His material is often considered rule-breaking, but he may tell you that he’s only showing you how the other side laughs.
For many years, Nick Callas has built a loyal following with his hilarious, heartfelt, and occasionally cringeworthy moments of self-reflection. The NYC native who began his comedy career at the age of 17 is not one to shy away from entertaining the masses on the world’s biggest stages. On Television, Nick starred in Music Choice’s Questionable Choices and was featured on NY’s Funniest for NBC’s SeeSo, as well as in pilots for Eko and Snapchat. Nick hosted MTV’s One Shining Moment and starred as a lead actor in multiple shorts featured in San Francisco’s International Film Festival. His impressions, original characters, and physical comedy have landed him multiple 8H SNL SCREEN TESTS, and he has created digital shorts for Comedy Central and Cracked. In the past, he’s shared the stage with some of comedy’s biggest names, including Colin Jost, Dana Carvey, and Tracy Morgan.
In his latest comedy special, Wolf Pup, Callas gets deep and dirty about gender, identity politics, God, tech, divorce, and relationships.
Recently, We Own The Laughs’ Tyson Paul had an opportunity to sit down and chat with Nick to discuss the process of creating a comedy special, why he stayed original, and share his thoughts on the current state of comedy.
Growing up, was there a specific type of stand-up comedy that you connected with, leading to significant experiences throughout your career?
As a kid, I was blown away by very physical, high-energy, and performative stand-up comics. I always loved Jim Carrey, Dean Cook, Godfrey Martin Lawrence, Eddie Griffin, and Eddie Murphy. Anyone who showed instead of told resonated with me.
You, by far, have one of the most unique titles for a special in the history of comedy. How did you decide on “Wolf Pup?”
(Laughs), Well, the long story is that I wanted to be a comic book artist until I was 17 and started doing stand-up, and there was this superhero I created whose symbol was the wolf logo that’s tatted on my chest and that you see in the special and all over my page. I used to draw that everywhere, the wolf whose ears form falcon wings, the character had instinct-based superpowers- anyway, there was a bit that I was working on that compared single men to wolves, it ultimately didn’t make the hour, but ironically, but it’s where most of the rest of the special came out of.
Were there other titles that you had in mind during the process?
Yes, I almost went with Thinker Dynamic, To Be Totally Honest, Super Saiyan, and Dave Chappelle Live in Texas.
Were you inspired by any comedy specials from legendary stand-up comedians that you used to help put together “Wolf Pup?”
Yeah, for sure. Most of all Jim Carrey’s Unnatural Act, and Louis CK Shameless. Also the music of the Arctic Monkeys and Robliefield’s 1990’s page layouts.
We’re in this era right now where many comics believe that comedy specials are no longer “special.” Some comedians record every set they have and immediately post it to YouTube, or some don’t tape material even though they should, or they’re great. They just don’t get that opportunity. What are your thoughts on this visual era of comedy?
Specials aren’t unique anymore. But it’s because comedians aren’t special anymore. It’s not the specials that are really the issue. That’s the tip of the iceberg and what we see. It’s not that there’s a stand-up fatigue either, or anything like that. I hate to say this; it’s going to sound so evil but (Laughs, there’s a surplus of mislabeled “comics” putting out work, self-ascribing as professionals, and beckoning attention, who are simply…NOT. There is no barrier to entry to becoming a stand-up comedian. And so many of the natural safeguards that protected the art form from poor agents have dissolved. In some ways, it’s great, but in most, it’s bad because the cream used to rise to the top (for the most part) through a sort of natural selection. Now, anyone can film their set at a bringer show at one of the top clubs, where they essentially paid the club to perform, then upload short clips to social media where for any number of factors that aren’t craft, practice, or skill, they can gain clout, and as far as optics and distal attention is concerned, they can skip the line. But what’s missing is what the best of the best have always had to have to gain the same aforementioned clout; IT.
In short, specials aren’t less special, the pool of comedians is overflowing with wack emcees.
Your audience interaction during the special really stood out to me. How would you describe your relationship to a stand-up audience?
I’d say they’re my co-pilots. Or my bandmates. It’s a misconception that the comic is entirely in control, or the only leader, it’s both of us. Ideally, the crowd has just as much input on how the show is going and, in some cases, contextually where it goes. The only difference is that our agreement is that I’m the one who can speak uninterrupted, and if at all, they can talk in spontaneous, motivated chirps, assuming they know it’s almost always inappropriate to do so. So when that silent contract between us is implicit, we’re off to the races, and our relationship is as follows: I walk us through my flexible plan of entertaining comedy, and you point out anything more exciting or scarier than even I prepared for along the way. And together we create a show that is uniquely our own and authored by both of us. We’re collaborating, you’re just using the volume tone and length of your laughs to show me how the story should be best catered to you.
As for form, the element of the filmmaking behind the special I hoped would illuminate what I just explained about my relationship to the crowd is the comic book style panels that pop up to show the audience members I’m speaking to or about when they become involved. To my knowledge, I invited that (flex), and it hasn’t been done before; I think it’s really effective and will likely catch on, so people should check it out so they know I’M THE MASTERMIND WHO CREATED IT. MUAHAHAHA!
Could you tell me about your writing/performing process when producing a comedy special? Do you have structure or a story flow in mind before you get onstage, or does it take shape in front of the audience? Do you worry that your material will be affected by short views and clickbait?
Generally, when I’m developing material, I start with just an idea, a single joke, a visual of an interaction between two characters, or a stance on an argument. I go up with very little written or structured and try to perform my explanation of it. Little by little, things start to coalesce, and Before I know it, I have some semblance of a bit. So it definitely takes shape in front of the audience. Don’t worry that my material will be affected by short views or Clickbait, I definitely should try and write material that is more geared towards 15-second and Short titles that inspire clicks, but at the end of the day the form it’s digested in is not the art form, ultimately this is a live art form and I am happy to craft what I’m doing for it proper medium.
Editing while working with a premier streaming service can sometimes be complicated for comedians. Would you share your experience working with 800 Pound Gorilla Media?
I was extremely fortunate and especially grateful to 800 Pound Gorilla, who trusted my history, editing most of my own work in the past. They allowed me to take the lead in editing my special. They really are artists and simply want to help you bring your vision to life.
Because of the age of social media, you can find out immediately what someone thought of your material. Do you think you’ll focus on people’s comments and remarks towards the special or more on the overall views?
I probably the views to be honest I mean, I know how I feel about the special and that is what I’m trying to actively remind myself of as people come across it in large one thing we have to do as creators in this allow the compliments to mean something and the criticisms or flat out hate less or nothing at all. So this is an exercise in doing so for me, but at the end of the day I can be affected by what people say about it, but I don’t care. So maintaining my joy of what I made is exclusively my obligation, and it’s my responsibility to get more people to see it. So views over comments, dog!
What is the most essential thing you want viewers to take away from “Wolf Pup?”
That I am interminably worth paying attention to because I’m the funniest, most interesting, most exciting person doing it. …Or, that there’s more to come so stay tuned if you enjoyed!
You’ve been performing stand-up comedy for a long time and have seen many different sides of it. Is today’s comedy more inclusive than ever before?
Yes, it’s too inclusive now, Now it includes terrible comedians who aren’t funny. Who’d have thought that the comedian brands would be “Not Funny”?! Who would’ve imagined that soon enough you’ll be scrolling through Sirius XM’s comedy genres and you’ll go from, Clean, Raunchy, Cristian, Not Funny! There’s something for everyone these days!!
Joke stealing and revealing comedians’ career fabrications have become significant topics among the media and comedy community in 2024. What are your thoughts on the issue?
You just have to make your stuff unstealable. I don’t know anyone else doing 3-minute handstands. I mean go ahead try and take what you like but it’s not just the words, it’s the person saying it. YOu can’t steal ME, only some thoughts. Do your best. Orochimaru wanted Sasuke’s eyes but the kekegenkai is deeper than the sharingan. …So to speak.
Now that the special is completed, how has your life been?
Mostly the same? It’s more exciting for sure to have completed my largest contribution to my own body of work, so now I have somewhere to point people to that is one wholistic piece. And also that mentally I can approach the next thing with full attention.
What advice do you have for young comedians currently in the process of completing their own comedy special?
Don’t be lazy, make it exactly what you dreamt it could be. STAND OUT!
What goals throughout your comedy career are you still seeking to achieve?
There are a few things I’d still like to do for the sake of résumé wish fulfillment and posterity, like a late-night set for Jimmy Fallon, Colbert, or one of the late-night shows. But at the end of the day, I really just want to write, Direct, perform in Films, and release Standup specials. Details and companies involved are not really important.
Where are some upcoming shows that fans can see you live?
Comedy Bar (Chicago, IL) – July 11th
Lincoln Lodge (Chicago, IL) – July 12th
Great Falls Comedy Club (Auburn, Maine) – July 20th
The Creek and the Cave (Austin, TX) – July 25th-26th
Melrose Podcasts (NYC) – August 2nd
Stand Up NY in Bond 45 (NYC) – August 3rd
Glue Factory (Providence, RI) – August 9th – 10th
