Over the last few years, Louis C.K. has become comedy royalty, due in large part to his much-adored FX series Louie, which closed out its fifth season this week.
C.K., 47, has won two Golden Globes and multiple Emmys; become the first comedian to sell out Madison Square Garden four times in the same month; enjoyed unprecedented creative freedom; and changed the game in terms of how comics promote their work, cutting out the middlemen and distributing many of his specials and independently funded projects on his website for as little as $5.
But, as is the case with most in the comedy biz, C.K.'s ascent was the result of many a DIY risk and gamble. He's been on the scene for nearly three decades, in places you might not have suspected. Below, we document the gradual rise of Louis C.K.
Louis Székely (phonetically close to C.K. — he would change his last name in grade school so it would be easier for people to pronounce) was born in Washington, D.C., in 1967, but moved to Mexico City at age 1 to be with his father's side of the family. He wouldn't move back to the U.S. until he was 7 years old, at which point he and his parents settled down on the East Coast.
"I grew up in Boston and didn't get the accent, and one of the reasons is that I started in Spanish. I was a little kid, so all I had to do was completely reject my Spanish and my Mexican past, which is a whole lot easier because I'm white with red hair," he told Rolling Stone in 2013. "I had the help of a whole nation of people just accepting that I'm white." Here, he discusses his misconceived roots:
Throughout this period, money was a concern because C.K.'s dad moved out shortly after his 10th birthday. C.K. worked as an auto mechanic to make some cash for himself. He would balance odd jobs with listening to Bill Cosby, Richard Pryor, and George Carlin records, before mustering the courage to hit comedy clubs. Wanting to emulate Woody Allen's early career, C.K. filmed his first short, "Trash Day" (unfortunately unavailable online), at age 17.
Although he impressed recruiters at NYU's film school, he never filled out his application and instead dove right into the Boston comedy scene to pursue his dream. Here's a 20-year-old C.K. performing on his home turf:
1989–1993
After drawing attention in Beantown, C.K. moved to New York. He performed stand-up sets, wrote for late-night, and produced more shorts to make a name for himself. He appeared in many of the city's televised comedy specials, including Caroline's Comedy Hour and MTV's Half Hour Comedy Hour:
But the early '90s also marked one of C.K.'s first big collapses. As he recounted to GQ in 2014:
"… [h]e was gigging ten times a night, fifty bucks a pop, motorcycling up and down Manhattan from club to club. He remembers parking his bike in the Village one night and daring to think, I have the greatest life in the world. The next night, he was racing up Second Avenue at 70 mph and nailed a car running a red light. His whole body was a bruise. In the morning, he noticed for the first time that he was balding. Even then, the New York comedy scene had begun to implode. Big venues like the Improv and Catch a Rising Star folded; others cut back on their open-mike nights. Louis, who'd bought a BMW with an AmEx card, struggled, couldn't pay his rent, and went broke."
To combat this tailspin, C.K. auditioned for Saturday Night Live during the show's stand-up boom. He recalled the experience for Matt Belknap in 2006 (via Splitsider):
"I was going broke, and SNL was like the last chance, the last boat leaving, so Dave Attell, Laura Kightlinger, Sarah Silverman, Jay Mohr and me and a bunch of other people all auditioned. I remember that I was put first on the show, and the SNL people hadn’t shown up, and the guy that ran Catch, Louis Faranda, was trying to put me on anyway. He was like, "Go on." "But they’re not gonna see me." He said, "I don’t care." It was cruel as shit. And … Jon Stewart was there and he offered to go on and stall for me, which he did. But finally I had to go on, and as I went on stage they all filed in, and I remember that David Spade was with them, and he had seen me, so he made them sit down, [head writer] Jim Downey and them, and said, "Watch this guy," which I’m forever indebted to him for even though I didn’t get on SNL. It made a difference, because I went on and I had a really solid, good set, and then over the following week, Laura Kightlinger got cast, Dave Attell, Sarah, Jay, everybody but me [got cast], like everybody that was on that [showcase] but me."
1993–1996
While the SNL audition didn't pan out, C.K. would get his first taste of mainstream success because of it: SNL's head writer, Jim Downey, referred C.K. to Robert Smigel, who was helping Conan O'Brien ramp up his late-night talk-show debut. C.K. found consistent work writing for television and appearing in sketches, including on O'Brien's Late Night and David Letterman's Late Show. Here he is in 1993 on Late Night:
When The Dana Carvey Show crumbled, Smigel recruited C.K. to write for the animated "TV Funhouse" vignettes that existed within SNL. C.K. also used his experience to move on to bigger, behind-the-scenes roles on other TV shows (more on that below).
1996–2001
In 1996, C.K. filmed his first HBO comedy half-hour, a huge coup for the comedian, as it marked the beginning of his ability to convince networks to buy content that was all him. He also helmed the writers' room over at The Chris Rock Show. Below is the show's first-ever appearance of the Pootie character, which would be an important, albeit stigmatic, pockmark on his résumé:
The studio hated the film, as did viewers (only later did it develop a cult fandom). C.K. tried to move onto other projects, helping write Down to Earth (another Rock movie), shifting over to Cedric the Entertainer Presents, penning sketches for SNL, returning to his own shorts, and voicing Andrew Small in the cult classic 'toon series Home Movies.
The Pootie Tang experience, however, was so hellish it signified C.K.'s second major collapse. "It never stopped getting worse. I remember thinking, This is too much for me to handle. I wanted to give up," he told GQ. The lowest point in this descent was Lucky Louie, C.K.'s impish take on The Honeymooners that was canceled after a dozen episodes on HBO even though it was met warmly by critics. There were, however, a couple silver linings: It served as one of the first big collaborations between C.K. and Pamela Adlon, who would come back to work with him on Louie a few years later, and the show reaffirmed C.K.'s determination to retain his comedic vision without comprising originality:
from on Vimeo.
The mid-2000s became the era of specials for C.K., including Shameless (2007), Chewed Up (2008), Hilarious (2010), Live at the Beacon Theater (2011), and Word: Live at Carnegie Hall (2012).
By the tail end of this period, C.K. had found his voice and genuinely established himself as one of the contemporary titans of comedy. In 2011, Rock called him the best right now.
In 2012, The New Yorker's Emily Nussbaum declared him the best stand-up comedian in the country. He began gracing the covers of Rolling Stone, GQ, and Entertainment Weekly, among other magazines, oftentimes with cutlines that read something along the lines of, "America's best ..." or "funniest …"
Also during this time, he established himself as the reigning champion of creative cussing (warning: explicit):
Louie became a critical darling and developed a small but loyal fandom quickly. The show and its star were lauded for a unique mix of self-flagellating discomfort, honest social commentary, and dark humor.
In a 2012 piece, New York's Matt Zoller Seitz called the show's form "revolutionary."
Ricky Gervais called C.K. a true artist and added that his new show was the most interesting and most important comedy of the year:
"Louis C.K. is the funniest, bravest, and most honest stand-up comic in the world at the moment. He mixes a classic observational style with a smart, modern edge and deals with the most taboo subjects, while remaining the likable underdog that carries the weight of an uncaring world on his shoulders. He’s angry and right — a formidable comedy partnership."
2012–2015
Aside from Louie, the self-taught multihyphenate made room in his busy schedule to do Louis C.K.: Oh My God (2013), American Hustle (2013), Jerry Seinfeld's Comedians in Cars Getting Coffee (2014), and Louis C.K.: Live at the Comedy Store (2015):