Sims: To me, the layman, it does seem like when you're more of just a straight joke-teller with very short jokes it would take so much longer. If you're a storyteller comic who can go up and have eight bits, it's easier. Is that an uninformed way of looking at it?

Mintz: I feel like the flipside is, for the type of comedy I do, it takes less time to perfect the delivery, but a lot more time to do the writing. I probably ended up with like 130 jokes on the album.

Sims: Do you like the approach of having so many jokes because if the crowd is iffy on one it almost doesn't matter because there another one coming like 20 seconds later? Does that help you at all on stage?

Mintz: I mean, not as much as you'd hope. You still get momentum, and since there are places where people are supposed to laugh, it's a lot more obvious when you're doing badly. If someone's telling stories and you're entertained by them, you might not even notice that everyone's not laughing, but you definitely will notice if I pause at the end of a joke.

Sims: Have you ever thought about playing with your delivery or have you always felt your approach is the right approach for you?

Mintz: In theory I probably should try to play with it more, it's just when I got in my comfort zone and had something that was working, it was hard to try new things. I keep thinking I'm going to try and start telling stories on stage or other bits, and I never quite spend enough time on it to get it down. If I tell a story now, it doesn't sound like a comedian telling a story, it just sounds like a random person telling a story. It's a little awkward being on stage.

Sims: One thing I love is that your character will change from joke to joke. You're married one second, and the next second you just broke up with your girlfriend. It would be hard to add reality to that unreality that you're practicing.

Mintz: Yeah. If you're doing longer stories and then you're doing one-liners, they come across as fake and corny. And if you're doing one-liners and all of a sudden you're doing a story, it comes across as too soft. People expect a certain rhythm. I would say I locked into my persona pretty early; I wouldn't say it's how I am naturally but it's how I am naturally when I'm on a stage in front of people. That anxiety makes me be the character that I am.

Sims: It locks you into that mode where you're delivering right at us, and not really moving around at all. Do you think that it helps in terms of your material, which can be really risky and dark? Does the fact that you're almost out of character help soften the blow for the audience? How much trouble do you get in sometimes?

Mintz: I'm actually surprised at how rarely someone would be offended. I do think it's because I seem like a mild-mannered clueless guy. When I did Premium Blend, I remember I had a Holocaust joke, which is on my album. And that was on the list of jokes they told me I couldn't do. And you're always mad when people try to censor you, so I was like, can I at least do it to build some momentum and then you can cut it out? And they said that was fine, and then they didn't actually cut it out, and I was like “Oh no, I don't want that!”