As we went over previously, the Eugene Mirman Comedy Festival is sadly coming to an end this September, after the tenth and final year of the multi-venue carnival of comedic talent that's included names like Amy Schumer, Wyatt Cenac, Jim Gaffigan, Sarah Silverman and H. Jon Benjamin among its many performers. Still, rather than mope about it, we talked with the former Park Slope resident about why it was the right time to end things, his favorite memories of the festival, whether his comedy is truly that alternative, and also picked up some moral guidance from the Bob's Burgers star along the way.

With the end of it, are you sad or are you relieved you'll never have to do all the logistical stuff to put it together again?

I mean I think it's a very reasonable time to end the festival itself. Julie Smith, who produces it, and I have both moved. A lot of our friends that were around have also moved. Not everybody, but a fair number. So it feels like sort of a good time to end the festival. But on the other hand, we'll probably still do shows at Bell House for years to come. Just not the whole festival. It's just a great deal of work for something that began as a joke and is fun to do but is sort of a lot of logistics.

Do you have any favorite moments from the ten years that have gone by?

Well, the first Star Talk, the guest was Alan Alda, and I remember how amazed and excited (I was) to see so many people who were incredibly excited about science. I think he was really excited to see that kind of excitement. In general there have been countless fun shows and moments. The very first year we had Oates, John Oates from Hall and Oates, and people for his first song thought it might be Fred Armisen doing a character until they realized it was in fact Oates. So that was really fun.

The Talent Show people have put on a lot of very memorable, amazing shows over the years, Elna and Kevin. I think there's too many specific things to name. There was a bounce castle with a therapist inside that we had one year, that was very fun. People would go inside and get advice, the therapist would listen to their issues.

You mentioned the possibility of doing this in an old interview, but did you ever end up making a special or recording the festival?

We're doing it this year actually, we're making a documentary of the festival.

Ah, cool. So you mentioned before that you moved, your friends have moved in recent years. How do you think the comedy scene has changed in the 10 years since the first festival, aside from everyone being much more famous?

It's grown. I think the comedy scene grew over the 2000s, and also the ways that people could make things and put things out there has also grown. It's hard to say exactly how it's changed in the sense that it's part of a very natural process of people doing standup getting older, potentially moving to L.A. depending on what they want and what jobs they have. It's very common for any person to move to where work is. So if you're wanting to act or write for a show, it really makes sense to be in L.A. For me, I work on Bob's, so I can record in Boston, I don't have to record in L.A. or New York.

A friend of mine wanted me to ask you why you've forsaken us for Massachusetts. The more polite version of that question I guess is how are you adjusting to Cape Cod? And do you miss us?

Yes, I miss a lot of the people I'm friends with. But I also do see them. And also my life as a standup involves a moderate amount of travel so I end up going to places and seeing people. So, one, I had a child and my family and a lot of old friends are in Massachusetts and right now we're in Cape Cod, but eventually we'll be in the Boston area and it'll be much easier for us with a son there. But I do miss New York. It's everything available forever in a sort of wonderful way, you can be at something incredibly fun within 10 to 25 minutes and there's no other place quite like that. Though I've admittedly never been to like, Hong Kong, which I bet has a great standup scene.

I've forsaken New York partially for family and a lawn, and a backyard. I can buy a chair and I won't feel overwhelmed about where to put it. I remember Michael Ian Black doing a bit a long time ago at one of the Bell House shows where he talked about having a staircase in his house, since he lives in Connecticut. When you're older and you're not trying to go out until 2 or 3 or 4, it's just nice having a living room. My priorities have shifted to having a living room, basically. And family.

Aside from having the yard and space for a chair, what are the differences between Cape Cod and Park Slope that you've had to get used to?

Well, we bought the house here three years ago while we still lived in Brooklyn, and I'd spent years coming here. So, here and Boston are kind of the two places that I know other than New York. New York's the place I've lived the longest compared to anywhere else, I lived in a three-block radius for like 16 years. The bigger adjustment is that I have a child.

Has that gotten into your comedy? Do you think it's going to?

Probably. My comedy has always been a weird, absurdist look at earnest anecdotes. So in that sense I think it will. I don't know if the style will particularly change, but I think since my life now involves that, it'll probably come through in some way.

Speaking of your style, you don't necessarily always use the traditional setup-punchline style of joke-telling, so do you think that when people go to see you that means they have to be in a different mindset for your shows?

I think standup is probably more the illusion of that, particularly. People for instance think of Mike Birbiglia as a storyteller, but he's telling jokes within stories. I have certainly a lot of non-traditional bits I guess, but it always began from the fact that I'd always try something on stage. And if it worked and made people laugh, it became the act. But I don't think of it as not being a setup-punchline, I just think of it being an unconventional setup-punchline. I had a bit a long time ago about making advertisements for shapes. So the setup is I'm making advertisements for shapes and then the advertisements for shapes are the five jokes. So it's still a setup-punchline, it's just weird. But I did it on television and it worked fine.

Or the cards you were laminating and putting around in bathrooms.

Right, the idea is, and I did do this, I went to the Staples on 4th Avenue and I bought a laminating machine and then laminated a bunch of signs and put them around in bathrooms. It's not that that isn't a setup-punchline, it is a setup-punchline. And I also show a lot of the things I make. Part of the reason I hold up stuff is to show I really did, say, take out a bunch of Facebook ads with really weird stuff and direct them at a bunch of people based on what they like. I think of as sort of unconventional possibly, but still a setup-punchline. All of standup is a bit of the illusion that you're saying it for the first time. But that's more performing, and trying to be earnest.

So, last time we spoke to you, it was four years ago, before another festival, and it was in the middle of the Democratic mayoral primary. I don't know if you remember, but you said you were torn between Bill de Blasio and Christine Quinn, so I just thought I'd ask you how you thought de Blasio has done as mayor.

I don't know that I know enough to know. I feel like I'm often happy with the things I hear him say. But in terms of the day-to-day running of the city, I don't know, is snow removal going well? Is stop-and-frisk down? I don't know enough of the details. I don't have a child in the school system. I know the subways have been working worse and worse.

Right, that's Cuomo.

Right. So I feel like I don't really know. It seems to be functioning. All I can base it on is the things he says that are probably in line with things I believe. But I don't know in terms of how it's functioning. I'd probably read Gothamist to find out if it was.

"It seem to be functioning," doesn't seem like a terrible campaign slogan if you're going for honesty over style.

I think the world of mayors is much more about on the ground functioning of a city. New York is obviously gigantic and bigger than some states so I guess it's sort of different in the sense of its politics. But so much of it is having it work. It's also the safest big city in the world, and it's been doing better and better. You're running out of areas to gentrify though.

Do you think that primetime TV still has room for good commercial art? It seems like everyone is shooting to get their projects on Netflix and Hulu and Amazon. Obviously you're on Fox still with Bob's Burgers, but does it seem like fewer creators are interested in TV?

I think the answer is...well, I'm on a show on Fox that seems to be doing well. Also a lot of network stuff winds up on Netflix or Hulu. I think there's just so many more outlets now, so as a result, viewers are scattered across many different things, which means you can find your own niche and you can make something and put it out there in whatever specific way. I don't know exactly what the streaming model is, and I think that with some of it they're spending more than they're making and it's going to have to swing back to the middle a little.

But I don't know. As far as I'm concerned, I can make stuff and can put it out. Partially the festival and all these things, I try to make whatever projects and things I can do that are fun to work on and collaborate with friends, and you can find different places to put them out. The audio show I do, "Hold On," that's something you could originally get through Audible and Amazon, but they just expanded it to be a podcast. I think everyone is trying to find different audiences and avenues for reaching people and making stuff.

If you have a show and Hulu wants to make it, great. If you have a show and NBC wants to make it that's also fine. Comedy Central has their audience. I guess I think, if you can make a thing and people want to have it and watch it, that's great. And if it fails, that's also fine, that's just how it all works. I don't think there's a story that someone has to tell and people should be forced to watch it. Do business models change? Sure, there's no more evening newspapers. Inherently things change. There was a time were comedy albums were actually coming back a lot, but now with podcasts there's a new way to do it. It's up to people to figure out how to reach an audience, it's not up to the audience.

To demand they want it one way or the other?

Right, it's not like there's a band and it's morally right to hear their music. For me, I always went about trying to reach people using all these different ways because I thought "this is up to me and these are the means I have." I put videos up in the '90s on a website I made, because it was all I could do. And those videos and the animation of me as a baby went around virally, but that was what I could do so that's what I tried. And eventually other things came and went and you sort of try it all and try to reach people however you can.

That makes sense. But on the other hand, do you want to make the appeal in this interview to tell people it's a moral good to watch Bob's Burgers or to go to the Eugene Mirman Comedy Festival?

I do think it's morally right to support such a warm family-friendly show that's also sex-positive and portrays a quirky but delightful family. It's morally right to watch Bob's Burgers. And also John Oliver, he brings so much good into the world, it would be unfair to not list that.

That's good, we have a moral lesson from you then.

Yeah, I'll be releasing a list of what bands are morally right to listen to in one month.

While you're waiting for that list, don't forget to check out the Eugene Mirman Comedy Festival, which will be running at the Bell House and Union Hall from September 15th to September 19th and will feature appearances from the likes of Jo Firestone, Reggie Watts, Michael Ian Black, Joel Kim Booster, Emmy Blotnick, Whoopi Goldberg and many, many more comedians.