d still be wearing jeans. So, I decided to have a flashy Versace suit made in Miami style instead.

How much did that influence your decision on what taping to use?

That performance was unique, and if I’m correct, we utilized every bit of the stage from that show. With humor, there’s an element of enchantment – that’s why interacting with the audience is thrilling. When my shirt accidentally landed on the microphone, it caused quite a commotion. We have one taping where someone had a medical incident, so we won’t be using that recording…

In the comedy profession, making fun of your family is often a part of the role. When creating humor based on your spouse and children, do you discuss these ideas with them beforehand? Are there boundaries you avoid crossing? I’m particularly curious about the limits regarding sexual jokes involving your wife, LeeAnn.

In all my work, I’m aiming for my daughters and wife to appreciate it. LeeAnn observed a few instances of it and clearly took notes. As I performed this material, there was a particular moment in my act that felt less light-hearted. It wasn’t hitting the mark, and she had suggested I add a mischievous grin. She said, “Just a hint of roguishness would do. You’re overdoing it so much that you’re losing that spark. Recall how you did it initially.

In what manner is material composed? Is there a note saved on your phone for jotting down observations?

I’m more of a traditional writer who prefers putting thoughts on paper rather than a screen. There’s something about being on a plane, sipping a drink, and scribbling during takeoff that appeals to me greatly. I have specific types of books and pens I favor, with the Pilot Gelly Roll 08 being my top choice. In the past, I’d carry that book everywhere I went, but nowadays, my phone does the trick. I have a section labeled “New Material” in my notes app, which is filled with over 20 pages of things that make me laugh. For example, recently I spoke to someone who mentioned they visited Paris, and when I asked about their experiences, he said Disneyland Paris was amazing. My response? “What the hell? Who goes to Disneyland in PARIS?” So, I jot down those kinds of interactions. When crafting a story, I might incorporate these little observations to add depth. Essentially, they serve as a collection of spices that I can use to flavor my work.

In terms of humor that ranges from pure to impure, it’s clear you lean more towards the impure side. Have you ever performed at corporate events?

I’m not inclined towards doing something like that. It doesn’t appeal to me. I dislike being ordered around. My wife might agree that I have certain less desirable habits, and I’ve struggled with employment issues in the past. I don’t work well under the direction of a group of wealthy individuals.

Jim Gaffigan has said that rich people are the worst audience. That they never laugh.

I once performed at a corporate event in Aspen, a time when finances were tight. The pay was $25,000, a substantial sum then, enough to cover expenses for several months. It was for a hedge fund, and upon arrival, they inquired about my watch. I attempted some jokes about it, but a man in the front row interrupted, suggesting I simply mention “The Machine” and let’s go party. So I delivered 12 minutes of material, mentioned “The Machine,” and we headed to a bar for quite a night out. On a different occasion, I performed for Palantir, a startup at the time, who paid me $5,000. I walked in, roasted them for an hour, and it was a memorable gig.

You should ask for equity when you do these corporate gigs.

As a movie critic, let me share my experience: Two gentlemen, Peter Thiel and Trey (can’t quite recall his full name), invited me for an evening of cigar smoking and whiskey drinking. I must admit, I was clueless about Palantir at the time they mentioned it. We conversed about securities, or so it seemed to me.

How about performing overseas? I’ve chatted with a few comedians who’ve performed in nations that are cautious regarding specific content.

I’ve got an upcoming gig in Abu Dhabi that seems intriguing, but there’s a dress code – no shirt removal. I’m concerned about my self-control because comedians often have this rebellious streak. If you tell me not to do something, I might just feel compelled to push the boundaries. Or it could lead to some tension with the event staff. However, every other international gig… Dublin stands out as my best performance ever. It’s amazing how connected the world feels nowadays. Netflix has revolutionized comedy, making audiences in Dublin resemble someone from Omaha, but with a distinctive accent. Greece was a bit unusual though.

Why?

Preparing for my “Razzle Dazzle” performance, I encountered an unfunny joke involving a peculiar scenario about knots in my hair – yes, my behind’s hair. I tried it out in Greece, and it was as if I were reciting scripture. The audience was utterly captivated. This made the joke more effective because they truly felt the humor.

Do you ever still bomb? Or is that experience basically obsolete for you?

It isn’t necessary for me to resort to using jokes or tricks if I choose not to. At times, it can be beneficial to avoid relying on such tactics that guarantee success. Chris Rock serves as a great illustration of this approach. Unlike many comedians who use techniques like preaching, pacing the stage, and dramatic introductions like “Let me tell you something!”, when Chris Rock tests new material, he opts for a more straightforward delivery, almost as if he’s reading from a script, to determine whether the material resonates with his audience. Similarly, I plan to emulate this method by testing jokes and stories that may not initially work, committing to telling them in their entirety to see if there’s any potential hidden value in them.

Do you ever go to alt comedy rooms and find that it’s more of a challenge for you?

Absolutely, I’ve been away from it for some time now. Truth be told, I often ponder about my potential success in those alternative comedy spaces because I’m a storyteller at heart, and that style seems more fitting for such venues. Places like Largo, UCB, or Typewriter Dynasty feel more accommodating to my narrative-driven humor. In contrast, the Comedy Store is typically filled with comedians doing crowd work and the setup-punchline routine, which can sometimes make my storytelling style a bit perplexing for the audience. I’ve always been curious about how I’d fare in those environments, but honestly, I haven’t had many opportunities to find out.

In the special, you cleverly inserted a comment about women’s reproductive rights into a joke that included the phrase “stinky pussy challenge.” I found it impressive. Do you think political comedy could potentially limit your reach as a comedian with such a wide audience, or is this something you enjoy exploring?

In the special, you seamlessly blended a comment about women’s reproductive rights into a joke that had the phrase “stinky pussy challenge,” which I thought was clever. Is political comedy a potential drawback for comedians like you with a diverse audience, or is this something you find enjoyable to delve into?

I have no issues sharing my identity with you. I prefer not to discuss politics during my performance, as I don’t want to make anyone uncomfortable or lose their interest. However, I am happy to share that I am a father of two girls, I support women’s rights, and I own a few guns. While I won’t use the stage to promote my political views on the NRA, I might share a story about owning a gun or make a joke related to it. Similarly, I may address some humorously controversial topics like feminism or abortion, but always with a touch of humor. If you start delivering a political sermon on stage, I might lose focus. I find it more engaging when I can assume a comedian’s political views, and I try to keep my comedy away from politics, but I won’t shy away from it if the situation calls for it.

I heard that you send a custom Bert Kreischer calendar to people around Hollywood. Is that true?

I do.

What’s in there?

It’s all my sexy pictures. I’ll get you one if you want.

I’m intrigued. What is the vibe around Hollywood these days, in terms of pitching projects?

Currently, there’s a surge in creativity within the entertainment industry, particularly in Hollywood. Traditional methods of producing TV shows and movies are being reimagined, and platforms like Netflix are investing relatively small sums, such as $250,000 for most stand-up specials, but reaping substantial returns. This has sparked a shift in thinking among producers, with the question: “Can we give artists more creative freedom?” and “Is it possible to produce movies that were once $35 million for just $7 million?” The excitement is palpable as I find myself fortunate to be part of this transformative era. TV and movie production are on the brink of an explosive growth, one that promises to be thrilling yet chaotic. Instead of heading to the box office, it seems we’ll be seeing more content from streaming services. Shane Gillis’ Netflix show “Tires” is a prime example of this trend, having been made on a shoestring budget and turning out to be an excellent series. With Gillis being hailed as one of the most talented comedic actors of our time, others like Theo Von, Nate Bargatze, and Dan Soder are also attracting attention. It’s an exciting prospect to witness emerging talents like Ralph Barbosa in their first movie, or René Vaca in their debut TV show, as they explore new opportunities in this rapidly evolving landscape.

They plan to grant more autonomy to comic creators. As for us comics, we don’t necessitate huge financial gains. We can generate income through live performances. Our primary goal is to cater to our audience. Just consider the evolution of radio and podcasting – Joe Rogan, in my viewpoint, now controls media significantly. His impact on an election was substantial, and that was achieved with a relatively small investment of $800 on a Zoom recorder and two microphones. This transformation of the media landscape has been remarkable, and I believe a similar shift is imminent for film and television.

It seems like your view is that the newer wave of comedic talent won’t grace the big screen, instead opting for streaming platforms.

Or, in a more conversational tone: Aren’t you thinking these fresh comedic actors won’t appear on movie screens anymore? They’re all about streaming now.

Hey there, it seems unlikely that you’ll be able to attract a large number of people to movie theaters without some major events. To fill those seats, I suggest you consider bringing in actors like Will Ferrell, Danny McBride, Shaquille O’Neal, and Shane Gillis. I’ve had a film released at the box office before, and even I prefer to wait until it becomes available for streaming. I have a home theater setup, so I’d rather watch it there myself!

Netflix offers an excellent platform for content release due to its hands-off approach. Comedian Tom Segura has an upcoming project slated for release around April, which, if my memory serves me right, was not interfered with by Netflix. It promises to be absolutely outrageous! As for “Tires”, it bears the distinct touch of Shane and John McKeever. The content doesn’t seem to be influenced by network guidelines; instead, it appears as though a group of friends are trying to make each other laugh. I believe this is where comedy is headed.

You think we’re in a comedic renaissance?

Oh yes. Stand-up comedy right now is where it was when Steve Martin, Richard Pryor, Sam Kinison, Andrew Dice Clay were making specials, right before they took over the box office. Look at all the great specials that have come out recently. Hollywood producers are getting younger and younger every day, and they’re enjoying these comedic voices. They’re going to be like, “How do I get you to do your thing for me?”

Given that nearly every comedian has their own podcast nowadays, do you believe that you all might hold more power in negotiations with production studios since you each possess your unique distribution platform?

Financial independence is something I’ve achieved through my podcast, earning more than what I would from a series regular role at CBS. This newfound freedom allows me to turn down projects I’m not interested in, like I could say “No, thank you” to a project I don’t like. In the past, if I took on a movie role, I’d spend 12 weeks shooting only four scenes for $70,000. But now, thanks to podcasts, comedians have the financial flexibility to choose their projects. Touring works similarly. Take Stavvy [Stavros Halkias] for example; his podcast has been earning him money through Patreon for a decade, even before he was well-known. Now, he can say, “I want to make a movie, and I’ll fund it myself.” The same goes for comedians like Theo Von and David Spade. They couldn’t find a studio to back their movie idea, so they decided to finance it themselves. That’s the kind of money podcasts generate.

This interview has been edited and condensed.

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2025-02-25 19:19