Al Madrigal
Appearances
The Daily Show: Ears Edition
TDS Time Machine | Baseball
Yes. It's... Aw, come on, John. It's baseball, man. I mean, I'd protest if it was any other sport, but we love baseball. It's the only sport a Latino can dream of playing in America. We're too short for basketball. We're too small for football. Too smart to strap on a pair of ice skates and let a Canadian beat the out of us. Sure. Sure. Besides dog whispering, baseball is all Latinos have left.
The Daily Show: Ears Edition
TDS Time Machine | Baseball
Are you familiar with the Battle of Chavez Ravine? During the 1950s, 3,800 Mexican immigrants were literally whipped from their homes in Los Angeles so the newly relocated Dodgers could have a stadium. And guess what they call those people today? Season ticket holders.
The Daily Show: Ears Edition
TDS Time Machine | Baseball
I'm sorry, John. I didn't realize this guy was right here.
The Daily Show: Ears Edition
TDS Time Machine | Baseball
And that's why my madrigal mystery bore of 2010 is Sex of the City 2. If I may, John, just a quick personal message for Major League Baseball Commissioner Bud Selig. Arizona's law is racist, and having the All-Star game near is total bulls**t.
The Daily Show: Ears Edition
TDS Time Machine | Baseball
How do you explain that, Al? I don't know. I like the first Sex and the City. I just thought the sequel was unnecessary. Why mess with perfection?
The Daily Show: Ears Edition
TDS Time Machine | Baseball
I wouldn't say that. I mean, players are showing solidarity in their own subtle ways. Beneath each eye, many have decided to wear thick black marks, symbolizing the dark turn in Arizona's politics. Al, baseball players always do that. Ah, but they're also going to grab their balls and spit. I believe they do that as well. No, but this time they're going to mean it.
The Daily Show: Ears Edition
TDS Time Machine | Baseball
Look, you can't keep Latinos from playing baseball. Just like the ghost from the cornfield in that movie with Kevin Costner said, if you build it, They will come. And by they, I mean hordes of Latinos. Thank you, Al. Al Madrigal, everybody. We'll be right back.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
But it really isn't a gotcha thing. You're not asking people to say anything that they haven't said. Yes, they've already said it.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
I always remember sitting down with, everybody I sat down with, I always was a nice guy. I know some correspondents had different strategies when approaching a subject, like Jones would barely talk to them.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
I go, hey, how are you? I'm Al. This is going to be a piece of cake. Now, I'm funny. You're not funny. I go, so I just need to keep it straight. So if you're going to make a joke, I'm just going to have to stop and have to redo it because I'm not going to use it. So I just would love you to speak in nice, concise chunks.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
uh who's just crushing it i'm so happy for her um it's kind of cool to see everybody go on and do things but i was here from 2012 to 2000 end of 2013 full-time and then another like half year Or half, like on and off, part-time until John left. And then I dribbled into Trevor. Just dribbling. So how did you get the gig? I don't remember.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
and just say what you're gonna say, straight answers. If I tell you to tighten something up, I'll need you to tighten it up. So you'll see me do things three or four times, I'm gonna have you do things three or four times. Then the other thing is if I ask you a question, you need to respond with,
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
the question in the answer so i've asked you what my favorite color is you say my favorite color is blue okay so you have to use it later yes i guess i have to use it later without me in it and uh yeah then i would go on and there was a couple more and then at the end of a piece we'd always go okay just a couple wild lines can you say these for me right maybe right i just yeah
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
I think just because of how it magically came together. When you do a field piece, you go and you have a joke session. You try to anticipate what people are going to do. I did a lot of fun. I mean, top five, definitely Latinos in Austin, Texas. All these, by the way, still hold up. where my second one was Tucson Michael Hicks, who passed away that... Tucson was the book ban?
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
That was Chicano Studies ban. Yeah, yeah. That was a great one. That got national news, and that was my second piece.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
I spoke to the school board member named Michael Hicks, and he said, what was it?
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
Yeah, yeah.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
Yeah, teach me about slavery without being like, yeah. He just dug himself in such a major hole.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
He got in trouble for it.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
Chicken boxing was ridiculous.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
I got the gig because, and this is a be nice to everyone you meet thing. I got the gig because a guy hit me up to do a guest set on a show in Miami at the Coconut Grove Improv, which was an insane comedy club. Go around the country from 2005, 2004 till 2010. That's how I made a living primarily. I was acting in some TV shows, but I would do stand up on the road.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
I'm going to stop you right there.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
Chicken boxing was in Appaloosa with Burger. And they were trying to ban... No, they did ban. They did ban cockfighting. And now guys were trying to introduce chicken boxing and they made little gloves. And I went out to the park here.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
We were deep.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
That was crazy. That was crazy. And I was out with these guys on, clearly they were training roosters due to cockfighting. And they put, it's horrible, they put razor blades on their claws and they're vicious. They're like training pit bulls or anything like that. And I go, hey man, to the side, I go, if this was real, which one of these roosters would win? And he goes, if it was real...
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
Like it is real. Like an idiot. And then me and Berger were on traffic on our way to the cockfighting ring. And this dude looks at me and I'm a Latino in a suit in a rental car and looks at me, looks at me in the eyes and starts running at the car. And I go, burger, burger, go, go, go! There's been a couple moments where I've been like, we're gonna die right now.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
Richmond, Virginia, at Barack Obama announcing he was gonna run again, I think, on Cinco de Mayo.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
Those misdirect.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
And it turns out these Obama supporters love Latinos. And just as much as they love drinking.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
There was a time that I went out with Stu Miller to Phoenix, and the guy we lined up wouldn't speak to us. Oh, he bailed at the last minute. Bailed at the very last second. Yeah, that's happened a few times. And we were like, he's not coming. And then we just had to improvise and we joined a rally. And I remember riffing, John, my Spanish is a little rusty.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
But what I think he said was, you know, it's like.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
The guy does his whole thing in Spanish, and then you just... The guy speaks, he says, heartfelt in Spanish to the camera. It's a political rally. Yeah, we're hardworking people, and we just... And this is SB 1070, right? It was like, yeah. And he said, we're hardworking people. We really don't deserve to be villainized.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
And we don't have the subtitle, so if you don't speak Spanish, you don't know what he's saying. Yeah, and then I go... John, my Spanish is a little rusty, but I think what he just said was about his girlfriend. Yeah, that he cheated on his girlfriend.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
And people hit you up for guest sets. The guy that hit me up was Adam Lowitt, a comedian from Florida who was going to be there at the time, who was also a producer at The Daily Show. He went on to be an executive producer. He's done many incredible things. He's in L.A. now? In L.A. with two wonderful children and his wife. And we're still closed and stay in touch.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
Second generation half Mexican from San Francisco. And I think when you look back at all the pieces, which was a lot, a lot of them unfortunately still hold up. I think I did a good job of... Representing the fact that no one can represent all Latinos because I've said that multiple times. So going on and saying there's no one repping all Latinos.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
There's that person doesn't exist because we can't agree on anything. And that is very true to this day. So, you know, they make funny if you don't speak Spanish, but then when you don't do speak Spanish and you don't pronounce things properly, then you're really fucked because there's no winning. So I think I was very clear about that from day one.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
But I remember doing a press for the movie Night School with Kevin Hart. And Tiffany Addish. And it was me, Fat Joe, and Kevin Hart doing Miami Press. And Kevin Hart. They're all expecting you to speak Spanish. Kevin Hart looks at me and he goes, wait a second, you don't speak Spanish?
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
He started cracking up. He thought it was the funniest thing. He's like, I speak more Spanish than you do. I'm like, I don't know. What? You think I'm going to turn down a free trip to Miami to hang out with Fat Joe and Kevin Hart? No.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
They let me do some very silly, weird shit.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
Who will be the last? What are the last five states? And he goes, well, I think it's going to be the deep state, the deep south and the deep state. I think it's going to be the deep south.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
And that was the thing is that had we been in this deep – I'm going to cut you off, but we were in those two cities, and that affected the piece, and we had no idea. But keep going. Right, because then you went out. To Waffle Houses.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
But he hit me up for a guest set. Then he hit me up for when I was in New York for another guest set. Then he hit me up for another guest set. So this is like guest sets over years. Right. And then finally, when we're at Caroline's in New York, he said, you know, I think it was my act was sort of skewing this way. And he goes, you'd make a great Latino correspondent. Right.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
Everywhere they went, no one cared at all. And actually in- In the Waffle House, they applauded when he proposed. They applauded and a little boy said, you can't do that here, but not yet, but you can do it here, here, here, here, here, here, and here. And he rattled off all the states where you could get legally married. Oh, I didn't know that. And then they would applaud.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
And then I had a very interesting conversation with a guy next to me who I was waiting in the Waffle House because I'm in this was when Obamacare was coming out. But he told me his wife was a waitress. He was waiting for her to get off her shift. And she made $2.67 per hour. And then they let her keep her tips. And then he was anti-Obamacare. But they didn't have health care at the Waffle House.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
And I'm like, but you see how this can help you. So I just remember that.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
And that's why I just really wish we could have some sort of... secure nationwide voting on major issues like that. Yeah, referendums. Let's talk about guns. Like, all right, who wants, you know, rifles to exist for hunting? And then let's get rid of automatic weapons. Right, right. Do we need those? We don't.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
It's like 80%. Yeah, it's nuts.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
He goes, I know just how to pitch it. So we waited for a dark week, which the show has weeks on and weeks off. It's very difficult to do a daily show like they do. It's amazing that John did it as long as he did. And we're going to do it the Thursday of a dark week when he's in. A working dark week, yeah. A working dark week. So we have Hallie Hagelin, who was a newish writer at the time.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
Thank you. Thank you.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
She's gone on to be EP of things and rose to the ranks here and is very, very funny. So Hallie Lowett and I, we write this piece on Debbie Riddle, who's a congresswoman from Texas who won it, and it's amazing. how this is in 2011 and nothing has changed she wanted to establish a group of non-US citizens like a second class of citizen that could work as home care workers so nannies gardeners
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
Thank you.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
Thank you.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
and anyone else that you'd want, some sort of Latino taking care of your things so that they could work without employment laws. So you wouldn't have to pay them minimum wages or anything like that. And then this was in Texas, so we did that piece.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
that got changed so we rewrote it and i auditioned and it went well john took me over here where i was sort of waiting in one of these little side guest rooms and said congratulations uh and get ready for a lifestyle of women and drugs i'll never forget that no John Oliver, he always used to give you a great impression of people at Daily Show conventions.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
And so I came in full time. I had a nine-year-old and six-year-old, I think, when I got the gig.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
And they're in Los Angeles. And you're not moving them. I flew back and forth. My nine-year-old or whatever he is at the time said, I said, we got a great job and I got a great job and it's going to be a good money for the family, a good opportunity. I said opportunity and he didn't get it. And then I said, good money. It can lead to other things. It's a great job.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
And I said, we might need to move to New York. And he just got into a new school and made friends. And he was at that age where friendships really started to form. And he really did look at me and he goes, what if. You went. And we stayed here. And that's what happened for two and a half years is I flew back and forth and back and forth. And then I'd go do field pieces.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
In 2012, I think I tied a record for John Oliver field pieces. And mine was in a non... Like, I guess I... Because that was a convention year. But I tied a record for field pieces. I was out on the road constantly. So when I wasn't flying home, I was flying for the show. And, I mean... A lot of miles. John Hodgman and Loewen and I would go out and do stand-up. I've got to text John Hodgman.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
He's one of my favorite people. So I would go on the road with Hodgman and just had the best time. But I was missing my family terribly. And I was missing so many... of the kids' functions. You know, it's such an important time in their life. And I was, you know, if ever had to go two or three weeks without seeing them, I was just absolutely devastated.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
And I was sleeping under my desk because I would take red eyes, which is... The worst. The absolute worst. You'd never want to take a red eye ever. If you can avoid it at all costs. It sets me back for like two days after that. So I felt like during my time here, I was never really operating at 100%. Yeah. And I was, you know, it's like one of those regrets thing.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
I probably should have just moved everybody out. I also did something really stupid and I moved to Dumbo in Brooklyn. I could have just walked to the show. That would have been the smartest thing. I had my buddy who I grew up with who had a place and that seemed to make sense to me. But I never should have committed to anything. I should have lived a block away.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
I should have been here for every single morning meeting. Like the dad in me talking to my son, who's now 22, living in San Francisco. It's like first guy there, last guy to leave. Like I didn't know any of that. And here I am, a 40-year-old man, and I know my work ethic is amazing and I do a lot of things, but I should have been here very first thing.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
And I also was given bad advice from the existing correspondents because- Like Monvi rolled in at 1 p.m. every day. Jones and like I was we were getting advice from people that had just been here. Yeah. Barely were in the building. Right. And I should have just been at that morning meet. I had nothing else going on. I didn't have a kid. I was trying to get ready for school or anything like that.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
There was no excuse for me not to be here showered with a pen in my hand ready to go. Right. And that's what I would have done over again. It would be a different situation. But, again, I just love, love, loved my time here even considering. But at some point it came to an end because a lot of celebrities and famous people come to – this, uh, show.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
And I remember, um, Rory, who was the EP and John's, you know, right-hand person at the time and, um, Albanese, he pawned off Jason Kadams and Kathy Kadams on me and Jason Kadams from Friday Night Lights, um, And we were maybe with you editing a piece. The correspondent goes and sits in the edit. And I was showing them how we did a piece.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
I believe it was the Bridge to Nowhere, the Canadian Bridge thing that I did with Berger.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
And it really was fun.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
Yeah, so we are doing that, and he comes in. I meet Jason Kadams. He has a TV show called About a Boy. And cast me in it. I'm pretty confident that NBC, like, he just insisted that I was in it. I auditioned four times. Like, are you sure? Yeah, yeah, yeah, yeah, yeah. The guy just gave me this great gig.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
How are you? When you say long time, exactly how long have you been here? Because I know you keep track.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
So then I got to, I went to John, I'm like, who had kids, I think has kids exactly my children's age. And I went to him.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
Yeah, 22 and 19. Yeah, yeah, yeah. So I went to John. I go, I miss my children terribly, and I need to go. And I really wasn't here for very, very long. You know, I was always telling other correspondents.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
After that. But I was always telling new correspondents when they came in because I had a little bit of crossover with Roy and with Ronnie and Desi and definitely Klepper. and Hasan, I would always tell him, like, stay on the show for 100-plus episodes. That's where you start to really get recognized, and I just couldn't. I couldn't. I was desperate to hang out with my wife and kids.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
I'm not good on the road. I love stand-up. That's why I got in this. I just don't love...
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
flights with connections i don't love hotel soaps that's what i bonded with john stewart over yeah i was i think john had that in his background i think let's think about it am i the only i know there's been other stand-up comics but why it was more alternative john oliver was a little bit more skewed more alternative i'm like the only club comic Other than Jon Stewart. Ronnie doesn't count. Roy.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
Roy Wood Jr.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
He's Australian. Who knows what's going on over there? What are they doing?
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
Oh, my gosh. Roy. Roy, he's one of the best people. Yeah. Roy. Ronnie's a major comic with three Netflix specials. I'm just talking about in terms of American clubs coming up. I think it's just me, Roy, and John.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
Because for a while, I think you would call, as a joke, all jokes, we'd call John the new guy. And he had been here for like 16 years. Yeah. And we became, I mean, as you do in the field department, which is where I did a lot of work when I was here, because I was here from the years of 2011. I believe I started full time at the beginning of 2012, shared an office with Jessica Williams.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
Sketch, improv, acting. I still have Rob Riggle gave me his Colbert notes to come in.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
Well, I would pass those on then to every single person. I think I was just texting with Costa and Ronnie. Was it 14? I just texted it to these guys. I'll read them to you right now. I was on a TV show with Rob Riggle called Gary Unmarried. He played Jay Moore's brother. I've been on so many sitcoms. You have no idea. Let's see. Ronnie... And Costa. Okay. This is the list.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
So this is from Rob Riggle. This is an email that I just read.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
The original Colbert notes that he passed on. He gave to Riggle. I asked Riggle for. He gave them to me, and then I've since passed them to Ronnie, Roy, Klepper, and then they've gone and passed them on. I know Desi has them. Amazing. Yeah. And they still hold up. Hey, Al, so I found Colbert's notes for me on things to think about when doing a field piece. Number one, do we want to be saying this?
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
Burn tape. Tape is cheap. Keep talking and keep them talking. Two, break up questions. Don't let them see where you're going. Three, play the silence. Four, match energy with subject. Five, discover things in the moment. Be aware of when those discoveries happen. Six, always be asking yourself, what's my point of view on this subject? Seven, you have to think it's funny.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
Find a way to make that happen. Eight, get clear on three to five things you want your subject to say and don't let them leave until you get them. That's very important. Nine, understand the real point. What's behind all of this? What are you saying? And that was like when I was here on the show. I think there was a shift. It's like we didn't want to just be making fun of things.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
It's easy just to shoot down. You want to also post solutions. And then 10 characters key. Understand your point of view on the issue and you will be able to react spontaneously in the moment. That's it, bro. These were the tips.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
Oh, yeah. That's right. Gave me when I started, and they helped. Hope they help you. All the best, Riggle. Yep, so that's it. And then I learned a couple other ones. I remember Riggle told me, whatever you do, don't let Stu Miller drive. These guys don't have cars. We go out there and they've got a rental car and they're in Manhattan. I'm like, what are you doing?
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
This is like an eight-point turn. Just get out of the car. That's hilarious. None of them know how to drive. And then if they're in Manhattan without a vehicle, it's crazy. So it's just like, give me the keys. I'll drive. I'm not going to do this. And then what was the other one that was just hilarious? It was Check Your Soul at the Door. Oh, John Oliver grabbed me. This is day one.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
He goes, I'm going to tell you the only thing you really need to know. He goes, always live in the edit. Yeah. So you could be sitting there. If you think of something witty that was from 15 minutes ago. Just do it. Just do it and we can put it in. Right. So, you know, good field pieces are made when I say something, they say something, and then I say something back. That's funny.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
And so there has to be this exchange and back and forth. So you're always searching to cobble together as many of those moments as you possibly can.
The Daily Show: Ears Edition
Behind the Show | Al Madrigal on What Makes a Great Field Piece
You're the cobbler.