Hi I'm Lauren from Marvel TV sponsored by Westbeard and today we're talking to Terry Older Ted and his new show Season 4. Season 4, yeah it just doesn't mean anything because it's never the same anyway. So I called it Season 4 because I was going to call it Terry Older Ted V2.4 but I thought that anyone would have really realized what that meant. So I just called it Season 4 taking a Mickey out of the Hell American thing because we call it series but now we call it Season 2 so it was a bit of a deal with the weather season. Sorry do you want to ask me question? No I can't ask it. So tell us a bit to show. Well it's the usual, you know the usual, that means I've got to change it. It's the, you know it's talking to my alterie goes and multi personalities and yeah and I'm also kind of looking, I mean there's no real thing to it but I'm kind of looking at the way everyone judges each other and dividing them and conquering and things about money not existing and of course double-decker buses which I'm absolutely, I've loved them since I was a kid so I've got this whole decide to talk about it a little bit but the difference with heights of Lauren's and buses. And also the We-Man band, there's a little band that I bring on. It's not here now. So yeah, I can't explain it, you know it's one of those. I hope to think that people like Andy Kaufman and Steve Martin could never explain what they did. Yeah, it's hard. I mean some people think it's ata, ata, ata, every single close, you know rubbish. Sometimes I think that as well and other people really like it. But you know people say to me I don't get what you do and that's probably because there's nothing to get. So you do a lot of all our eagles as you're saying. I'm doing one now. This is not really me. I don't know who I am. I do know who I am but. Where did this come from? Was it just a child who did different things? No, I was depressed and I kind of thought I couldn't stand this constant. You know, in a going zone. So I thought if I bring it out and put it out into a stage, basically it was like a reinvention. I used to do a routine where I talk to these two voices very briefly in a really bad joke. You know, I'm saying I was in New York and people couldn't understand my accent. And I said to the guy, could I get a medium white wine. He says we only do the one size of one, right? And then I would turn around and talk to these voices and say go back and show him the ball looks better. But anyway, I was completely depressed and I started doing stand up again after about four years and I started talking to these two voices and then saying about what I really thought of the show and then carry on like nothing had happened. Ben Norris, comedian, great comedian, you do it at the Fringe. He said what were you doing? And I being a professional, you know, I shouldn't have done that. But no, no, no, no, that's, you've got something there. So that kind of opened everything up, you know, I kind of then decided, well, because with comedy for me, it's like, it's like there's so many triggers and there's so many triggers. It's like learning keys and, you know, piano and you've got octaves and you've got notes. Same with comedy, we've all got the same things. You can't do anything else, but play it differently or do with what with that. Does that make any sense? It's not very good, similarly, or metaphor, but so that's kind of what I wanted to do. I wanted to take it and see where I could, you know, take comedy really. Yeah, yeah, yeah, yeah, yeah, yeah, yeah. What time's he going? He's mental. I shouldn't say mental. That's, you can't say that anymore, can you? Even if you are. So, I have all that you do lot of impressions and voices, what's your favourite? Like, how about every thing you do? Do you have one? Um, that's a good question, actually. Um, yeah, I like it when I, I like it when I, when I, I tell you what I do, like, I like putting an audience in a place where they feel a bit vulnerable and they feel a little bit nervous about what's going on and then relieving them. You know, I like dribbling that tension and making things up because you really, because you're really losing it here and then relieving them with something and then taking them back there again. So I like, I like to play with people. I like to, you know, play with them, but what's going on and, and, and, and use ourselves against ourselves, you know, so it's so easy to take the prejudice to people and what they, they allude to what you're saying. When they actually are not saying that and then, and then making light of that and the fact that you thought that way, do you see what I'm saying? No, I just said. It's not, if we're always in Ireland, so I go to Ireland, right? And I say, oh, it's brilliant. You know, you're all skint now, but you spend all your money on the roads, which is brilliant. I said, because you want to be like the mainland and every time I have that file, they will go, you know, and I say the mainland of Spain, France, Germany, of Europe, not the United Kingdom. You know, it's there, it's straight away. It's, that's what, but we all do it. We're all guilty of it. I'm just saying, it's the Irish. I'm, no, I'm going to get loads of Irish people waiting me, but what I'm saying, we, all, this is what I did, you see. Now I've already pre-judged other people's judgments. That's in security. That's all it is. That's all, anyway. So, who are your comedy heroes? Well, this is always a good question. It changes a lot, really. But I always think afterwards, why don't I set that person? But I love Andy Coulterman, Calfman Howard, you want to say, Steve Martin, you know, I like people like Bill Bailey and I love people like, you know, in this country, many people standing back to Lorland Hardy, obviously all of like Spike Milligan, Michael Benton, all people who were doing something a little bit differently and all turns if, you know. I like that. That's the kind of comic-side. You met Eddie Sard, didn't you? Oh, yeah, I've known Eddie for years. Yeah, we all, well, we all know each other. Some people become famous, and we all kind of work together for many years. So, yeah, but Eddie made it point in 2008. He saw me at the comedy store and he said, you know, you've got to, you've got to stop doing this. You must have done all this. You know, go on, Charles. You must build up. They will come and you will become Michael. That's what you, that's his words. You will be God-like. I've got a minute doing comedy, but that's where Eddie sees everything. He sees it to the extreme, you know. So it was really that point when he was saying to me, you know, and other people have been saying stuff, but he was a catalyst really. I've got to stop this now and I've got to go on tour and create what I want to create. Not what. When you work comedy clubs, what, your detriment is actually your professionalism, you know, because you want to get booked again, you want to earn money and you want to make the promoter happy. And that really is detrimental because you know, you know, you know what artistic performance in that. You know what I mean? You're kind of hawing yourself. You're like, or, you know, you could be really being the kids are being a hack, maybe. I don't know. I'm not saying all comics play comedy clubs are hacks. Please don't think that. But for me personally, I felt that that's what was becoming happening. And I was just be going, ABCD finished, you know. So when and where is your show? Well, it's loosely, loosely based on the show. We call it that. It's as the cabaret bar at eight o'clock in the Pleasant School yard in the finest city in Britain, Edinburgh, next to London. Thank you so much for talking. Oh, thanks for having me. I can't believe you kept me on this long. It's amazing how you can't. I always edit. This is Lauren Retchy from Marvel TV sponsored by West beer. Thanks very much. Thank you.