1 00:00:02,560 --> 00:00:11,680 Speaker 1: This is Alec Baldwin and you're listening to Here's the Thing. Judd. 2 00:00:11,680 --> 00:00:15,600 Speaker 1: Apatow's films include The Forty year Old Virgin, Knocked Up 3 00:00:15,600 --> 00:00:19,640 Speaker 1: and Funny People, all of which feature emotionally immature men 4 00:00:19,880 --> 00:00:25,480 Speaker 1: forced to grow up after confronting, respectively, sex, responsibility, and death. 5 00:00:26,320 --> 00:00:30,400 Speaker 1: While his films are not autobiographical, they all attempt to 6 00:00:30,440 --> 00:00:33,800 Speaker 1: answer the same question, one that Apatow himself grapples with, 7 00:00:34,360 --> 00:00:37,240 Speaker 1: can you become a grown up and still enjoy your life? 8 00:00:38,040 --> 00:00:41,440 Speaker 1: Of all Apatow's movies, his most recent This is forty, 9 00:00:41,720 --> 00:00:45,159 Speaker 1: which opened the weekend before Christmas, may be his most personal. 10 00:00:45,680 --> 00:00:49,400 Speaker 1: It stars his wife, Leslie Mann, and his children Maude 11 00:00:49,400 --> 00:00:52,720 Speaker 1: and Iris, who play her kids in the movie. It's 12 00:00:52,760 --> 00:00:56,640 Speaker 1: here where Apatow's complicated and nuanced, comedic point of view 13 00:00:57,160 --> 00:01:01,320 Speaker 1: collides with marriage, work, and family. It sounds horrible, but 14 00:01:01,480 --> 00:01:03,240 Speaker 1: do you ever wonder what it would be like if 15 00:01:03,280 --> 00:01:07,560 Speaker 1: you your wife were separated by something bigger? Death? Like 16 00:01:07,720 --> 00:01:10,319 Speaker 1: her death? I have given it a fair amount of thought, 17 00:01:10,440 --> 00:01:14,240 Speaker 1: not any painful way, which is like a gentle floating off. 18 00:01:14,360 --> 00:01:16,200 Speaker 1: It's got to be peaceful. I mean, this is the 19 00:01:16,240 --> 00:01:18,319 Speaker 1: mother of your children. And then the new wife would 20 00:01:18,319 --> 00:01:20,919 Speaker 1: be great. God, I can't wait to meet my second wife. 21 00:01:21,920 --> 00:01:25,080 Speaker 1: I hope she likes me better than this one. Judd 22 00:01:25,080 --> 00:01:28,440 Speaker 1: Apatow began studying the art of making people laugh as 23 00:01:28,480 --> 00:01:31,000 Speaker 1: a kid when he would rush home from school to 24 00:01:31,080 --> 00:01:34,959 Speaker 1: watch TV from three thirty until after midnight All in 25 00:01:35,000 --> 00:01:39,080 Speaker 1: the Family, Rhoda, Mary Tyler Moore Taxi on the weekend. 26 00:01:39,080 --> 00:01:42,399 Speaker 1: He transcribed the bits he heard on Saturday Night Live. 27 00:01:42,520 --> 00:01:45,000 Speaker 1: You're listening to club comedy w k w Z and 28 00:01:45,040 --> 00:01:50,040 Speaker 1: Siancet with Judd Apatow. This is Jerry Seinfeld. In high school, 29 00:01:50,360 --> 00:01:53,920 Speaker 1: Apatow had a radio show in which he interviewed comedians 30 00:01:53,920 --> 00:01:57,480 Speaker 1: such as Jerry Seinfeld, Gary Shandling, and John Candy so 31 00:01:57,560 --> 00:01:59,880 Speaker 1: we could learn as much as he could about their craft. 32 00:02:00,160 --> 00:02:02,800 Speaker 1: I think to talk about era type of comedy that 33 00:02:02,880 --> 00:02:06,639 Speaker 1: you do, how do you describe it? It's sort of funny, 34 00:02:08,080 --> 00:02:11,240 Speaker 1: observational with like a twist at it. It's not some 35 00:02:11,280 --> 00:02:15,720 Speaker 1: people just tell the joke like an observation and that's it, 36 00:02:15,840 --> 00:02:20,359 Speaker 1: but you add a whole need to mention on it. Yeah. Well, 37 00:02:20,360 --> 00:02:24,320 Speaker 1: it's one thing to see something, you know, and I 38 00:02:24,320 --> 00:02:26,360 Speaker 1: think the next step is to do something with it. 39 00:02:26,800 --> 00:02:32,200 Speaker 1: You know, like, I'm like, I'm doing this routine that 40 00:02:32,360 --> 00:02:34,959 Speaker 1: but this guy that was on that's incredible as you 41 00:02:35,000 --> 00:02:37,799 Speaker 1: gotta caught a bullet between his teeth. It's like, you 42 00:02:37,880 --> 00:02:40,720 Speaker 1: see a thing like that and you go, what the 43 00:02:40,760 --> 00:02:46,080 Speaker 1: hell is that that? She's a bullet And now I 44 00:02:46,080 --> 00:02:49,320 Speaker 1: don't know what's funny about that, but I think to myself, 45 00:02:49,360 --> 00:02:51,840 Speaker 1: there's something funny about that, and that's what I like 46 00:02:52,040 --> 00:02:56,760 Speaker 1: to do now. Apataw was arguably at the top of 47 00:02:56,800 --> 00:02:59,440 Speaker 1: his game and seems to have his hand in nearly 48 00:02:59,520 --> 00:03:03,760 Speaker 1: every meeting success of the last seven years. He was 49 00:03:03,840 --> 00:03:08,160 Speaker 1: a producer of Anchorman, super Bad, Bridesmaids, and is currently 50 00:03:08,200 --> 00:03:12,120 Speaker 1: an executive producer of the hit HBO show Girls. But 51 00:03:12,200 --> 00:03:15,760 Speaker 1: even after the commercial and critical success he achieved, John 52 00:03:15,760 --> 00:03:21,280 Speaker 1: Apatow still craves reassurance. I need constant approval of my 53 00:03:21,440 --> 00:03:24,639 Speaker 1: writing as I'm doing it. So I will show people 54 00:03:25,080 --> 00:03:30,840 Speaker 1: the first scene, the first ten pages people, anybody. I 55 00:03:30,880 --> 00:03:34,680 Speaker 1: will show anybody. I literally will send it to friends. 56 00:03:35,280 --> 00:03:39,040 Speaker 1: You know. Jake Kazan, who directed and produced on Freaks 57 00:03:39,040 --> 00:03:41,640 Speaker 1: and Geeks and Undeclared, is one of the first people 58 00:03:41,680 --> 00:03:43,160 Speaker 1: I show things too. But I'll show it to the 59 00:03:43,200 --> 00:03:45,920 Speaker 1: studio because I don't like that moment when you have 60 00:03:45,960 --> 00:03:48,320 Speaker 1: a finished script and you go, I wonder if they'll 61 00:03:48,360 --> 00:03:50,920 Speaker 1: like it. So if I send them thousands of pages 62 00:03:51,000 --> 00:03:53,840 Speaker 1: over the course of two years, they're so confused that 63 00:03:53,920 --> 00:03:57,040 Speaker 1: there's not a moment of truth and to bury exactly 64 00:03:57,080 --> 00:03:59,320 Speaker 1: and when it when it really gets down to it. 65 00:04:00,160 --> 00:04:03,760 Speaker 1: Lena Dunham and I were working on Girls Uh with 66 00:04:03,800 --> 00:04:06,600 Speaker 1: a Jenny Connor who runs Girls, so that was happening 67 00:04:06,600 --> 00:04:08,920 Speaker 1: parallel to me making This is forty. So we would 68 00:04:09,120 --> 00:04:12,320 Speaker 1: literally spend two hours breaking Girls stories and then two 69 00:04:12,320 --> 00:04:16,360 Speaker 1: hours talking about this is forty and then near the 70 00:04:16,520 --> 00:04:19,560 Speaker 1: end I'll get the courage up to send it to 71 00:04:19,640 --> 00:04:23,680 Speaker 1: like Eric Roth and James L. Brooks and Camerons. Is 72 00:04:23,960 --> 00:04:27,760 Speaker 1: influence to you, Yeah, He's probably the biggest influence. I 73 00:04:27,760 --> 00:04:32,039 Speaker 1: think his whole approach to stories is just imprinted in 74 00:04:32,120 --> 00:04:35,840 Speaker 1: my mind from my childhood watching Mary Tyler Moore and Taxi. 75 00:04:36,240 --> 00:04:40,360 Speaker 1: That's how I feel like stories work. Normal people with everyday, 76 00:04:40,360 --> 00:04:43,200 Speaker 1: normal problems, trying to get along, trying to make their jobs, 77 00:04:43,200 --> 00:04:46,599 Speaker 1: in their love and their life work. And his work 78 00:04:46,600 --> 00:04:50,440 Speaker 1: always ends with some beautiful grace note which is always 79 00:04:50,440 --> 00:04:54,640 Speaker 1: hopeful yet realistic, and I remember them from when I 80 00:04:54,680 --> 00:04:56,359 Speaker 1: was a kid. How you know. There was a taxi 81 00:04:56,400 --> 00:05:00,400 Speaker 1: episode where Louis d Pamo was dating a blind woman 82 00:05:00,760 --> 00:05:02,320 Speaker 1: and he was so in love, and then she was 83 00:05:02,480 --> 00:05:04,320 Speaker 1: having an operation to get her side back, and he 84 00:05:04,560 --> 00:05:07,560 Speaker 1: thought she's gonna dump me, which you can see, you 85 00:05:07,600 --> 00:05:09,960 Speaker 1: can see, and then of course she loves him and 86 00:05:10,000 --> 00:05:13,280 Speaker 1: thinks he's beautiful. And as he walks out of the room, 87 00:05:13,360 --> 00:05:16,080 Speaker 1: he throws something in the garbage and he says, I 88 00:05:16,080 --> 00:05:19,600 Speaker 1: guess I gotta get a real ring, and and I 89 00:05:20,200 --> 00:05:24,000 Speaker 1: love how he would pull that off. So he's very helpful. 90 00:05:24,000 --> 00:05:25,240 Speaker 1: And in the middle of this is for You, I 91 00:05:25,680 --> 00:05:29,000 Speaker 1: emailed James Brooks and I said, remind me what the 92 00:05:29,040 --> 00:05:34,880 Speaker 1: movie is about. Again I forgot, and he sent me 93 00:05:34,920 --> 00:05:37,599 Speaker 1: a long email saying, this is what your movie is about. 94 00:05:37,720 --> 00:05:39,400 Speaker 1: So you kind of I'll let you say this, but 95 00:05:39,440 --> 00:05:41,440 Speaker 1: it sounds to me like you swim in kind of 96 00:05:41,480 --> 00:05:44,200 Speaker 1: a pool or a stream with a lot of people 97 00:05:44,200 --> 00:05:46,080 Speaker 1: who make films, and you're and you're open to their 98 00:05:46,080 --> 00:05:48,960 Speaker 1: suggestions and you're open to their ideas. If you talk 99 00:05:49,080 --> 00:05:51,600 Speaker 1: to a multitude of people for their ideas, which ones 100 00:05:51,680 --> 00:05:53,760 Speaker 1: do you? I mean in the end, you decide. In 101 00:05:53,800 --> 00:05:56,320 Speaker 1: the end, you choose. I've always had faith in my 102 00:05:56,360 --> 00:05:59,279 Speaker 1: ability to make that call, so I don't mind a 103 00:05:59,320 --> 00:06:01,840 Speaker 1: lot of feedback. In doesn't confuse me if everyone says 104 00:06:01,880 --> 00:06:05,560 Speaker 1: something different. I mean, I come from television and rooms 105 00:06:05,600 --> 00:06:08,840 Speaker 1: of people arguing about story, and my formative years were 106 00:06:08,839 --> 00:06:11,440 Speaker 1: spent at the Larry Sanders Show, where you were a 107 00:06:11,480 --> 00:06:14,599 Speaker 1: great guest, and I one of the great early moments 108 00:06:14,600 --> 00:06:16,760 Speaker 1: of my career was I wrote a bunch of those 109 00:06:16,800 --> 00:06:18,960 Speaker 1: scenes and in the episode you were in, and I 110 00:06:19,000 --> 00:06:20,880 Speaker 1: just saw it on TV the other day I was home. 111 00:06:21,400 --> 00:06:24,240 Speaker 1: My favorite line, which was when Shandling goes to the 112 00:06:24,279 --> 00:06:26,800 Speaker 1: wings of the stage when I'm on the set and 113 00:06:26,880 --> 00:06:29,880 Speaker 1: I'm not quoting it properly, but rip says, what's the matter? 114 00:06:29,960 --> 00:06:32,279 Speaker 1: He says, I can't help it. I keep seeing him 115 00:06:32,320 --> 00:06:35,159 Speaker 1: having sex with my wife, and he says, and she's 116 00:06:35,200 --> 00:06:38,840 Speaker 1: on top, and Rips says, the lazy bastard. That's a 117 00:06:39,000 --> 00:06:43,000 Speaker 1: that is I wrote that joke. I know I wrote 118 00:06:43,000 --> 00:06:45,640 Speaker 1: that joke because I was so proud of that joke. 119 00:06:46,279 --> 00:06:49,200 Speaker 1: And I remember when you came in to the first 120 00:06:49,279 --> 00:06:53,120 Speaker 1: day of shooting and to do the quick rehearsal and 121 00:06:53,160 --> 00:06:55,880 Speaker 1: Gary was giving you ship from the second you walk 122 00:06:56,000 --> 00:06:57,880 Speaker 1: in the doors, like Alex, you need a lozenge. You 123 00:06:57,920 --> 00:07:00,640 Speaker 1: need a lozenge, and you said, right, that's how it's 124 00:07:00,680 --> 00:07:03,760 Speaker 1: gonna be, Gary, That's how it's gonna be. And it's 125 00:07:03,760 --> 00:07:06,240 Speaker 1: one of the great episodes. So so I think that 126 00:07:06,240 --> 00:07:08,719 Speaker 1: that was not your first job though. My first job 127 00:07:08,880 --> 00:07:11,760 Speaker 1: I used to write jokes for comedians. I wrote jokes 128 00:07:11,760 --> 00:07:15,680 Speaker 1: for Rosanne's nightclub act for one. Why did you did 129 00:07:15,720 --> 00:07:18,160 Speaker 1: you do stand up periodical? I did it for for 130 00:07:18,200 --> 00:07:20,640 Speaker 1: seven years. It's all I wanted to do. But I 131 00:07:20,800 --> 00:07:25,600 Speaker 1: very quickly realized I was better at creating sketches or 132 00:07:25,680 --> 00:07:28,120 Speaker 1: dramatic situations to get my point across. And as a 133 00:07:28,280 --> 00:07:33,680 Speaker 1: straight monologist, I wasn't interesting the way my roommate Adam 134 00:07:33,760 --> 00:07:36,680 Speaker 1: Sandler was or Jim Carey. I just as a fan, 135 00:07:36,800 --> 00:07:40,120 Speaker 1: I knew, oh, I'm not these guys you really felt 136 00:07:40,160 --> 00:07:42,200 Speaker 1: that were oh yeah? Because and then we were in 137 00:07:42,280 --> 00:07:43,920 Speaker 1: l A. At the time I was in l A, 138 00:07:43,920 --> 00:07:46,560 Speaker 1: I lived in North Hollywood with Sandler. And how long 139 00:07:46,640 --> 00:07:49,720 Speaker 1: did you live with Sandler? It was under two years, 140 00:07:50,240 --> 00:07:52,720 Speaker 1: And I mean it was the most fun time ever. 141 00:07:52,800 --> 00:07:54,560 Speaker 1: Every time we see each other were like that was 142 00:07:54,640 --> 00:07:58,040 Speaker 1: the best. You know, we were just so into doing 143 00:07:58,320 --> 00:08:03,920 Speaker 1: stand up and back then Sandler wasn't famous, so he 144 00:08:04,000 --> 00:08:08,920 Speaker 1: was really silly all the time and very obnoxious and 145 00:08:08,960 --> 00:08:13,000 Speaker 1: trying to make strangers laugh. He really engaged the world 146 00:08:13,480 --> 00:08:16,360 Speaker 1: for his own amusement, less to protect that he does now. Yeah, 147 00:08:16,400 --> 00:08:19,600 Speaker 1: he he just loved, you know, asking pulling people over 148 00:08:19,600 --> 00:08:21,800 Speaker 1: to ask for directions in the car and doing something 149 00:08:21,840 --> 00:08:24,760 Speaker 1: crazy to them. I mean, it sounds ridiculous, but he 150 00:08:24,920 --> 00:08:27,960 Speaker 1: was the guy that would fart in the elevator and go, Judd, 151 00:08:28,040 --> 00:08:32,160 Speaker 1: come on, we're in an elevator. Uh. And that disappears 152 00:08:32,160 --> 00:08:33,920 Speaker 1: when you get famous. So you brought this up there, 153 00:08:33,920 --> 00:08:36,319 Speaker 1: you know. Well, but you brought this up and I'm 154 00:08:36,360 --> 00:08:39,360 Speaker 1: I can't say I'm glad you did. But in your movie, 155 00:08:39,760 --> 00:08:43,120 Speaker 1: Paul Rudd is in bed with your wife. Yes, yes, 156 00:08:43,559 --> 00:08:46,360 Speaker 1: he's in bed with his wife, and to torment her, 157 00:08:46,400 --> 00:08:49,160 Speaker 1: he just rips off a series of well placed like 158 00:08:49,200 --> 00:08:51,600 Speaker 1: he's turning over cards in a game. He's like, he 159 00:08:51,679 --> 00:08:54,880 Speaker 1: rips a couple of parts there. But you that's not 160 00:08:54,960 --> 00:08:58,000 Speaker 1: how you live, right, Well, it's a that's a complicated scene. 161 00:08:58,000 --> 00:09:01,439 Speaker 1: And what's funny about that? Says you know, they're having 162 00:09:01,440 --> 00:09:05,040 Speaker 1: a very serious conversation about their finances, which are not good, 163 00:09:05,559 --> 00:09:09,000 Speaker 1: and they're watching security camera footage waiting, trying to figure 164 00:09:09,040 --> 00:09:11,240 Speaker 1: out who's stealing from them, and they see Megan Fox 165 00:09:11,280 --> 00:09:13,960 Speaker 1: fooling around with someone at work, and then Leslie says, 166 00:09:14,000 --> 00:09:17,320 Speaker 1: at least she's getting some and his reaction, after a 167 00:09:17,320 --> 00:09:20,920 Speaker 1: few moments of feeling attacked is to just fart. It's 168 00:09:20,920 --> 00:09:22,960 Speaker 1: like a monkey. It's kind of like saying, you know, 169 00:09:23,240 --> 00:09:26,400 Speaker 1: screw you. And Rudd did it as an improv. It 170 00:09:26,440 --> 00:09:28,920 Speaker 1: wasn't in the script. Yeah, it wasn't in the script. 171 00:09:29,040 --> 00:09:31,520 Speaker 1: And Leslie knows, okay, if anything happens off page, I 172 00:09:31,640 --> 00:09:34,120 Speaker 1: need to go with it. And she's furious and you 173 00:09:34,160 --> 00:09:37,160 Speaker 1: see it in her eyes and she's really genuinely disgusted, 174 00:09:37,559 --> 00:09:39,440 Speaker 1: and you get kind of a real sense of what 175 00:09:39,559 --> 00:09:44,240 Speaker 1: marriage is like off of just a stupid yeah marriages. 176 00:09:44,640 --> 00:09:47,000 Speaker 1: You watch security footage to see if Megan Fox is 177 00:09:47,040 --> 00:09:50,960 Speaker 1: stealing money from your company, and she's banging her boyfriend 178 00:09:50,960 --> 00:09:53,720 Speaker 1: on the desk, and you get your wife gets horny 179 00:09:53,800 --> 00:09:56,520 Speaker 1: and you feel fretted with us. You fart on her exactly. 180 00:09:57,000 --> 00:09:59,920 Speaker 1: That's how marriage is. Yeah. Now, the other question I 181 00:10:00,040 --> 00:10:03,480 Speaker 1: have apropos of the movie was so I'm thinking, Rudd, 182 00:10:03,600 --> 00:10:07,120 Speaker 1: it's either the highest honor or he's the goat, because 183 00:10:07,200 --> 00:10:08,960 Speaker 1: you're you know, you're lying in bed with your wife, 184 00:10:09,000 --> 00:10:11,000 Speaker 1: who has made a lot of great films and funny films, 185 00:10:11,000 --> 00:10:14,160 Speaker 1: and you say, uh, what's your nickname for your wife? 186 00:10:14,360 --> 00:10:17,240 Speaker 1: I asked, just called les Is it le Leslie? Well, 187 00:10:17,240 --> 00:10:19,200 Speaker 1: the funny thing is I always call it Leslie And 188 00:10:19,200 --> 00:10:22,079 Speaker 1: then she's like, Judd, my name is Leslie Leslie. It's 189 00:10:22,120 --> 00:10:28,160 Speaker 1: not less Leslie. Literally say her name, it's Leslie. Leslie 190 00:10:28,400 --> 00:10:31,880 Speaker 1: is when I'm in Cambridge now exactly. So you're there 191 00:10:31,880 --> 00:10:33,880 Speaker 1: with her and you say to her, I'm just envisioning 192 00:10:33,880 --> 00:10:36,959 Speaker 1: this scene where you look at her and you say, baby, 193 00:10:37,360 --> 00:10:39,960 Speaker 1: who's the guy that you like most want to have 194 00:10:40,000 --> 00:10:42,760 Speaker 1: sex with? It was like, and just be honest with me. 195 00:10:42,800 --> 00:10:44,680 Speaker 1: We've been together while we have two kids. You know 196 00:10:44,720 --> 00:10:47,360 Speaker 1: it's me. I'm making a film. And she says, God, 197 00:10:47,400 --> 00:10:49,280 Speaker 1: Paul Rudd, and I mean that you crossed his name 198 00:10:49,320 --> 00:10:52,319 Speaker 1: off the list. I know he's never doing my film. 199 00:10:52,559 --> 00:10:54,480 Speaker 1: Or is it like you put him in or do 200 00:10:54,559 --> 00:10:56,200 Speaker 1: you say to her, baby, who's the guy that you 201 00:10:56,520 --> 00:10:58,720 Speaker 1: view as like a brother, Like if you had sex 202 00:10:58,720 --> 00:11:00,839 Speaker 1: scenes with him, But this wouldn't mean you'd be like 203 00:11:00,840 --> 00:11:03,719 Speaker 1: like fooling around with your brother, Paul Rudd. That's where 204 00:11:03,760 --> 00:11:08,040 Speaker 1: you gonna hire him. She's disgusted, uh, and and that 205 00:11:08,080 --> 00:11:11,480 Speaker 1: makes it okay to watch them fool around. I I'm 206 00:11:11,520 --> 00:11:13,800 Speaker 1: always disgusted when she feels around with anyone. I remember 207 00:11:13,840 --> 00:11:16,280 Speaker 1: when we shot the Cable Guy, she kissed Matthew Broderick 208 00:11:16,760 --> 00:11:19,120 Speaker 1: and then when they parted, I saw in the dailies 209 00:11:19,160 --> 00:11:21,800 Speaker 1: there was like a spit string that connected them for 210 00:11:21,840 --> 00:11:26,520 Speaker 1: like a foot and lady in the and so yes, 211 00:11:26,559 --> 00:11:29,320 Speaker 1: I'm glad that unless they're lying about being disgusted by 212 00:11:29,320 --> 00:11:31,800 Speaker 1: each other, because I may be the fool they are lyned. 213 00:11:32,960 --> 00:11:35,319 Speaker 1: That's terrible because I know because I've heard that before. 214 00:11:35,679 --> 00:11:39,000 Speaker 1: I've had my ex wife has got you know, Russell 215 00:11:39,040 --> 00:11:43,079 Speaker 1: Crowe's got his tongue into her spinal fluid and she's like, no, no, 216 00:11:43,120 --> 00:11:45,320 Speaker 1: it was just nothing, it's nothing. Well, the day I 217 00:11:45,360 --> 00:11:49,720 Speaker 1: had back surgery for a herniated disc back in the 218 00:11:49,800 --> 00:11:54,240 Speaker 1: year two thousand, Leslie couldn't be there because shest Leslie, 219 00:11:54,280 --> 00:12:00,440 Speaker 1: Sorry Leslie, I couldn't be there because she was Mrs 220 00:11:59,240 --> 00:12:02,839 Speaker 1: apt She was shooting a scene where she was making 221 00:12:02,880 --> 00:12:06,439 Speaker 1: love with Jeff Goldbloom, and you just know he's all 222 00:12:06,520 --> 00:12:10,720 Speaker 1: handsy in between takes. You know, he's just for pushing 223 00:12:10,760 --> 00:12:13,000 Speaker 1: buttons and a woman and you don't even know we're there. 224 00:12:13,040 --> 00:12:17,680 Speaker 1: Exactly What does the director Jodd Apatau do when Leslie 225 00:12:17,760 --> 00:12:21,560 Speaker 1: Man passes? You know, when you know people so intimately, 226 00:12:22,200 --> 00:12:24,000 Speaker 1: you knew she was in. I asked her before I 227 00:12:24,000 --> 00:12:26,239 Speaker 1: write the script. You know, I'll say, are you comfortable, 228 00:12:26,920 --> 00:12:29,040 Speaker 1: you know, doing a fictionalized version of how we feel 229 00:12:29,080 --> 00:12:31,080 Speaker 1: about this time in our lives. And I'll start telling 230 00:12:31,120 --> 00:12:33,560 Speaker 1: her some of the story and then she starts pitching 231 00:12:33,640 --> 00:12:37,120 Speaker 1: me Debbie's point of view and scenes. A lot of 232 00:12:37,200 --> 00:12:40,080 Speaker 1: scenes in the movie here Leslie standing up for her character. 233 00:12:40,160 --> 00:12:43,120 Speaker 1: So it's balanced. It's it's not like I write a 234 00:12:43,120 --> 00:12:45,400 Speaker 1: script and handed to it is a collaboration. She help 235 00:12:45,440 --> 00:12:48,880 Speaker 1: you with it. Get a good woman's perspective, Oh yeah, 236 00:12:48,920 --> 00:12:52,040 Speaker 1: because I have no woman's perspective at all. This is 237 00:12:52,679 --> 00:12:56,080 Speaker 1: fifteen years of marriage and her explaining what I do 238 00:12:56,240 --> 00:12:59,480 Speaker 1: wrong put into a movie and knocked up. There's a 239 00:12:59,480 --> 00:13:01,880 Speaker 1: line she has which we took from her life, which 240 00:13:01,960 --> 00:13:06,840 Speaker 1: was just because you don't yell doesn't mean you're not mean. 241 00:13:07,960 --> 00:13:10,760 Speaker 1: And that's the kind of insight I would never have 242 00:13:11,120 --> 00:13:14,000 Speaker 1: my daughter. She goes, Mommy yells at me ten times 243 00:13:14,000 --> 00:13:16,280 Speaker 1: more than you do. But when you do it, it's different, 244 00:13:16,440 --> 00:13:20,680 Speaker 1: she said, exactly. And also the whole idea of how 245 00:13:21,440 --> 00:13:24,520 Speaker 1: I can be detached and shut down and not want 246 00:13:24,559 --> 00:13:27,560 Speaker 1: to connect with anybody, and how it's a you know, 247 00:13:27,559 --> 00:13:31,079 Speaker 1: an emotional abandonment to people when you do that too much. 248 00:13:31,200 --> 00:13:33,720 Speaker 1: But you know some people, like for me, I get 249 00:13:33,840 --> 00:13:36,120 Speaker 1: just overwhelmed. I got a numb out for a while. 250 00:13:36,120 --> 00:13:38,840 Speaker 1: You gotta have a little Walden time exactly. And sometimes 251 00:13:38,840 --> 00:13:41,560 Speaker 1: it's in the bathroom with an iPad, and you gotta 252 00:13:41,600 --> 00:13:44,640 Speaker 1: have to read those scenes when when she's coming to 253 00:13:44,679 --> 00:13:47,080 Speaker 1: the bathroom and Rudd is sitting there with you, that's you. 254 00:13:47,880 --> 00:13:50,240 Speaker 1: It is except him as a sanctuary. But she would 255 00:13:50,320 --> 00:13:53,240 Speaker 1: never ever knock on the door or open the door. 256 00:13:53,760 --> 00:13:55,920 Speaker 1: But when I walk out, she'll say, what were you doing? 257 00:13:56,000 --> 00:13:58,040 Speaker 1: And I'm like, I'm going to the bathroom. She's like, 258 00:13:58,160 --> 00:14:01,160 Speaker 1: you were tweeting, and I'll say, I isn't. I wasn't tweeting. 259 00:14:01,240 --> 00:14:03,200 Speaker 1: She's like, I can see your feed if I was 260 00:14:03,200 --> 00:14:05,680 Speaker 1: going to the bathroom, and I was tweeting about it exactly, 261 00:14:06,160 --> 00:14:09,240 Speaker 1: don't doesn't everyone. I'm marketing our movie from the toilet, 262 00:14:09,600 --> 00:14:12,720 Speaker 1: but so you know, it's very fictionalized in a story, 263 00:14:12,760 --> 00:14:16,600 Speaker 1: but the emotional things that we're arguing about make their 264 00:14:16,640 --> 00:14:19,840 Speaker 1: way into the movie. Now, when you start a film 265 00:14:19,880 --> 00:14:23,040 Speaker 1: like this, and you've had tremendous success in the last 266 00:14:23,080 --> 00:14:26,600 Speaker 1: couple of years and in movies, which is tough in movies, 267 00:14:26,680 --> 00:14:28,960 Speaker 1: in my mind is the toughest of them all. And 268 00:14:28,960 --> 00:14:31,120 Speaker 1: so you step up and you do this movie, and 269 00:14:31,600 --> 00:14:33,600 Speaker 1: is there a fear when you begin? Do you think 270 00:14:33,640 --> 00:14:35,720 Speaker 1: to yourself, Oh God, this is the one. All the 271 00:14:35,720 --> 00:14:38,760 Speaker 1: wheels are going to fall off, Like what's your disposition 272 00:14:38,800 --> 00:14:42,080 Speaker 1: when you start shooting? You know, I have both sides. 273 00:14:42,120 --> 00:14:44,080 Speaker 1: You know. I want to succeed because I just want 274 00:14:44,080 --> 00:14:47,760 Speaker 1: to be allowed to continue making movies. I also have 275 00:14:47,800 --> 00:14:50,600 Speaker 1: a rebellious streak, which is I do have some sense 276 00:14:50,640 --> 00:14:53,760 Speaker 1: of what makes a very commercial movie, and I'm working 277 00:14:53,880 --> 00:14:57,200 Speaker 1: partially against that. Like, as the attention span of the 278 00:14:57,240 --> 00:15:00,440 Speaker 1: audience gets shorter, I want to make longer movies to 279 00:15:00,480 --> 00:15:02,800 Speaker 1: say there's something wrong with you that you can't sit 280 00:15:02,840 --> 00:15:06,080 Speaker 1: for two that with this film, I deliberately do it 281 00:15:06,120 --> 00:15:08,640 Speaker 1: with all of them because I feel like, you know, 282 00:15:08,680 --> 00:15:10,320 Speaker 1: this is the only time we're going to get with 283 00:15:10,360 --> 00:15:13,080 Speaker 1: these people. Why do you need to rush to get home? 284 00:15:13,600 --> 00:15:16,400 Speaker 1: And I like movies like Jerry McGuire and in terms 285 00:15:16,400 --> 00:15:18,360 Speaker 1: of endearment and movies that were over two hours. It 286 00:15:18,400 --> 00:15:21,600 Speaker 1: takes an extra twenty minutes to explore, you know, more 287 00:15:21,640 --> 00:15:24,160 Speaker 1: dimensions of people. And no one says anything that you're 288 00:15:24,200 --> 00:15:26,040 Speaker 1: out there with the studio is not I mean, because 289 00:15:26,040 --> 00:15:28,480 Speaker 1: those guys, that's pretty much the first thing out of 290 00:15:28,480 --> 00:15:30,520 Speaker 1: their mouth is Jed, can't we we need a hundred minutes? 291 00:15:30,560 --> 00:15:33,640 Speaker 1: Bab Yeah. The funny thing is they're all like I 292 00:15:33,680 --> 00:15:37,800 Speaker 1: think maybe Knocked Up was to ten. So I've set 293 00:15:37,840 --> 00:15:40,880 Speaker 1: this pace, this very slow pace. It's funny because the 294 00:15:40,920 --> 00:15:43,800 Speaker 1: Hobbit and all these limits, they're all to forty five. 295 00:15:43,960 --> 00:15:46,600 Speaker 1: They're all like a half hour past me, and I 296 00:15:47,200 --> 00:15:51,440 Speaker 1: feel like, you know, my characters. Uh. Someone said to me, 297 00:15:51,920 --> 00:15:54,600 Speaker 1: you're basically saying, these people are worth your time. And 298 00:15:54,640 --> 00:15:56,160 Speaker 1: sometimes I watched the movie because I have to watch 299 00:15:56,200 --> 00:15:58,240 Speaker 1: it hundreds of times, I think, wow, this is long. 300 00:15:58,360 --> 00:16:01,200 Speaker 1: I'm really putting people through it. But there is a 301 00:16:01,240 --> 00:16:04,560 Speaker 1: part of me that feels like good experienced this. This 302 00:16:04,680 --> 00:16:07,280 Speaker 1: is life and it's funny and it's difficult and and 303 00:16:07,400 --> 00:16:10,920 Speaker 1: I need the time to do the full ride of that. 304 00:16:11,080 --> 00:16:14,800 Speaker 1: So on day one, I'm both trying to figure out, 305 00:16:14,880 --> 00:16:18,600 Speaker 1: like marketing wise and concept wise, a way to make 306 00:16:18,680 --> 00:16:24,240 Speaker 1: it sell while thinking I'm sneaking some John Cassavetti's Robert 307 00:16:24,280 --> 00:16:28,680 Speaker 1: Altman aspect into a mainstream comedy. When when when you 308 00:16:28,760 --> 00:16:32,960 Speaker 1: do a film like this as Knocked Up begets this film, 309 00:16:33,800 --> 00:16:36,120 Speaker 1: does this film does right away? Do you start thinking 310 00:16:36,120 --> 00:16:38,320 Speaker 1: of other ideas whether you do them or not, do 311 00:16:38,400 --> 00:16:40,920 Speaker 1: you like One of my favorite moments in the film 312 00:16:41,000 --> 00:16:42,920 Speaker 1: is when it's towards the end of the film and 313 00:16:42,960 --> 00:16:45,400 Speaker 1: they're at the party and the guy the Life Coach 314 00:16:45,480 --> 00:16:49,640 Speaker 1: is hitting on Megan Jason Jason Siegel is saying, what's 315 00:16:49,680 --> 00:16:54,480 Speaker 1: his character's name, Jason Jason. He's saying to her, you know, yes, 316 00:16:54,560 --> 00:16:56,600 Speaker 1: I will Jason. What over the line is? He demands 317 00:16:56,600 --> 00:16:59,440 Speaker 1: that she repeat Now that would be a funny character 318 00:16:59,440 --> 00:17:02,320 Speaker 1: in a movie. Life Coach is just h Absolutely. I 319 00:17:02,520 --> 00:17:05,879 Speaker 1: think I think that about most of the characters I 320 00:17:06,440 --> 00:17:09,199 Speaker 1: especially coming from TV. I love that there was Rhoda 321 00:17:09,280 --> 00:17:12,600 Speaker 1: after Mary Tyler Moore or Frasier after Cheers. So anytime 322 00:17:12,600 --> 00:17:15,440 Speaker 1: a character works, I could watch it, you know, I 323 00:17:15,480 --> 00:17:19,080 Speaker 1: could watch, uh, either of the leads of super Bad 324 00:17:19,240 --> 00:17:22,399 Speaker 1: go off on their own, Michael Sarah's character or Jonah 325 00:17:22,480 --> 00:17:25,960 Speaker 1: Hills or the Cops. Once it exists, I'm kind of 326 00:17:26,000 --> 00:17:29,800 Speaker 1: more depressed that we're not doing more stories. And that's 327 00:17:29,800 --> 00:17:31,360 Speaker 1: just my whole thing. I don't like to let go. 328 00:17:31,680 --> 00:17:33,920 Speaker 1: So if someone said they're gonna make a movie about 329 00:17:33,920 --> 00:17:36,920 Speaker 1: what happened to Albert Brooks's character from broadcast News, I'd 330 00:17:36,920 --> 00:17:39,880 Speaker 1: be the happiest man in the world. Had you known Brooks, 331 00:17:39,880 --> 00:17:42,720 Speaker 1: had you been acquainted with him and had worked with 332 00:17:42,760 --> 00:17:45,120 Speaker 1: him before, and you did this movie with him. I 333 00:17:45,160 --> 00:17:48,520 Speaker 1: met him in the early nineties when I was working 334 00:17:48,520 --> 00:17:50,800 Speaker 1: at the Larry Sanders Show. I had dinner with him 335 00:17:50,800 --> 00:17:53,080 Speaker 1: a couple of times with Gary, and I was just 336 00:17:53,200 --> 00:17:57,360 Speaker 1: in awe to be around him because his Saturday night 337 00:17:57,400 --> 00:17:59,840 Speaker 1: live movies were really big influence on everything we did 338 00:17:59,840 --> 00:18:03,240 Speaker 1: at the Ben Steeler's Show. And obviously, you know, defending 339 00:18:03,280 --> 00:18:08,800 Speaker 1: your life in modern romance and real life, you know, was, Yeah, 340 00:18:08,920 --> 00:18:11,320 Speaker 1: it's the template for a certain type of you can 341 00:18:11,359 --> 00:18:15,560 Speaker 1: never see And in the same sentence again, although my 342 00:18:15,640 --> 00:18:17,600 Speaker 1: daughter watched Laws in America for the first time the 343 00:18:17,640 --> 00:18:20,560 Speaker 1: other day. She's fifteen, and at the end, she said 344 00:18:20,600 --> 00:18:24,159 Speaker 1: to me, what's the nest egg? She goes, She's like, 345 00:18:24,200 --> 00:18:26,920 Speaker 1: I literally thought the money was in an egg. Uh. 346 00:18:26,960 --> 00:18:29,720 Speaker 1: And I was so excited to meet Albert that afterwards 347 00:18:29,720 --> 00:18:32,159 Speaker 1: I went home and I wrote down every joke he 348 00:18:32,240 --> 00:18:35,240 Speaker 1: said at dinner, like I still have like the journal 349 00:18:35,400 --> 00:18:39,159 Speaker 1: entry where he's making jokes about the Menendez case. You 350 00:18:39,200 --> 00:18:41,200 Speaker 1: don't kill your parents and buy a rolex. You don't 351 00:18:41,200 --> 00:18:45,200 Speaker 1: do that. So I wrote the part just for him, 352 00:18:45,200 --> 00:18:47,320 Speaker 1: hoping it could be good enough. I never want to 353 00:18:47,359 --> 00:18:49,359 Speaker 1: ask anyone that I look up to to be in 354 00:18:49,359 --> 00:18:51,560 Speaker 1: my movie if I don't think it could be as 355 00:18:51,560 --> 00:18:53,639 Speaker 1: good as their movies. You know, I don't want to 356 00:18:53,680 --> 00:18:56,640 Speaker 1: be their crappy movie. And so that's why I tend 357 00:18:56,720 --> 00:18:59,760 Speaker 1: to work with young people, because they have no no, no, 358 00:19:00,480 --> 00:19:03,160 Speaker 1: they don't I won't be their worst standards aren't set 359 00:19:03,160 --> 00:19:06,840 Speaker 1: in stone yet. Yeah. Now, when with Brooks, when you 360 00:19:06,880 --> 00:19:09,960 Speaker 1: work with people like that who are veteran, if you 361 00:19:10,000 --> 00:19:12,840 Speaker 1: will are very experienced and have a bed tremendous success, 362 00:19:13,640 --> 00:19:16,080 Speaker 1: what's that experience like for you as a director, meaning 363 00:19:16,480 --> 00:19:19,000 Speaker 1: do you do they come in and they just start riffing, 364 00:19:19,040 --> 00:19:21,760 Speaker 1: and are they rewriting and improvising and you just let 365 00:19:21,800 --> 00:19:24,080 Speaker 1: it go? Or do you sit there and you do 366 00:19:24,280 --> 00:19:26,440 Speaker 1: find a way, a politic way to sit him. I'd 367 00:19:26,480 --> 00:19:28,600 Speaker 1: rather to confine ourselves to this what's on the page, 368 00:19:28,840 --> 00:19:30,520 Speaker 1: not specifically with him, but with any of them that 369 00:19:30,600 --> 00:19:34,480 Speaker 1: come in. Well, I precious, are you about what you've written? Well, 370 00:19:34,520 --> 00:19:38,320 Speaker 1: I'm never precious about anything other than my intention. So 371 00:19:38,440 --> 00:19:41,280 Speaker 1: I know what I'm trying to accomplish with the character, 372 00:19:41,320 --> 00:19:43,800 Speaker 1: but I'm very open to it morphing based on the 373 00:19:43,840 --> 00:19:47,679 Speaker 1: interaction with the with all the actors. So with Albert, obviously, 374 00:19:47,680 --> 00:19:50,080 Speaker 1: I'm terrified because I'm working with someone who's clearly more 375 00:19:50,119 --> 00:19:52,640 Speaker 1: talented than me. So I'm trying to figure out how 376 00:19:52,640 --> 00:19:56,760 Speaker 1: to manage my idea for the story and tap him 377 00:19:56,880 --> 00:19:59,919 Speaker 1: for everything that he's worth. So I want him writing 378 00:20:00,040 --> 00:20:02,800 Speaker 1: and thinking and pitching me. I mean, I spent a 379 00:20:02,880 --> 00:20:06,080 Speaker 1: year in a room trying to think of an original 380 00:20:06,160 --> 00:20:08,840 Speaker 1: character that he hadn't done before, but I would still use, 381 00:20:09,240 --> 00:20:12,240 Speaker 1: you know, his great comic sensibilities. And then I brought 382 00:20:12,320 --> 00:20:15,359 Speaker 1: him into a rehearsal and we did the scene has written. 383 00:20:15,440 --> 00:20:17,680 Speaker 1: We did ideas that I had, and then I just 384 00:20:17,760 --> 00:20:20,560 Speaker 1: let him play and improvise and pitch me things. And obviously, 385 00:20:20,600 --> 00:20:22,440 Speaker 1: at the end of the day, if you were to 386 00:20:22,520 --> 00:20:25,119 Speaker 1: like write down which are those lines are Albert's, you know, 387 00:20:25,440 --> 00:20:28,840 Speaker 1: it becomes the majority, which is the intention to give 388 00:20:28,880 --> 00:20:31,159 Speaker 1: him a space where he's comfortable enough to you know, 389 00:20:31,280 --> 00:20:34,600 Speaker 1: to email me at night a better line which you 390 00:20:34,600 --> 00:20:36,920 Speaker 1: would do with that died. Before any scene, I get 391 00:20:36,960 --> 00:20:39,359 Speaker 1: a little email from Albert what if he said, did it? 392 00:20:39,880 --> 00:20:42,359 Speaker 1: And it's always better than my joke And as long 393 00:20:42,400 --> 00:20:45,280 Speaker 1: as you're comfortable. Oh, I'm thrilled. It's not because I'm 394 00:20:45,280 --> 00:20:47,920 Speaker 1: coming off from an experience with the television show I did. 395 00:20:48,359 --> 00:20:52,480 Speaker 1: There was there was a very strident, very unbending rule 396 00:20:52,560 --> 00:20:54,280 Speaker 1: that we had to shoot everything has written, and there 397 00:20:54,320 --> 00:20:56,680 Speaker 1: was no you couldn't change a word, or we could 398 00:20:56,680 --> 00:20:59,240 Speaker 1: do alternate takes and change things, but we had to 399 00:20:59,240 --> 00:21:01,960 Speaker 1: shoot everything has written with no exceptions. Pretty much. Well, 400 00:21:01,960 --> 00:21:04,919 Speaker 1: I definitely start that way when we shoot. I like 401 00:21:05,000 --> 00:21:08,919 Speaker 1: to do all of the improv and playing primarily in 402 00:21:08,960 --> 00:21:12,040 Speaker 1: the rehearsal, and then when we get to the set, 403 00:21:12,600 --> 00:21:15,359 Speaker 1: I'll shoot my polished version of the scene and I 404 00:21:15,400 --> 00:21:17,479 Speaker 1: will get it verbatim, and I make sure to get it. 405 00:21:17,800 --> 00:21:19,960 Speaker 1: Then I'll start telling them things that we all thought 406 00:21:20,000 --> 00:21:22,040 Speaker 1: of during rehearsals that I didn't put in, but then 407 00:21:22,040 --> 00:21:26,639 Speaker 1: I still whar I'll do like a week early, like 408 00:21:26,840 --> 00:21:28,919 Speaker 1: four months out from shooting, and then another week like 409 00:21:28,960 --> 00:21:31,720 Speaker 1: a month out, and a couple of table reads in 410 00:21:31,760 --> 00:21:35,920 Speaker 1: the middle, so it's like a TV show a few times. 411 00:21:35,920 --> 00:21:37,840 Speaker 1: But then I'll let them play on the day. But 412 00:21:37,840 --> 00:21:40,879 Speaker 1: it's different in movies because you're just shooting a third 413 00:21:40,920 --> 00:21:44,000 Speaker 1: as many pages as you are with a television show. 414 00:21:44,040 --> 00:21:46,000 Speaker 1: So when we did the Larry Sanders Show, they would 415 00:21:46,000 --> 00:21:48,119 Speaker 1: rehearse and let everyone goof a little bit, but on 416 00:21:48,200 --> 00:21:50,680 Speaker 1: the day there was no time to to goof off. 417 00:21:51,160 --> 00:21:53,119 Speaker 1: If I was directing Freaks and Gigs, I might let 418 00:21:53,200 --> 00:21:56,159 Speaker 1: Jason Segel really go if I was the director, But 419 00:21:56,200 --> 00:21:58,800 Speaker 1: if I wasn't the director, I would have to say, 420 00:21:58,880 --> 00:22:00,959 Speaker 1: you gotta get the script. I have time to wonder 421 00:22:01,560 --> 00:22:04,200 Speaker 1: what's going to happen if I'm not there. How many 422 00:22:04,200 --> 00:22:06,000 Speaker 1: pages would you shoot a day? Would you say, what 423 00:22:06,040 --> 00:22:08,800 Speaker 1: was what was the shooting schedule? How many days? On 424 00:22:08,960 --> 00:22:11,399 Speaker 1: this is forty I think it was fifty eight, and 425 00:22:11,680 --> 00:22:14,119 Speaker 1: you know, we wind up shooting four or five pages 426 00:22:14,119 --> 00:22:17,480 Speaker 1: a day, but at Larry Sanders we shot seventeen pages 427 00:22:17,480 --> 00:22:24,000 Speaker 1: a day. This is Alec Baldwin, and you're listening to 428 00:22:24,119 --> 00:22:27,520 Speaker 1: here's the thing coming up more with screenwriter and movie 429 00:22:27,560 --> 00:22:48,720 Speaker 1: director Judd Apataw. This is Alec Baldwin. Forty year old. 430 00:22:48,840 --> 00:22:53,080 Speaker 1: Virgin was Judd Apatow's first major box office success. It 431 00:22:53,200 --> 00:22:56,960 Speaker 1: was also the first film Apataw directed, a transition from 432 00:22:56,960 --> 00:23:01,919 Speaker 1: writing that was fairly seamless. I was deucing on Anchorman, 433 00:23:02,480 --> 00:23:04,920 Speaker 1: and I hadn't directed a film before, but I knew 434 00:23:05,000 --> 00:23:07,520 Speaker 1: that Steve Carrell was one of the funniest people I've 435 00:23:07,520 --> 00:23:09,960 Speaker 1: ever seen. He was crushing so hard every day on 436 00:23:10,000 --> 00:23:12,800 Speaker 1: the set that all the actors were baffled, and how 437 00:23:12,840 --> 00:23:15,560 Speaker 1: how funny he was. And he wasn't someone that was 438 00:23:15,600 --> 00:23:18,280 Speaker 1: in line to be the lead of a movie. He 439 00:23:18,480 --> 00:23:22,200 Speaker 1: was just one of the great, hilarious supporting actor people. 440 00:23:22,920 --> 00:23:26,840 Speaker 1: And I always like, I like those guys to be 441 00:23:26,880 --> 00:23:29,639 Speaker 1: the lead. I always want, you know, I want to 442 00:23:29,680 --> 00:23:33,520 Speaker 1: see yeah, yeah, Well beyond that, I want to see 443 00:23:33,880 --> 00:23:35,639 Speaker 1: George Went. I want to I want to I like 444 00:23:35,720 --> 00:23:38,199 Speaker 1: seeing I like because that's who I feel like. I 445 00:23:38,240 --> 00:23:40,439 Speaker 1: feel like the side guy, and I always want to 446 00:23:40,440 --> 00:23:42,920 Speaker 1: follow them home. And so I said to Steve, do 447 00:23:42,920 --> 00:23:45,600 Speaker 1: you have any ideas for movies, because you definitely could 448 00:23:45,600 --> 00:23:48,960 Speaker 1: carry a movie. And he said, there was a sketch 449 00:23:49,000 --> 00:23:52,680 Speaker 1: at Second City we did once that we never quite finished, 450 00:23:52,680 --> 00:23:56,600 Speaker 1: which was about a poker game where they're all telling 451 00:23:56,600 --> 00:23:59,920 Speaker 1: sex stories and it's clear that one guy has never 452 00:24:00,080 --> 00:24:02,119 Speaker 1: had sex, and everything he says it makes no sense. 453 00:24:02,200 --> 00:24:05,040 Speaker 1: And he's saying, yeah, you know, like when it's such 454 00:24:05,080 --> 00:24:07,479 Speaker 1: a girl's breast, it feels like a bag of sand 455 00:24:08,119 --> 00:24:09,800 Speaker 1: and you go down your pants and there's all that 456 00:24:09,880 --> 00:24:14,040 Speaker 1: baby powder, and and he said, so, you know, I'd 457 00:24:14,080 --> 00:24:17,800 Speaker 1: love to play a forty year old virgin. And just 458 00:24:17,840 --> 00:24:21,000 Speaker 1: because I'm such a nerd and so insecure and ashamed 459 00:24:21,040 --> 00:24:25,000 Speaker 1: of everything in life, I just immediately understood what he 460 00:24:25,080 --> 00:24:27,760 Speaker 1: meant and that you could do something very sweet and 461 00:24:28,040 --> 00:24:32,280 Speaker 1: riotously funny. So we wrote it together. Now, so when 462 00:24:32,320 --> 00:24:36,280 Speaker 1: you direct the film, how is the technical challenge for 463 00:24:36,320 --> 00:24:39,480 Speaker 1: you or how is the technical aspects of it for you? 464 00:24:39,600 --> 00:24:43,000 Speaker 1: Grown because it is filmmaking, and are you like do 465 00:24:43,200 --> 00:24:45,560 Speaker 1: Mr and Mrs Apatow sit in the screening room at 466 00:24:45,640 --> 00:24:49,200 Speaker 1: nine and watch Citizen Kane, and look at that, there 467 00:24:49,280 --> 00:24:52,159 Speaker 1: is a man. Look at the rack focus. You know, 468 00:24:52,200 --> 00:24:54,280 Speaker 1: do do you watch scenes from films and say that's 469 00:24:54,320 --> 00:24:58,159 Speaker 1: what I want there? It is right there, Leslie, look 470 00:24:58,200 --> 00:25:00,919 Speaker 1: at that. Look at how you pan over at that moment. 471 00:25:01,280 --> 00:25:02,959 Speaker 1: That's not me at all because I came from being 472 00:25:02,960 --> 00:25:05,000 Speaker 1: a stand up comedian and it was old dialogue. It 473 00:25:05,040 --> 00:25:08,520 Speaker 1: wasn't visuals, so I never tuned into that. And I 474 00:25:08,560 --> 00:25:11,000 Speaker 1: have no brain for the technology, so I can't remember 475 00:25:11,000 --> 00:25:14,560 Speaker 1: the lenses and what they do even now, Like what 476 00:25:14,560 --> 00:25:17,400 Speaker 1: do you do. I hire people who are really good 477 00:25:17,480 --> 00:25:21,440 Speaker 1: like other people. Well, it's not a total surrender because 478 00:25:21,400 --> 00:25:24,240 Speaker 1: I will show them what I like and they can 479 00:25:24,240 --> 00:25:26,639 Speaker 1: turn it into technology. So I fade and Papa Michael, 480 00:25:26,640 --> 00:25:29,800 Speaker 1: who did you know? The Descendants and Sideways shot a 481 00:25:29,840 --> 00:25:32,639 Speaker 1: lot of movies. I love how they look, so I know, okay, 482 00:25:32,720 --> 00:25:35,399 Speaker 1: this this look will be correct. And then we watch movies, 483 00:25:35,440 --> 00:25:38,240 Speaker 1: and you know, I always I'm trying to model my 484 00:25:38,320 --> 00:25:42,000 Speaker 1: work after movies like The Last Detail, the how Ashby 485 00:25:42,040 --> 00:25:45,240 Speaker 1: movie or Coming Home. I like movies that feel almost 486 00:25:45,280 --> 00:25:49,359 Speaker 1: like a documentary, at least for my personal directing. I 487 00:25:49,400 --> 00:25:51,280 Speaker 1: want you to forget I exist, and I'm trying to 488 00:25:51,320 --> 00:25:53,800 Speaker 1: make it as voyeuristic as I can make it. In 489 00:25:53,840 --> 00:25:56,480 Speaker 1: some ways, it's like Larry Sanders. I like that look 490 00:25:57,040 --> 00:26:01,200 Speaker 1: for comedy for what I do before where I came here. 491 00:26:01,240 --> 00:26:04,679 Speaker 1: This morning, I was sitting with my wife and she 492 00:26:04,840 --> 00:26:09,639 Speaker 1: was watching uh Netflix, because my wife is and you know, 493 00:26:09,680 --> 00:26:11,400 Speaker 1: she's a little younger than I am. Shall we say, 494 00:26:11,960 --> 00:26:16,240 Speaker 1: there's a whole uh library of films that she's heard 495 00:26:16,240 --> 00:26:18,520 Speaker 1: of and not seen or haven't he hasn't even heard of. 496 00:26:18,600 --> 00:26:21,840 Speaker 1: So she's watching the Graduate and that's a young Nicol, 497 00:26:21,920 --> 00:26:24,119 Speaker 1: that's an early Nichols. He's doing the storytelling what the 498 00:26:24,160 --> 00:26:26,480 Speaker 1: camera and he's telling the joke with the camera even 499 00:26:27,000 --> 00:26:28,760 Speaker 1: And I was just was wondering if that's something that 500 00:26:28,760 --> 00:26:31,320 Speaker 1: that each film do you make, do you commit more 501 00:26:31,400 --> 00:26:34,240 Speaker 1: deeply to understanding how to do that or well, I 502 00:26:34,240 --> 00:26:37,680 Speaker 1: have a sense of if what I'm trying to do 503 00:26:37,840 --> 00:26:42,560 Speaker 1: is coming across and and visually I'm a little bit 504 00:26:42,560 --> 00:26:44,119 Speaker 1: more of a I know it when I see it, 505 00:26:44,160 --> 00:26:46,160 Speaker 1: Like it just feels like I need to be tight here. 506 00:26:46,160 --> 00:26:47,720 Speaker 1: It feels like I need to be wide, And I'm 507 00:26:47,760 --> 00:26:52,760 Speaker 1: making a lot of unconscious choices about space and tension, 508 00:26:53,560 --> 00:26:56,600 Speaker 1: but I'm not sitting there storyboarding it. Just in the 509 00:26:56,720 --> 00:26:59,480 Speaker 1: moment I kind of have a sense of it is 510 00:26:59,520 --> 00:27:01,960 Speaker 1: how far way I should be from Leslie if she's 511 00:27:02,040 --> 00:27:04,399 Speaker 1: yelling at Paul and the graduate is a kind of 512 00:27:04,440 --> 00:27:06,560 Speaker 1: a great example. I did a Q and A with 513 00:27:06,600 --> 00:27:09,119 Speaker 1: Mike Nichols at the Museum of Modern Art recently, and 514 00:27:09,240 --> 00:27:12,040 Speaker 1: we were showing clips of our movies and talking about movies, 515 00:27:12,080 --> 00:27:14,080 Speaker 1: and then he shows that sequence where he plays the 516 00:27:14,119 --> 00:27:17,480 Speaker 1: two Simon and Garfunkel songs, and it's just the greatest 517 00:27:17,520 --> 00:27:22,439 Speaker 1: sequence you know of any movies in this genre. It 518 00:27:22,600 --> 00:27:25,240 Speaker 1: is fun to do to try to do that, but man, 519 00:27:25,280 --> 00:27:27,480 Speaker 1: no one ever did it better than him, telling a 520 00:27:27,560 --> 00:27:30,240 Speaker 1: story through pictures and music. Do you do you in 521 00:27:30,359 --> 00:27:34,199 Speaker 1: your filmgoing into your film viewing? Are you what do 522 00:27:34,280 --> 00:27:36,959 Speaker 1: you like to watch? What's entertainment for you? As you're 523 00:27:37,000 --> 00:27:40,040 Speaker 1: a TV show, I'm not talking about the ones you produce. Yeah, 524 00:27:40,200 --> 00:27:42,280 Speaker 1: what's one you really admire that's out there this season? 525 00:27:43,520 --> 00:27:47,040 Speaker 1: I'm a big documentary person, so I loved searching for Sugarman. 526 00:27:47,400 --> 00:27:49,320 Speaker 1: I did if I did so. I did a screening 527 00:27:49,320 --> 00:27:51,000 Speaker 1: of that in a Long Islands summer. We had him come, 528 00:27:51,080 --> 00:27:54,239 Speaker 1: Rodriguez came away. It was weird. It was freaky, and 529 00:27:54,520 --> 00:27:58,320 Speaker 1: I mean I saw I love beautiful documentaries. I had 530 00:27:58,359 --> 00:28:01,480 Speaker 1: never seen the HBO move V that Mike Nichols did 531 00:28:01,720 --> 00:28:08,280 Speaker 1: of Angels in America, which was unbelievable, unbelievable. And you know, 532 00:28:08,320 --> 00:28:11,720 Speaker 1: I love mad Men. I can't get enough of mad Men. 533 00:28:11,880 --> 00:28:15,320 Speaker 1: I like drama that that's funny, you know, the Departed, 534 00:28:15,480 --> 00:28:19,200 Speaker 1: you know, those those things that are they're also funny, 535 00:28:19,240 --> 00:28:21,879 Speaker 1: like good Fellas. I'm king of comedy, you know, I'm 536 00:28:21,920 --> 00:28:25,000 Speaker 1: always attracted to to uh. I mean, for me, the 537 00:28:25,080 --> 00:28:28,880 Speaker 1: Sopranos does that better than anyone ever. I mean, it's 538 00:28:28,960 --> 00:28:31,520 Speaker 1: it's it is a dark comedy to me when I 539 00:28:31,600 --> 00:28:34,840 Speaker 1: when I watch it. Uh. And this year I'm just 540 00:28:35,040 --> 00:28:37,320 Speaker 1: you know, I'm just kind of catching up with with 541 00:28:37,400 --> 00:28:40,040 Speaker 1: everything that that's coming out. I haven't I haven't done 542 00:28:40,040 --> 00:28:44,040 Speaker 1: my uh my Lincoln Run. And especially like John Regie 543 00:28:44,120 --> 00:28:48,880 Speaker 1: directed episodes of thirty Rock. We worked together Sandra show. 544 00:28:48,920 --> 00:28:50,840 Speaker 1: And I'll watch the show and I'll notice, like, this 545 00:28:50,920 --> 00:28:56,880 Speaker 1: is a really specifically amazingly funny episode, and I'll go, oh, 546 00:28:57,240 --> 00:28:59,120 Speaker 1: you could just you can tell it's like watching the 547 00:28:59,440 --> 00:29:02,040 Speaker 1: you know the yeuh same with you. Van Patton directed 548 00:29:02,080 --> 00:29:04,880 Speaker 1: episodes of The Sopranos. There are certain people on television 549 00:29:05,400 --> 00:29:07,520 Speaker 1: you know their episodes are gonna be really great. Well, 550 00:29:07,560 --> 00:29:10,240 Speaker 1: you love it. You love episodes. You love shows where 551 00:29:10,640 --> 00:29:13,440 Speaker 1: even the smallest details and the most inane little things 552 00:29:13,440 --> 00:29:15,480 Speaker 1: stay with you. Like I was addicted to The Sopranos, 553 00:29:15,520 --> 00:29:18,400 Speaker 1: probably from the third season on. There was this scene 554 00:29:18,440 --> 00:29:22,480 Speaker 1: where Steven van zandt is walking outside and they're talking 555 00:29:22,480 --> 00:29:25,680 Speaker 1: about some grave mafia business, him and Jimmy and they 556 00:29:25,760 --> 00:29:28,880 Speaker 1: make a decision, or Jimmy Gandolfini makes it says he's 557 00:29:28,880 --> 00:29:32,200 Speaker 1: made up his mind to do some horrible thing, and 558 00:29:32,240 --> 00:29:37,080 Speaker 1: they're walking into the very grim and Steve I'll never forget, 559 00:29:37,360 --> 00:29:39,160 Speaker 1: he just is walking with him for like a beat, 560 00:29:39,200 --> 00:29:41,440 Speaker 1: and he just kind of turns from and goes, it's 561 00:29:41,480 --> 00:29:44,720 Speaker 1: the right thing to do. He just says the phase, 562 00:29:44,840 --> 00:29:46,840 Speaker 1: it's the right thing to do. He goes, it's the 563 00:29:46,920 --> 00:29:49,560 Speaker 1: right thing to do. And probably for the next year 564 00:29:49,600 --> 00:29:51,600 Speaker 1: and a half, I said that phase, no matter what 565 00:29:51,680 --> 00:29:53,640 Speaker 1: you like, it just gets in your life and in 566 00:29:53,720 --> 00:29:56,000 Speaker 1: your blood. And those people in the tone, the tone 567 00:29:56,000 --> 00:29:59,080 Speaker 1: most of all. Now, um, I would imagine you still 568 00:29:59,200 --> 00:30:02,560 Speaker 1: have as some directors I know, probably the ones who 569 00:30:02,600 --> 00:30:04,760 Speaker 1: have less success than you've had at the box office 570 00:30:04,800 --> 00:30:08,760 Speaker 1: with your films as a director, they still right even 571 00:30:08,800 --> 00:30:11,160 Speaker 1: when they're not directing. Are you in a world now 572 00:30:11,240 --> 00:30:13,560 Speaker 1: where you only want to write and direct or you're 573 00:30:13,600 --> 00:30:16,440 Speaker 1: still writing for hire? Are you doing both or you 574 00:30:16,600 --> 00:30:19,920 Speaker 1: purely going to write and direct only now? I'm not 575 00:30:20,000 --> 00:30:25,640 Speaker 1: doing any uh writing outside of things that I might direct. 576 00:30:25,880 --> 00:30:30,479 Speaker 1: I have decided to co write a few projects with 577 00:30:30,560 --> 00:30:32,680 Speaker 1: some friends who have great ideas that I'm trying to 578 00:30:32,680 --> 00:30:35,760 Speaker 1: help them get there faster, and I know I potentially 579 00:30:35,800 --> 00:30:38,440 Speaker 1: could direct it. For the most part, I'm just writing. 580 00:30:38,480 --> 00:30:41,160 Speaker 1: But the way that I'm writing with other people is 581 00:30:41,280 --> 00:30:43,480 Speaker 1: you know, by being you know, a producer on Girls. 582 00:30:44,000 --> 00:30:48,680 Speaker 1: So I'll gonna interview Lena. Yeah, she's spectacular and and 583 00:30:48,680 --> 00:30:51,360 Speaker 1: and really fun to collaborate with. So to be just 584 00:30:51,480 --> 00:30:54,720 Speaker 1: part of the staff on that show, helping her figure 585 00:30:54,720 --> 00:30:56,560 Speaker 1: out what story she wants to tell, and just looking 586 00:30:56,600 --> 00:30:58,680 Speaker 1: for holes in the ship, just anything that could go wrong. 587 00:30:58,720 --> 00:31:01,680 Speaker 1: I'm trying to anticipate and help her with. That's very 588 00:31:01,720 --> 00:31:04,720 Speaker 1: fun and gratifying. And then I try to write, you know, 589 00:31:04,800 --> 00:31:07,880 Speaker 1: one episode a season with her, which you know, I 590 00:31:08,000 --> 00:31:11,240 Speaker 1: learned a lot from being with someone who's so courageous 591 00:31:11,280 --> 00:31:13,600 Speaker 1: in her writing. She's not worried if you like her. 592 00:31:14,120 --> 00:31:17,120 Speaker 1: It's pretty amazing to be around someone who's is so 593 00:31:17,200 --> 00:31:20,560 Speaker 1: in their moment and has uh so much they want 594 00:31:20,560 --> 00:31:24,280 Speaker 1: to express. So I find it kind of reinvigorates my 595 00:31:24,320 --> 00:31:27,719 Speaker 1: own writing and my own tapping into my thoughts. So 596 00:31:27,800 --> 00:31:29,960 Speaker 1: do is there is there an actor out there, whether 597 00:31:30,000 --> 00:31:35,080 Speaker 1: they're a well known comic performer, you know, like Carrie 598 00:31:35,200 --> 00:31:37,040 Speaker 1: and Sandy and those kinds of people who were at 599 00:31:37,040 --> 00:31:39,280 Speaker 1: the top of that game. Is there someone out there 600 00:31:39,680 --> 00:31:41,480 Speaker 1: who you think about you you'd like to work with, 601 00:31:41,520 --> 00:31:43,440 Speaker 1: it you haven't worked with. Well, I'm such a fan 602 00:31:43,480 --> 00:31:46,959 Speaker 1: of so many people that if anything, that becomes frustrating 603 00:31:47,000 --> 00:31:49,000 Speaker 1: to me because I think, wow, it's taking me forever 604 00:31:49,000 --> 00:31:51,040 Speaker 1: to make four movies. There's only a couple of parts, 605 00:31:51,040 --> 00:31:52,520 Speaker 1: and how many things am I going to write? And 606 00:31:53,000 --> 00:31:57,120 Speaker 1: so usually the idea arrives and then you realize, oh, 607 00:31:57,160 --> 00:31:59,400 Speaker 1: this has a good part for John Lithgow, this makes 608 00:31:59,400 --> 00:32:02,280 Speaker 1: sense that he do this, And it starts there because 609 00:32:02,280 --> 00:32:05,320 Speaker 1: I really, you know, I love so many people that 610 00:32:05,400 --> 00:32:09,160 Speaker 1: I that would drive me crazy at the prospect of it, 611 00:32:09,240 --> 00:32:12,560 Speaker 1: and that this leads perfectly to what exactly. You're You're 612 00:32:12,600 --> 00:32:15,880 Speaker 1: probably the only person I've encountered based on what you 613 00:32:15,920 --> 00:32:19,840 Speaker 1: said about you know, you're sprawling. Appreciation with these people 614 00:32:20,320 --> 00:32:23,080 Speaker 1: is and I mean this genuinely. Someone has to re 615 00:32:23,120 --> 00:32:25,280 Speaker 1: make It's a Mad, Mad, Mad Mad World. Someone has 616 00:32:25,320 --> 00:32:29,000 Speaker 1: to get together the cavalcade. I actually have thought about that, 617 00:32:28,720 --> 00:32:31,720 Speaker 1: and not that it would be that movie, but I 618 00:32:31,760 --> 00:32:36,240 Speaker 1: have thought, can I think of a reason for all 619 00:32:36,320 --> 00:32:39,680 Speaker 1: these people to exist? Wenty of the biggest names, you know, 620 00:32:39,760 --> 00:32:43,640 Speaker 1: what space would they all be in? And I've taken 621 00:32:43,680 --> 00:32:46,360 Speaker 1: in my head as far as thinking, could we make 622 00:32:46,400 --> 00:32:50,800 Speaker 1: a movie for charity? I wanted to do a remake 623 00:32:50,840 --> 00:32:53,160 Speaker 1: of It's a Mad Men Man memory give everybody some 624 00:32:53,240 --> 00:32:55,040 Speaker 1: points so that if it's gonna make a lot of money, 625 00:32:55,080 --> 00:32:57,440 Speaker 1: that if we make money, they make money, but up 626 00:32:57,440 --> 00:32:59,480 Speaker 1: front they collapse their fees because we're going to do 627 00:32:59,520 --> 00:33:02,640 Speaker 1: a big piece for charity. The only idea we make 628 00:33:02,680 --> 00:33:05,400 Speaker 1: a movie for charity, because that's the only way you 629 00:33:05,440 --> 00:33:07,280 Speaker 1: could do it, Like, you couldn't even begin to figure 630 00:33:07,280 --> 00:33:10,200 Speaker 1: out the back end deals to you should make is 631 00:33:10,240 --> 00:33:14,360 Speaker 1: about the making of a movie for charity. Uh, exactly 632 00:33:14,800 --> 00:33:17,160 Speaker 1: make a movie about the movie. Yeah, it could be. 633 00:33:18,600 --> 00:33:21,760 Speaker 1: It also you know there we have so many friends 634 00:33:21,800 --> 00:33:24,320 Speaker 1: that you know, we appreciate each other's work, but we're 635 00:33:24,360 --> 00:33:27,200 Speaker 1: not like kids anymore. And you do feel the window 636 00:33:27,400 --> 00:33:31,560 Speaker 1: closing of when is there going to be an opportunity 637 00:33:31,600 --> 00:33:34,240 Speaker 1: for five or six of these guys to do something together? 638 00:33:35,000 --> 00:33:39,240 Speaker 1: And so you know they're how old fifty four? It's 639 00:33:39,280 --> 00:33:41,320 Speaker 1: like forget it? So I and that's why I made 640 00:33:41,320 --> 00:33:43,160 Speaker 1: this is where to have these like age issues. So 641 00:33:43,240 --> 00:33:45,960 Speaker 1: I I try to think ahead of my friends. Like 642 00:33:46,040 --> 00:33:49,320 Speaker 1: my friends are all forty five fifty Okay, what is 643 00:33:49,360 --> 00:33:51,360 Speaker 1: the movie we would make in our fifties? And I'll 644 00:33:51,600 --> 00:33:56,800 Speaker 1: five years ahead begin to start planning. Your kids are 645 00:33:56,840 --> 00:33:59,160 Speaker 1: in your movie? You put your own children in the movie? 646 00:33:59,280 --> 00:34:01,040 Speaker 1: That is true? And what effect does that happen to? 647 00:34:01,160 --> 00:34:04,000 Speaker 1: Like do your kids now do they close their bedroom board? 648 00:34:04,000 --> 00:34:06,960 Speaker 1: And they don't, they don't come in here without a script? Well, 649 00:34:07,120 --> 00:34:09,520 Speaker 1: talk to me. There is a little of daddy. Why 650 00:34:09,520 --> 00:34:12,839 Speaker 1: wouldn't you let me work for anybody else? And because 651 00:34:12,880 --> 00:34:15,000 Speaker 1: I didn't put them in the movie to start a career. 652 00:34:15,040 --> 00:34:17,520 Speaker 1: I just wanted this idea to work. And I wanted 653 00:34:17,560 --> 00:34:20,120 Speaker 1: to capture a real family and have people on screen 654 00:34:20,600 --> 00:34:24,160 Speaker 1: that look like they love each other. There's true intimacy 655 00:34:24,239 --> 00:34:26,600 Speaker 1: on the screen that you cannot children or your children. 656 00:34:27,239 --> 00:34:30,719 Speaker 1: So your old your elder daughter is how old? Fifteen? Right, 657 00:34:30,760 --> 00:34:33,880 Speaker 1: So she's at that age where you know everybody, you know, 658 00:34:34,040 --> 00:34:35,920 Speaker 1: she just wants to throw a bomb on everyone, and 659 00:34:36,960 --> 00:34:40,120 Speaker 1: it's a very tough age. But your younger daughter, and 660 00:34:40,200 --> 00:34:42,759 Speaker 1: she's like the sunshine coming out. I mean, the kids incredible. 661 00:34:43,239 --> 00:34:45,279 Speaker 1: Do they want to make movies? Well, I was my 662 00:34:45,320 --> 00:34:48,120 Speaker 1: ten year old. She literally will say I don't want 663 00:34:48,120 --> 00:34:50,960 Speaker 1: to be an actress. So she's kind of cool. I 664 00:34:51,040 --> 00:34:53,239 Speaker 1: think she probably wants to write. And then Maud is 665 00:34:53,239 --> 00:34:56,080 Speaker 1: doing a lot of things. She's uh, she interviewed one 666 00:34:56,160 --> 00:34:59,319 Speaker 1: direction for teen Vogue and her acting is so good 667 00:34:59,360 --> 00:35:02,040 Speaker 1: here that I am concerned that we'll get, you know, 668 00:35:02,080 --> 00:35:04,880 Speaker 1: the call out of the blue from James Cameron to 669 00:35:04,960 --> 00:35:07,959 Speaker 1: ask her to ride a magical dragon for seven months, 670 00:35:07,960 --> 00:35:10,560 Speaker 1: and then I have to say, Maud, no, you actually yeah, 671 00:35:10,600 --> 00:35:12,319 Speaker 1: you have to you have to finish school, and then 672 00:35:12,360 --> 00:35:14,480 Speaker 1: she'll hate me for the rest of her life. I 673 00:35:14,520 --> 00:35:16,960 Speaker 1: could have been at Avatar too, and you ruin it. 674 00:35:17,600 --> 00:35:18,759 Speaker 1: You said you want me, you want me to wait 675 00:35:18,840 --> 00:35:23,680 Speaker 1: until I mean, this is fifty You're Ashole. So it's 676 00:35:23,760 --> 00:35:28,120 Speaker 1: a it's a miscalculation based on my own greediness to 677 00:35:28,360 --> 00:35:30,880 Speaker 1: capture how great they are from my movie with no 678 00:35:31,560 --> 00:35:34,720 Speaker 1: you know, forethought of how it will affect their lives. 679 00:35:35,040 --> 00:35:37,640 Speaker 1: But they did really enjoy making the movie, and they 680 00:35:37,840 --> 00:35:40,920 Speaker 1: fought so much in the movie and in life that 681 00:35:41,120 --> 00:35:43,320 Speaker 1: since the movie they've gotten along great, Like it's almost 682 00:35:43,400 --> 00:35:46,480 Speaker 1: like by playing out the drama of the ridiculousness of 683 00:35:46,480 --> 00:35:50,879 Speaker 1: their sibling rivalry, they had to think through like why 684 00:35:50,880 --> 00:35:53,080 Speaker 1: are we fighting? What is it about? And on some 685 00:35:53,280 --> 00:35:56,440 Speaker 1: unconscious level they've gone easier on each other since we shot. 686 00:35:56,520 --> 00:36:00,080 Speaker 1: It's so funny because that's the old actors ten it 687 00:36:00,280 --> 00:36:03,440 Speaker 1: that gets passed onto you that every role you play, 688 00:36:03,640 --> 00:36:07,200 Speaker 1: perhaps embedded in that role is an opportunity for you 689 00:36:07,239 --> 00:36:09,319 Speaker 1: to say goodbye to some party yourself you don't like. 690 00:36:09,960 --> 00:36:12,320 Speaker 1: I think that's true. I I look at every movie 691 00:36:12,360 --> 00:36:15,799 Speaker 1: as a letter to myself telling me something that I 692 00:36:15,880 --> 00:36:17,680 Speaker 1: need to know about how to live my life. That 693 00:36:17,719 --> 00:36:20,520 Speaker 1: I'm I'm only on some level making these movies to 694 00:36:20,520 --> 00:36:23,520 Speaker 1: say Judd, pay attention, Judd, live in the moment, because 695 00:36:23,560 --> 00:36:27,400 Speaker 1: I am, you know, a detached writer who who needs 696 00:36:27,480 --> 00:36:30,399 Speaker 1: to be brought into the moment and a lot when 697 00:36:30,440 --> 00:36:32,040 Speaker 1: she saw the movie when it was finally done, what 698 00:36:32,160 --> 00:36:35,200 Speaker 1: was her comment to you? Uh? In the beginning she 699 00:36:35,360 --> 00:36:40,440 Speaker 1: worried if it didn't end happy enough. And then while 700 00:36:40,440 --> 00:36:43,920 Speaker 1: we were editing, and now she she really loves it. 701 00:36:44,040 --> 00:36:46,320 Speaker 1: And I kind of like that it has that question 702 00:36:46,360 --> 00:36:48,760 Speaker 1: mark at the end, which is, you know, it's hard work. 703 00:36:48,920 --> 00:36:50,680 Speaker 1: It's gonna be hard work, but they love each other 704 00:36:50,719 --> 00:36:53,480 Speaker 1: and it's definitely worth it. I think that sometimes she, 705 00:36:53,960 --> 00:36:58,279 Speaker 1: you know, worries that it could go slightly darker by 706 00:36:58,320 --> 00:37:02,360 Speaker 1: like four percent than it needs to, where I like 707 00:37:02,520 --> 00:37:05,680 Speaker 1: that question mark of you know, we're all struggling, but 708 00:37:05,719 --> 00:37:08,680 Speaker 1: it's okay, that's what life is. And still people say 709 00:37:08,760 --> 00:37:11,040 Speaker 1: I'm resolving it too much, so you can never walk 710 00:37:11,080 --> 00:37:13,480 Speaker 1: that line. Some people want it so dark and some 711 00:37:13,520 --> 00:37:16,440 Speaker 1: people are so pissed. It's not all jokes, so you know, 712 00:37:16,520 --> 00:37:25,719 Speaker 1: I'm always in the middle. Writer director Judd Apataw He 713 00:37:25,840 --> 00:37:28,279 Speaker 1: says he still wonders what's left to say that he 714 00:37:28,360 --> 00:37:32,400 Speaker 1: hasn't said. Don't worry, Judd, turning fifty will give you 715 00:37:32,440 --> 00:37:39,840 Speaker 1: more than enough for a sequel. This is Alec Baldwin 716 00:37:39,960 --> 00:37:41,960 Speaker 1: and you're listening to Here's the thing,