January 1, 2020 • 97 mins
Questlove and Team Supreme kick off a new year in high spirits by getting to know special guest Seth Rogen.
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Episode Transcript
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Speaker 1 (00:00):
Quest Love Supreme is a production of iHeartRadio. Wait what stop?
Stop the thing, stop the theme, keep it going, stop the theme.
Wait you said that if you sit next to Seth Rogan,
you're gonna be rich on.
Speaker 2 (00:18):
The first of January. Yes, if I started the year
sitting next to.
Speaker 3 (00:21):
Seventh, yeah, I'm gonna be rich and funny. Okay, here
we go.
Speaker 4 (00:27):
Supreme Supremo, roll Call, Suprema Sun s Supremo, roll Call,
Suprema something Something, Supremo, roll Call, Suprema.
Speaker 1 (00:39):
Son Son, Supremo, roll Now Quest Love here thinking, Yeah,
which is which? Yeah? Maybe I need to switch my seat. Yeah,
so I too can get rich Supreme.
Speaker 4 (00:51):
I'm just saying Supremo, roll Call, Suprema something Something, Supremo,
roll call Sugar.
Speaker 3 (00:59):
Yeah.
Speaker 5 (01:00):
Yeah, I'm a mess. Yeah, I've been smoking way too
much Pineapple expressed.
Speaker 4 (01:06):
Supreme Suprema, Roll Suprema Suprema roll Call.
Speaker 6 (01:14):
This is boss Bill. Yeah, back again, my friends. Yeah,
this is the third line.
Speaker 3 (01:19):
Yeah, and this is the end.
Speaker 4 (01:22):
Suprema Sun Supremo, roll Call, Supreme Supremo, roll call.
Speaker 2 (01:31):
Yeah with Seth of course. Yeah, I don't know what
to tell you. Yeah, this will be better than a horse.
Speaker 3 (01:39):
You went to a dark place. Suprema Supremo roll call.
My name is Seth. Yeah, I'm feeling old, yeah handed
New York. Yeah, I'm fucking cold.
Speaker 4 (01:54):
Supreme up Son Son Suprema roll call Supreme, so Supreme.
Speaker 1 (02:01):
Roll, Supreme, Supreme roll.
Speaker 3 (02:08):
So this is how we're going to start.
Speaker 6 (02:14):
We're going to this is a bad omen all right.
Speaker 1 (02:19):
The God saw to it that we should have no
more theme. Get to it, ladies and gentlemen. Uh, this
is the newly rich neuvau Reese Quest Love another episode.
Happy New Year. This is January first, twenty twenty.
Speaker 3 (02:35):
Everybody, how do you feel good?
Speaker 1 (02:38):
Old and cold?
Speaker 7 (02:40):
How is your How is your holiday? Your festivities?
Speaker 3 (02:46):
It was old and cold.
Speaker 1 (02:47):
No, we had a great time, of course, Okay, all great.
Speaker 7 (02:50):
We can't remember did the checks come through?
Speaker 3 (02:52):
Yeah?
Speaker 1 (02:52):
The honk check's clear. So well. I'm actually shocked because
whenever any of your brother come on the show, your
your you always your roll call is usually geared towards
you call.
Speaker 5 (03:07):
Yeah, yeah, start incorporating the Jewy Park, but just left
it with the stone a stoner.
Speaker 3 (03:11):
I think. Yeah, I'm about to say, I think are
pretty like there's a lot of overlap. Would not anyway.
Speaker 1 (03:23):
I'm your host Questlove, joined to day by my croonies,
Boss Bill Sugar, Steve unpaid bills. Surprisingly isn't here? Yeah, boy,
is he not coming?
Speaker 3 (03:33):
Or did we call him? Did we let him know?
Speaker 2 (03:35):
Let him? You know he does play streets and stuff.
Speaker 1 (03:38):
Okay, so he can muppets enough bagel jokes. We can
make anyway, uh not to stall anymore, Ladies and gentlemen,
we have comedian, director, producer, actor, writer, leading man cannabis connoisseur,
also uh advocate for sleeping in the bed room under
(04:00):
sixty seven degrees.
Speaker 3 (04:01):
It's true. We will get.
Speaker 1 (04:09):
I guess uh Philadelphia Music culture event, fan police, the
man in the roots, Ladies and gentlemen, and hip hop
head and Canadian ladies and gentlemen, please welcome to the show.
Speaker 3 (04:20):
Seth Rogan.
Speaker 1 (04:25):
Wait, I gotta all right, we this this is a
show of rabbit holing. Let's just start first, all right,
I'm a little I'm miffed.
Speaker 3 (04:34):
All right, so I have to explain that a lot
of backstory.
Speaker 1 (04:38):
I was very fortunate. I was very fortunate to attend
uh sets uh Hilarity for charity event. Shout out to
uh Menisian and Mary Ellis Museum.
Speaker 3 (04:53):
Yeah.
Speaker 1 (04:54):
Yeah, So I went there and the discussion of how
much sleep does a person need to.
Speaker 3 (05:00):
Have that healthy brain? Yeah, brain health, Yes, yes, No.
Speaker 7 (05:05):
I learned a lot.
Speaker 3 (05:06):
I learned that.
Speaker 1 (05:07):
As of lately, I'll say, in the last two months,
I've been back into the eight hour range of sleeping.
That's good because, right because people were always like, when
do you sleep? When do you slee You didn't used
to sleep, right, I was three. I was three to
five hour guy, and I was told that you don't
even reach r EM state until six hours and forty
(05:29):
seven minutes and for your body to heal. And you know,
I'm adjusting my lifestyle right now. I'm trying to get
back to a healthier place. I got to do somewhere
between eight to ten hours for the magic to begin. So,
but then you guys left me with this this gem
of the room has to be cold.
Speaker 3 (05:51):
Yeah, you sleep best if the room is freezing. I've
heard that before, like sixty in the sixties.
Speaker 1 (05:56):
Well, yeah, my girlfriend took that the heart and now
reading night, Yeah, it's cold as hell. It's been sixty
five degrees in the bedroom.
Speaker 3 (06:04):
Are you sleeping better?
Speaker 1 (06:05):
No, No, I'm sleeping well, but it's not like I
needed to be Africa hot.
Speaker 3 (06:15):
My wife, Well, that's why my wife likes it much
colder than me, and that's why they have heating pad.
That's what we're talking about. There's there's pads from Actress
where you can set the temperature so you could keep
your side hot and her side cold, and it's something
that's throughout l Yeah. Perfect, I'm sorry, it's exactly right,
(06:36):
but uh no, it's fun. And I think I think
as bed get older, they get colder. It is we
would get older, they get hotter. Yeah. Yeah, me and
my wife have kind of We were just talking about
how we like crossed over. Like when we first started dating,
I was always hot and she was always cold, and
now I'm always cold and she's always hot. And we
probably had like three years where we were both the
same temperature and we didn't realize how good that time
(06:58):
was until it was gone.
Speaker 1 (06:59):
No, it could be really probably problematic because I'll get up,
I'll reach my limit at exactly like four to seventeen am.
Speaker 3 (07:09):
And you're freezing. Are you sure I'll sneak up with nothing?
Don't you remember? Do it all right? You remember on.
Speaker 1 (07:18):
Sesame Street the green guy in the in the in
the trench coat that used to always sell Ernie like
a letter Hey.
Speaker 3 (07:28):
But yeah, yeah exactly, letter dealer, right, so like his
little creep music, creeping tiptoe music. Yes, exactly.
Speaker 1 (07:41):
So I'm in my own house that I paid for creeping,
putting that ship back to like something normal like sixty eight.
Speaker 3 (07:51):
I don't go below sixty eight ars. That's where we've landed.
My wife Lauren would go to this like low sixties.
Speaker 2 (07:57):
Over thirty five. You got to go to sixty six, brom.
You got put on another blanket and then make it
hot underneath it. You know what I'm saying. That's the gold.
Think about it.
Speaker 5 (08:07):
What's the what's the logic keeping it colder? What's the
physics of well?
Speaker 1 (08:11):
And then the thing is that your your brain is
divided into two parts. There's the conscious brain, and like
the concert is like hey, uh, I'm gonna go to work.
I'm gonna go to work later today, I'm gonna take
the subway home, I'm gonna lose weight, I'm going to
ask that girl out. And then it's a subconscious which
does stuff like I'm gonna make sure your heart's beating
(08:33):
I'm gonna make sure you're waist. So it's the it's
the part of your brain.
Speaker 3 (08:38):
WHOA, yeah, what you said. And so it's actually a
fish song of course. And so.
Speaker 1 (08:49):
Your body has to be totally knocked out. So you
get to that R. E. M state at exactly six
hours and forty five minutes. When you're that sleep, then
you're right out of brains, like waking up like.
Speaker 7 (09:01):
All right, he's asleep, let's get to work.
Speaker 1 (09:04):
And so then that's where the fat burns. That's where
like all the things that you want to help have
happened for your life to be good. Your your brain's
like all right, they're knocked out. Now now we can
get to work. But the thing is that most of
us don't get that much sleep, so we're doing ourselves
a disservice by only sleeping six to seven hours.
Speaker 3 (09:27):
It's terrible for you.
Speaker 1 (09:28):
But yeah, you didn't answer my question. Why does it
have to be cold?
Speaker 3 (09:32):
Probably because people probably because it was cold at night.
Speaker 1 (09:35):
You're you mean like before we had houses.
Speaker 3 (09:37):
Yeah, Like it's probably like we're conditioned to sleep in
colder environments.
Speaker 1 (09:42):
So I think so at this.
Speaker 3 (09:48):
Event, Okay, can we just agree that this entire hours.
Speaker 1 (09:56):
I'm kind of on you're side of the fence. Why
does it have to be so damn cold? No, I
mean I'm just asking.
Speaker 3 (10:01):
No, no, no, I'm asking.
Speaker 5 (10:02):
I'm what's the scientific part of I don't think this helps.
Speaker 3 (10:06):
I don't know. That's why I want to know.
Speaker 2 (10:07):
Google where we changed the subject.
Speaker 7 (10:11):
I'm just going to suggest everybody hop on Google.
Speaker 3 (10:13):
Yeah, Google, and then anyway, let's talk about movies. But
you do sleep better what it's called, and that's that's fact. So, uh, give,
we don't need wise? Are we giving wise? We're just
giving answers here. It's said that completely unsubstantiated information scientists.
Speaker 1 (10:37):
Scientists have going on a record and said.
Speaker 3 (10:39):
So we had a doctor he substantiated it.
Speaker 5 (10:42):
Yeah, I kind of believe me and my curiosity exactly.
Speaker 1 (10:50):
So you were born in Vancouver, Vancouver, British Columbia. Huh,
home of the the hip hop national anthem.
Speaker 7 (10:58):
Wait, who else was Alfia Chang?
Speaker 2 (11:01):
Because he's yeah episode.
Speaker 3 (11:05):
Yeah, I think I've bet her over the years.
Speaker 1 (11:07):
Actually she'll be on the future episodes. Great anyway, Yeah,
I know.
Speaker 3 (11:14):
The Rascals are a hip hop group from Vancouver that
were the The Rascals they were called like, uh and
uh Northern Touch, Yeah, rascals, checkmate, Cardinal Allen thrust Claire,
how do you know this? How do you know that
very no American knows that song? I do my research
is well, maybe you can help you to steal the
(11:37):
beat of that song for a song. Yeah, there is
a d m X song with the exact same beat
as Northern Touch, and I think if you're Canadian, it's
very jarring. But you're like, oh, this is a good beat.
Speaker 1 (11:50):
It I can't yeah, express bt express sample that E
P M D used head banger ev Well, no, no,
no for uh uh you know what I'm saying.
Speaker 3 (12:02):
Yeah, Northern Touch first, get the bows that no EBMD
was first, and then Northern Touch, yes maybe.
Speaker 1 (12:07):
And then DMX came and just took it. Did Did
you know that your your hometown is also uh what
I consider that the national anthem of hip hop? Did
you know that Apache was created in Vancouver?
Speaker 3 (12:24):
Apache? Yes?
Speaker 1 (12:25):
Apache was recorded and created in Vancouver.
Speaker 3 (12:28):
Really? Yes, I did not know that.
Speaker 1 (12:30):
Yes, that's one of my favorite factoids about that is
a very good fact with Vancouver and the other and Wars.
Speaker 3 (12:37):
From Vancouver is the other I love. Yeah, Your interviews
with him are great. Have you interviewed been I've been
interviewed by him once.
Speaker 1 (12:44):
Have you ever seen a non savory nord war interview
like a lot of the earlier ones where they don't
you know if he's trolling them or not.
Speaker 3 (12:52):
Oh? Yes, so, I mean I grew up watching him,
So I've seen like so many.
Speaker 1 (12:56):
How long has he been doing this?
Speaker 3 (12:58):
Like thirty years? He's like fifty something. Yes, he's younger
than me.
Speaker 1 (13:06):
No.
Speaker 3 (13:07):
There's actually an amazing yardbar interview with Nirvana, like backstage
at the P and E Forum, which is the place
in Vancouver from like nineteen ninety, like three or something
like Courtney Love is there and it's like a very
long interview that's filmed and throughout it's like forty minutes
or something like. Throughout the course of it, you see
Kurt Kobad like slowly realize he's a genius, and like
(13:27):
at first it's this thing where it's just like, why
is this fucking guy here bothering me? And then he's
slowly like clues in the house is yeah, he totally
does know. But I've seen because now people know who
he is, Like, but for years I would watch interviews
where famous musicians would just get interviewed by him and
be like, who the fuck is this guy? And even
(13:48):
still some people don't. I feel like, don't get it.
I feel like people all right, So that jay Z interviews,
the jay Z didn't seem to appreciate. No, I warned
him about it. Yeah, I take him do it.
Speaker 1 (14:00):
And then Farrell doubled down. Yeah, so he did it.
Because if we say it's a thing, yeah, then jay
Z's just.
Speaker 3 (14:07):
One of them.
Speaker 1 (14:07):
Folmo, I don't want to miss out.
Speaker 3 (14:09):
He's got no question you know anyway.
Speaker 1 (14:17):
And so but I'll say that the first time he
interviewed me, I was paranoid because.
Speaker 3 (14:24):
He just knew ways. Oh it's weird. Too much information
he knew about me. That was he brought out your books. Yeah,
he had my high school yearbooks. Literally, he like knew people,
He knew names that I hadn't heard in like, yeah,
twenty five years.
Speaker 7 (14:39):
Got a bag from the shop at your mommy store.
Speaker 3 (14:41):
Yes literally that. Yeah, it was totally crazy.
Speaker 7 (14:45):
It would freak me out.
Speaker 3 (14:46):
It was super fucking freaky. But his knowledge is bizarre.
He's always trying to get to Kanye. He's like, that's
his holy Grail. He like emails me and tells me
a YouTube oh alone, not at all. Yeah, I can
see that going very bad.
Speaker 1 (15:01):
He somehow thinks that I have the magic touch to
get him to the Obamas.
Speaker 3 (15:06):
Wowane, Yeah, that's a big step in a much better direction.
Speaker 6 (15:14):
I read somewhere somebody said online that, uh that when
you get to the parlegates of Heaven, it's ard war
that he's the one that's reviewing your entire life there.
Speaker 1 (15:27):
So, speaking of your hometown, are you is every time
I ask anybody from Vancouver, are you knowledgeable the La
Cassa gelato or is that just for tour suckers like me?
Speaker 7 (15:42):
It's the place that has.
Speaker 3 (15:44):
Like hundreds of flavors of gelato. Yeah, it's near. It's
on like the like north end of kind of the
east side of Vancouver.
Speaker 1 (15:52):
It's my favorite place ever, I might.
Speaker 3 (15:54):
It's not somewhere I grew up going, but it's somewhere
that I've heard of Its suckers might be kind of
a vinegar. Yeah. It was one of the first places
to start doing like weird flavors or ship like that. Yeah.
Speaker 1 (16:08):
Yeah, basically cheese ice cream man like a tobacco one
or something like that.
Speaker 3 (16:13):
Yeah for a while. Yeah, well, I mean something.
Speaker 1 (16:15):
That some of the weird ones I liked, Like they
have black pepper vanilla.
Speaker 3 (16:19):
That's weird. How is cheddar cheese? Well that's the thing.
Speaker 1 (16:23):
You you basically you sample all the weird ones and
you get the rocky road.
Speaker 3 (16:27):
That's you know, that's a purely like North American thing
is sampling ice cream? Like, uh, what I was considered rude? Well,
I was in Italy and uh not to brag that
Italy in a gelato shop and there was like a
rush of Americans left and me and by wife for
the holy people of the restaurant, and the woman behind
(16:49):
the counter like very quietly looked at us and goes,
can I ask you a question? We're like, yeah, how
come American always ask the taste? She's like, what is this? Like?
Nowhere else to t I was like, you're right when
you put it like that, it is pretty fucking weird,
Like nowhere else you'd be like can I try that
sand which piece? That's what I said. I said. I
(17:14):
think it all roots back to this one place basket Robins,
where they encourage people to do it and that ruined
really ice cream all over the the Yeah, because I
know that the.
Speaker 2 (17:23):
Sun you are, I'm like, yeah, they combined with dun donuts.
Speaker 3 (17:28):
No, no, no, yeah there. That's the thing though, are they.
Speaker 1 (17:32):
I know that the Sun inherited the empire and because
you know, like generations are the opposites of what their
parents were, the Sun wasn't like you know, he didn't
he was concerned about the cows.
Speaker 3 (17:47):
They were using and.
Speaker 1 (17:50):
Range and so instead he took the family money and
did this expose on how like ice cream companies are
ruining cows environment.
Speaker 3 (18:01):
It's like ice cream succession.
Speaker 8 (18:03):
So they that's crazy basket around. I was just in
the ice cream industry, which explains why they had to
partner with.
Speaker 3 (18:17):
Basket.
Speaker 2 (18:19):
That Margarita flavor is still there is good Margerite ice cream.
Have a Margarita flavor. They've had it forever.
Speaker 3 (18:24):
Wow. Good to condition children at a young age to
develop a taste from Margarita's. So twenty minutes.
Speaker 1 (18:33):
So twenty minutes into this interview, let's start. So you
being born in the early eighties in Vancouver, what was
the what was your environment like in your household?
Speaker 3 (18:48):
My household, I lived on the East side of Vancouver,
which in like a one hundred percent like East Indian neighborhood.
So it was, uh, it was great. It was like
I would walk around a lot. I was just arguing
with my parents. Their memory was that I never walked
around alone, and I definitively did all the time. It
(19:11):
would take the bus all around the city. But uh, yeah,
but I went to school on the West Side, I
grew up. I started doing stand up when I was young,
like twelve or thirteen, and I would started writing around
then too, and I smoked weed a lot, and not
much has changed my life since I was twelve. I ag.
Speaker 1 (19:30):
So the myth, the myth of super Bad and you
crafting this at such a young age is.
Speaker 3 (19:38):
Yes, for sure. Yeah. Me and my partner Evan, who
I still work with, met in bar Mitzvah class when
we were twelve and then started writing together not long
after that, and we had yeah, we probably finished the
draft to Super Bad when we were like fourteen or
fifteen for a complete yeah by then, but we started
when we were like thirteen, And there is some and
(19:59):
it's like what the things were. It's almost sad that
like I'm not that much smarter or fuddier than I
was when I was thirteen years old, because there are
some jokes in the movie that like we wrote when
we were thirteen that are still in the movie, that
are in the movie that like that held up and
that are still Yeah, you'd like to think you got
better in that amount of time.
Speaker 2 (20:17):
At fourteen, you look like a professional.
Speaker 3 (20:19):
I'm trying to say. I remember I made I asked
my mom to buy me Final Draft, which was the
script writing software, and she did. My parents were like
super supportive because I also didn't stand up, so they
saw that, like I would work hard. You know what
I mean? This is ninety six, Yeah, this is probably
ninety five or ninety six or something like that. Yeah,
ninety five, I would say, ninety six.
Speaker 1 (20:39):
Yeah, Like all right, I'm curious, and this is lead
just back to the conscious subconscious. Yeah, when you're subconscious,
it's convinced them of something. Yeah, then your body does it,
which which explains why you know, Kanye uses outward affirmations
I am the greatest, yes, and then everything happens for him,
(21:00):
the same way with Trump, the same way with Diddy,
the same with Jay.
Speaker 2 (21:04):
Remember Day remix it and called it a secret secret.
Speaker 7 (21:12):
I have six million dollars in my bank account right now,
right now.
Speaker 1 (21:16):
So I'm curious what what inside you gave you the
the boss to even be like, yo, let's write a
movie now, Like it didn't even start with like let's
start with community theater.
Speaker 3 (21:32):
Hey, how do you do this?
Speaker 7 (21:33):
Or did you see a movie one day?
Speaker 3 (21:34):
Is like I could do better. Literally, that's what happened.
Like what movie did you see that sets you off?
I can't remember and we are all we love picture
that was like no, like that was something. I had
a pulp fiction poster on my bedroom door, like.
Speaker 7 (21:48):
Throughout if you were a teenager in the nineties, you.
Speaker 3 (21:51):
Had Yeah, I mean that came out in ninety four,
maybe I was twelve, so we saw it around then,
and it was it was also the era of like independent.
It was like the resurgence of this independent film like
Clark Car and Rushmore and Wes Anderson had Bottle Rocket,
so there was oh yeah, we were obsessed with them.
And it's also one of those things that was my
(22:12):
parents loved movies and they were just huge movie fans,
so they would like watch a lot of movies and
collect movies. Vancouver. They made some stuff there, so it's
not like Hollywood, but like you would see movie sets
around and so there was like it wasn't this like
completely unobtainable thing. And then in high school, our high
(22:33):
school was right across the street from to video store,
like uh giant video stores, and we would rent movies,
like we watched. All we would do is like smoke.
We'd watch movies basically, and and when you watch enough movies,
you start to think, maybe we could do this, and
if we write something that's like cheap, then maybe that
was always the thought was, like it was said in
(22:54):
high school super bad, and we were like, where it
comes to worst, like this becomes something we like we
made movies with like our like you know, we had
a video camera. We were like, we could technically make
this ourselves if we wanted to.
Speaker 1 (23:05):
You know, what was your north star in terms of Okay,
So now now it's just hitting me that because I
family that worked at an independent movie theater back in
ninety one ninety two, so I always have free tickets.
But you know, we're seeing al Marachi, We're seeing like
(23:25):
all these indie films, which I mean at the time
I didn't realize it, but it was grooming me to
gear towards art house stuff as opposed to mainstream stuff.
But for you, what were your Were you a film
snob or were you just like you know, I got
Poor GI's and Hot Dog.
Speaker 3 (23:43):
Yeah, no, we were hot the Ski movie, Yeah, of course.
Speaker 7 (23:46):
I liked Hamburger the motion picture.
Speaker 3 (23:50):
Yeah, Hamburger, Hamburger Bucker. Was there a Hamburger movie?
Speaker 1 (23:56):
Yes, I gotta see it.
Speaker 3 (23:58):
It was amazing TV.
Speaker 1 (24:00):
There's a specific like C movie yeh VHS section.
Speaker 7 (24:05):
Anything that was on HBO late night and liked.
Speaker 3 (24:07):
In the mid eighties, we would just rent movies based
on what the cover of the box looking garbage.
Speaker 2 (24:12):
Anybody can find the garbage.
Speaker 3 (24:13):
It's funny. Busy Domight movie just came out. I would
watch it. But we were we were obsessed with Dollmkee
because like it was one of those reason that like
purely based on the colt We're like, what is this?
We did? We did the same We did the same thing.
Speaker 6 (24:26):
Like every Friday night we would all meet up with
this Mexican restaurant in town and then we would all
like caravan over to the video store, argue for about
half an hour about what video we're going to pick out?
Speaker 3 (24:34):
Oh, we would argue for hours. We spend more time
in the video store than we would watching the movies
we rented at the video like that was the activity
was going to the video store. Inside we argue over
what we did.
Speaker 6 (24:43):
We called it tasteless movie night. We would try to
find the most tasteless movie we could find in the
video suffect. Yeah, and we would just go to my
friend Darren's basement and watch it. And just like it
was commentary, it was perfect commentary involved. I'm sure if
there had been well his mom was a teacher, sect.
Speaker 3 (24:56):
Would never So where were you go? Uh? Well, I
think it's like one thing I look at is like
the movies. It's obviously something I've thought about, you know,
is like the movies my parents owned, Like they owned
like forty movies on like vhs that they would like,
there was like three movies to a VHS. They would
tape them off TV yes when they came on, and like,
(25:17):
would you ever watch them? I did all the time.
And those movies are like cementing in my brain. I
know every word to every one. And I also bet
that if I like made a list of all those
movies they like directly correlate to the movies that I've
made since then basically like one, well, it's like Ghostbusters,
(25:38):
they and movies like that. My dad loved Bill Murray.
They also loved like Woody Allen and like Independent like
they like they had like Hannah and Her Sisters and
like any halland movies like that, and I would watch
those movies a lot. And then they had like Albert
Brooks movies, and my dad loved Billy Crystal and so
like it was a lot of that stuff. And my
mom though, loved action movies, and so we had like
(25:58):
die Hard and Total reco and like Under Sage I
remember we had right when it came out, and Lef
a Weapon was like, it's like one of my mom's
favorite movies. And so I would watch these like emotionally
driven kind of comedy drama movies and like the most violent,
insane action movies. And that's kind of a lot of
(26:19):
the stuff we make now, Yeah, I see, yeah, And
so all those movies like we loved, and then when yeah,
and then when Paul fiction of those movies started to
come out, we became cessin Reservoir Dogs we loved and like,
and then we got really in a Sam Raimi and
Peter Jackson's early movies like Army of Darkness we watched
(26:42):
over and over and over again, and Dead Alive we watched.
We watched a lot and like, uh yeah, and then
to see those guys go on that was another thing.
Is like you'd see like, oh, like Sam Raimi's direct
and Spider Man and like these guys who like we
were already fans of for making like the weirdest shit ever,
we're then crossing over and becoming really successful and I
(27:03):
think making big things. And that was also I think
something we always liked and that was interesting to us.
But no, I mean we just like devoured.
Speaker 1 (27:11):
The Vancouver have much of a social or nightlife because
I'm a I'm almost thinking of I'm thinking that Vancouver
is almost like all right, what Minneapolis was to print, yeah,
and how there was a scene there, but because there's
not much to do. Yes, he had a lot of
time to hone his craft, yes, to do music a lot, yes,
(27:33):
And the weather determines staying in.
Speaker 3 (27:35):
Vancouver is a city where people sit, like go to
someone's house and smoke weed. That's like the activity your
experience that is like what people do there or and
when it's nice out, you go to a not a
nature place and smoke weed. It's like a very like
weed was like super prevalent and like it's a huge
(27:56):
It's like one of the most progressive cities in the
world when it comes to weed, even in your in
the night. So you've never been arrested for the right.
When I moved to l A, I got arrested because
I didn't understand how much more strict it was, uh
than it was in Vancouver. Like all throughout high school,
if we got caught with weed, the cops wouldn't would
just take it. They wouldn't even always take it. They
(28:17):
would just be like go away, like like it was
such jewelow on priority, like on the priorities, because Vancouver
had like a terrible, terrible heroin problem and it was
like had a really rough drug problem. And so weed
very early on became deprioritized and decriminalized. And from when
(28:38):
I was a kid, there was a coffee shop you
could go smoke weed in, and there was like indoor
like places you go inside and smoke weed.
Speaker 2 (28:45):
Seth you never know we would see I have.
Speaker 3 (28:48):
But yeah, when I first moved to la we'd buy
pounds of Mexican weed. Wait, virgin here was I It
means lots of seeds and you Reggie, so.
Speaker 2 (29:00):
It's call it Reggie regular weed. But to me, if
Vancouver has been in the hierarchy of the weed game,
I would just assume that, like and you're at a.
Speaker 3 (29:09):
Good like hydroponic, you don't want to smoke the seeds.
Speaker 2 (29:11):
Because you know it takes you. That's a sterile part to.
Speaker 3 (29:15):
Wait, I don't know if that's true. Time out, I
don't know if there.
Speaker 1 (29:24):
That's what That's what I'm saying. Why is it taking
three years for me to really wait? How are you
just gonna let you come here and drink your milk?
Speaker 3 (29:32):
Seeds?
Speaker 2 (29:32):
Right? Parents smoke weed with seeds in them, and we
stole them. We have to pick them out, and it
pops and burns and seats and seats.
Speaker 3 (29:39):
This leather falls out of the joint. Sometimes.
Speaker 2 (29:42):
My dad's a cut all the time. God damn daddy,
always smoking in your car looking at them.
Speaker 3 (29:46):
Hosy, I did that.
Speaker 1 (30:00):
You started stand up at a young age?
Speaker 3 (30:02):
Yeah? Fourteen? Yeah, thirteen or fourteen?
Speaker 1 (30:04):
Okay, So the only person I know they had the
experience with Chappelle.
Speaker 3 (30:09):
Yeah, how I think Eddie Murphy started around that. Yeah,
so happy much better. How do you.
Speaker 1 (30:16):
How do you even negotiate your way into a club?
Speaker 3 (30:20):
Yeah? My mom helped, She would talk to She drove
me to every show, literally because I couldn't drive at Yeah,
And what's funny is very early on it's one of
those like happy coincidences. I did a show that I
did a fundraiser when I was like fourteen, a small
one that the premiere who's like the governor kind of
(30:42):
of British Columbia, was at and my mother cornered him
and was like, if my son's performing at a bar,
can he be in the bar? And the guy was like,
legally yes, And she caught his office to send a
letter wow, saying that as long as I was performing,
it is legal for me to be in the press
and I and I would have to leave right after.
So like I would sit backstage and I would show
(31:05):
it to the club. There was only four clubs anyway,
but once they had all seen it, they would let
me perform there. And and then I performed like regularly,
and I was like, I was like pretty good, Like
I wasn't what was it?
Speaker 2 (31:15):
Check? Like ad age did you get a check?
Speaker 3 (31:17):
Every once in a while, I would like open for
a comic and I'd get like one hundred and fifty
bucks or something like that, which when you're fucking.
Speaker 1 (31:23):
But did you use did you use your your kiddom?
Did you use your youth?
Speaker 3 (31:27):
I tried not to. I tried to. I would well,
at first, I didn't at all, and I because I
was so self conscious about being like gimmicky that I
would try to tell your fourteen I know, things like
the rocket as I was very neurotic, and I didn't
want to be like the kid comics, so I tried
(31:48):
to write jokes that that any comic would write that
were like more like observational humor, but it were you Blue.
I was always wanted Blue. I didn't actually at first
at all. Also, but then I remember this comic Darryl Lennox,
who still does stand up and he's great. He was like,
(32:10):
I was telling you just like like all the cogs
would make fun of me because I had a joke about
like crazy glue, what's so crazy about it? And it
was like the dumb MISSI observational tumer of all time.
And then and then Darryl I remember like sat me
down and I was like fifteen, and he was like, dude,
like you are the only one of us who's like
experiencing all these things like in real time, Like you're
(32:33):
trying to kiss girls for the first time, you're trying
to get your driver's license, you're trying to buy beer,
you're trying to go to parties, you're trying to sneak
into strip clubs, like right. Jokes about that, like that's
something that like everyone's gone through in some way and
you're living it like right now, and and I was
like okay. And then that was also one of the
things that really influenced Super Bad, where we at first
(32:55):
it was more like let's write a high school movie,
and then we were like, no, let's write like whenever
something happens to us, let's put it in the movie,
and let's make us the characters in the movie, and
let's like structure it around.
Speaker 1 (33:07):
So those things happened to you guys in super.
Speaker 3 (33:09):
Bed, not on in one night, but almost a lot
of the stuff in the movie happened, yeah, like in
some form or another, like.
Speaker 1 (33:18):
And everything you grind it up against the girl, and that.
Speaker 3 (33:21):
Happened at a school dance. Yeah, that that that actually
And in real life, I was one of the guys,
Like it played out almost verbatim as it did in
the movie, except one of our friends was the Jodah
character in real life, and I was one of the
guys who was like what is that? Like what's on
your leg there? And that's what happened. And so, yeah,
(33:44):
it was a school dance and we all put our
stuff in like the locker roob in like the Jym
locker roob like before, and we were getting it after
the dance and yeah, and like one of our friends
was like, did you spill it yourself? We were there
like looking at it and then and then what happened?
And we kind of allude to this to the movies.
We noticed on the other side of the locker room
there was another group of guys having the exact same
(34:06):
conversation and they were all like looking at their friend's
legs pokagaping like what is that? Did you spill? I mean,
like the two groups like locked eyes from across the
room and it was like this, guys are so like
moment bro. It was like, oh no, I think we
have a situation on our hands. And then there was
(34:27):
a lot of like cross referencing who they had danced with, and.
Speaker 1 (34:32):
Wait, I got a preface for two people who haven't
seen Super Bad. There's there's a crucial scene where there's
a dance sort of grindy dance moment in which a
girl rubs her crouch on Jonah Hill's I think it's pronounced.
Speaker 3 (34:51):
I forgot it's inside yea.
Speaker 1 (34:54):
Anyway, I'm una bekno to Jonah Hill. His thighs or
his jeans are now maroon five. Yes, they got period
of their bloody period.
Speaker 3 (35:09):
It happened. Oh wait, you're just getting that now.
Speaker 2 (35:11):
I just remember I thought he I couldn't remember on himself.
Speaker 3 (35:13):
Or also on the table that was long shot almost.
Speaker 2 (35:25):
You know.
Speaker 1 (35:26):
My favorite my favorite thing about I visit a lot
of local comedy houses in New York. My favorite thing
is actually watching uh people bomb NFL. No, no, only
because like now I'm entering the stage of my life
where I'm gonna have to give a lot more public addressing.
(35:48):
And it's always how you handle yourself in that moment
that separates the men from the boys. So a lot
of times, like if you watch, if you go to
like I love going to the store in LA when
it's the like the one am show, the very last show,
and usually like the last three people's are always like
(36:09):
the doorman, the bell guy, like okay, I'll let you
go up and do five minutes, like everyone's left the room.
Speaker 3 (36:14):
Yeah, I performed there at that time when I was
like sixteen years old.
Speaker 1 (36:18):
Because I feel in my mind that whenever I'm watching them,
then I believe at one point either not Jerard Carmichael,
who's the guy that I liked, America's Yea, Jamar Nighbors
was one of those guys and he's hilarious, like he's
one of Jerrod Carmichael's dudes. But like it's always the
(36:39):
last three people on the late the graveyard shift that
I love watching them the most to see how they
adjust to it. Have you, when you were in sort
of developing your skills or whatnot, have you ever had
to resort to what they would call the what's the syndrome?
Like aristocrat syndrome or when you know that you've done
(37:02):
a bad set and you're just performing for your buds, like, yeah,
I fucked up in always did everyone do the aristocrats?
Speaker 3 (37:10):
It was at another thing where I never did that specifically,
but there was I mean, yeah, shit would go bad
and they would and there would be times yeah, where
you would just kind of throw it all out and
it was like, uh yeah. Like I think managing the
audience's discomfort is something that is a lesson that I
(37:33):
learned at a young age, and that like you can
carry with you across many different avenues of life, and
I think that that's something that is very valuable. And
I did it, Yeah, I remember doing But my friends
could never come watch me though, because I was a
kid and they weren't allowed it to the club, so
it was always strangers. But I had times when just
(37:54):
group tablesful adults would get up and leave. It was
terrible and they I remember performing at the Impro. I
remember coming la to audition for the Just for Last
Festival when I was like fifteen and going to the
improv and Jerry Seinfeld decided to drop in at the
Just for Last stand up comedy showcase went on right
(38:15):
before me fucking annihilated.
Speaker 1 (38:19):
Hey when that happened, When the big star comes in,
it's like, hey, I'm want to practice that.
Speaker 3 (38:24):
Comedy show Yes on a fucking showcase.
Speaker 2 (38:27):
Did you ever get to tell Jerry what he did
to you?
Speaker 3 (38:29):
Yes, he could not have been more indifferent. And then
I went up after him, and I literally, like to
this day, remember standing on the stage and it being
so quiet. I could hear the electric hum of the
s and I'd been doing set up for years at
that point and I had never heard that sound. Remember
(38:52):
like thinking to myself like, wow, like have the speaker's
always been making that sound and I just haven't heard it?
Or do these ones have like a particularly loud I
just remember hearing like I was like, oh that's a
new one. Yeah. It was brutal. So at the time
I didn't get into the just for last est.
Speaker 1 (39:12):
So Jerry, yes, could you explain how you got inside
of the I guess the mafia of the what I
call the app Townia MAFIAU.
Speaker 3 (39:25):
Yeah, I mean it was all I. I was doing
stand up and I got an agent through stand up.
And I was like sixteen or seventeen until high school
was like going to end, and I like was not
going to go to college. So I was like, I
should I need money so I should start trying to
audition for things. And my plan if you asked me
(39:47):
that point when my plan was I'll be like, oh,
I'll move to LA after high school and I'll try
to do stand up.
Speaker 1 (39:51):
And so you wanted to be a straight up stand
up comment, Yeah, And.
Speaker 3 (39:54):
Then I thought maybe I'll get like on like a
sitcom that was kind of like the only precedent of
that in that time. That was like the thing that
seemed the most achievable because it was like Seinfeld was on,
like everybody loves Raymond and Martin like that. Like at
the time, it seemed like if you were a successful
stand up, you got a sitcom. And I always liked
movies more and so that was always something that I
(40:15):
like wanted, but it wasn't as like it didn't seem
it seemed like the types of movies I wanted to
make at that time especially were like very small independent movies,
and at that time, Super Bad seemed like it would
be like like Rushmore, you know what I mean, like
not in its artfulness, but just in its scope, you know.
And I think that then I moved. So I auditioned
(40:35):
for Freaking Geeks. Was a second audition I got out
sent out on and the auditioned kids out of Vancouver
like they did international. Wait, you all were from Vancouver. No,
they did international, So they auditioned in New York, in
Chicago and Boston and Toronto and Vancouver, and I like,
I went in for an audition one morning in Vancouver
and and then I got it. And then I moved
(40:57):
to LA and uh, the same people I watched.
Speaker 1 (41:01):
I watched that show in the first man, don't let
people I know people now like to revision it like yo, man,
freaking gigs with my ship.
Speaker 3 (41:09):
Man.
Speaker 1 (41:09):
You're like, oh, yeah, well if it was, then why
why watch it?
Speaker 3 (41:13):
Yeah?
Speaker 1 (41:14):
Well I watched it because during the time of us recording,
Uh do you want more?
Speaker 7 (41:20):
Yeah, there was always a TV on the break.
Speaker 3 (41:22):
Yeah.
Speaker 1 (41:22):
So that's how I remember freaking geeks. That was my favorite.
I thought, oh man, this is way better than my
so called life years Like.
Speaker 2 (41:30):
Damn, I was just thinking about that as he was
talking shit, I.
Speaker 1 (41:33):
Can get like, were you excited of the the critical
claim it got?
Speaker 3 (41:39):
And did you I had no. I was like a
seventeen year old podhead from Vancouver who like, I had
no concept of any of that shit. Like I remember being.
Speaker 1 (41:51):
Like, you're in a business man, yet I just didn't.
Speaker 3 (41:54):
I think I was so I was. I was really confident,
and I felt like everything like when someone's like your's
everyone loves your show, like it has one hundred percent
good reviews, I was like, yeah, it's fucking great, like
like it wasn't like really, it was like, of course
we're putting out great shit, like there's nothing like this
(42:14):
on TV, like of course everyone like and if anything,
that made it more frustrating that no one was watching it,
because like we knew it was good. And that's like
I look back on and think, like I didn't even
think of the quality of the show when I went
and did it, like I it could have been the world.
Like I was just like a job, I'll take it.
And then I remember getting to la and to shoot
(42:36):
the pilot, and it wasn't even until then that I
got the full script, like the day before we started filming,
and then I remember reading it and being like, oh,
there's like jokes about shrooms in here and shit like that.
And then we rehearsed for one day and they were
like what would you say here? And then all of
a sudden, we were improvising and they were letting us
add jokes about Hitler and all this stuff, and we
were like, this is really different. And then when we
(42:58):
started shooting it, we were like again, Like the director
was from the independent film world, Jake Kasden had just
made Zero Effect, which was a movie I was a
big fan of. So it was like, oh, yeah, we
have like these writers and directors who were like doing
the exact stuff that I liked. So when it turned
out great, it was like again I was So I
(43:20):
was really like spoiled at that time because I was
just like, yeah, you make something a Chrystmas.
Speaker 1 (43:27):
Together, Like, Oh, the creator the Larry Sanders Show has
this new knew that.
Speaker 3 (43:32):
But I didn't. Again, I didn't realize I think, how
like I didn't realize a how just because you did
something good before it doesn't mean you'll keep doing things
that everyone appreciates. Like I was a fan of the
Larry Sanders Show, a huge fan and grew up watching it,
and but I didn't like I think when I took
the when I first got cast on the show, I
had no idea jud it even I didn't know Judge
(43:55):
was I know Judd worked on the Larry Sanders Show.
There was no IMDb at this time. There was no
way to look up who you were working with. Yeah,
like I had no idea the internet. Yeah, there was
no like work. Maybe there's IMDb, but I didn't know
how to use it. Yeah, there was no like organized
way of checking any of that ship.
Speaker 2 (44:13):
This is like and did Jane Franklin didn't even hit
the soap shit right?
Speaker 3 (44:16):
Like no, it was like no one had done anything.
And so yeah it was. But then it started airing
as we were shooting, and then they just were like,
no one's watching this ship. And it was on Saturday
night at eight or some shit like that against cops.
I remember just like joking like cops beats us. We're
fucked and they cops beat us, and it was like, oh.
Speaker 1 (44:34):
No, So when you gunny about Undeclared, no, because again
I was did you feel like, okay, well we'll do
a better version.
Speaker 3 (44:45):
I was like, oh, this time, will do like a
more commercial version and we kind of work out the
kinks and like again it was like the exact same
thing happened where it was like very critically acclaimed and
then no one watched it. But but that but I was.
I was thrilled, honestly, like a writer and an actor.
On Undeclared, I was eighteen years old, like it was.
You know, it was like a very exciting thing for
(45:07):
me to be doing.
Speaker 1 (45:08):
So, Uh, how hard is it living hand to mouth
in that period?
Speaker 2 (45:13):
Because are you well he never had a did you
ever have a regular job or anyone?
Speaker 3 (45:19):
I after undeclared, I didn't work for like three or
four years. Basically, what did you do? I fucking spent
very little money, but you still a server and I
would help. Jud was very nice and he would get
these super high priced rewriting jobs and then he would
(45:41):
give me a little bitter to help him do it.
So like I helped rewrite Bad Boys Too. As an example,
time wait, time out. First of all, shut app it's out. Yes,
it's like a secret thing. We wrote that joke, and
that was in the trailer where they're singing the song
and they forget the war, they like don't know the world.
(46:02):
Oh yeah, and yeah it was like, yeah, that was
one of the many things we did so maintenance. So
what else did you do? Little things here and there?
Like uh, one of the Big Mama's House movies I
helped on for a few days.
Speaker 2 (46:22):
Wait, so stop in this moment because I was saying
this because I know my whole family gonna get mad
at me. But in this moment, are you understanding your
white funny man because you know that you are like
you like, this is a seriously it's a serious question.
Like nobody else. If you hear the struggles of other
comedians and things of other colors, women, da da da da,
there is never a moment where they haven't had to
(46:44):
like serve or do something that they didn't want to do.
But it seems like since you were fourteen years old,
you was on it. You needed final draft, you had it,
you needed the camera, you had it. You this is
any moment did you realize this?
Speaker 3 (46:57):
I was super, Yes, I was. I was very Yeah,
I was never felt particularly downtrodden. I was very I
felt lucky. I was very I always felt lucky and
was very fortunate and like and and got that. Yeah,
I mean there was a time when I was maybe
gonna like there was a momentere I was like, I
(47:17):
might have to move back to Vancouver because I was
just running out of money and couldn't afford to live
in la anymore. And that's when I got hired on
the Algy Show. And that like continued that like yeah,
and it was like a great. It was like a
great job to have because like it was even it
was like it sounded great in a room, Like it
(47:39):
was like when we went on meetings and we were like, oh,
we got yeah, we got nominated for Emmys. That was great.
Like it was something that like basically I haven't stopped
working since that. It was like that was like the
thing that kind of kept me.
Speaker 1 (47:52):
Going because his because his brand of comedy sasa very cornant,
because he's such a rogue, yeah, kind of archy comedian.
How do you find his voice?
Speaker 3 (48:04):
Like how do you?
Speaker 1 (48:05):
It was like, and the type of stuff he does
is more strolling.
Speaker 3 (48:09):
It was kind of it was hard, and I think
he liked and I think it was good that we
were so young and malleable at this time when we
were working for him, like we were like twenty two
or something like that, and so like he could really
I think without some of like the kid gloves you
would use with older people, being like here's what you
(48:30):
have to do, here's what we do. Do exactly fucking
this and nothing else, forget everything, you know, just do this.
So he likes like yeah, and and and he would
literally lock us in a room and be like write
two hundred interview questions for me to be an interviewing
like an environmentalist in a tree, like and like, don't
(48:51):
come out of that room till you've written me two
hundred questions.
Speaker 2 (48:55):
Well he did.
Speaker 3 (48:55):
Yeah, we came on for Bruno and then we went
on the road with him. We went to spring Break,
we did other spring break stuff with Bruno. It was insane.
He almost got killed.
Speaker 1 (49:07):
What happens when you go to.
Speaker 3 (49:10):
Uh like Daytona Beach. Yeah, it was crazy. What's funny
is I had to kind of hide because I was
not famous, but I was like one in every hundred.
People knew me from freaks and geeks, and so I
was kind of had to like I was like relegated
to the hotel room because like they were. He was
just like the chance that someone sees you and puts
(49:31):
two and two together is like two great. So, like
we would travel from city to city and me and
Evan would literally just sit in a hotel room and
whatever city we were in and like Andy, they come
back Elast, yeah exactly. And they would come back and
they would show us the footage and what they had
done that day, and we would all just laugh hysterically
and be amazed that they hadn't gotten killed and like
it was, uh, it was fun. Yeah, it was great. Wow.
Speaker 1 (49:54):
All right, So I have so many questions about your movies,
but I'm afraid we'll do just get stuck in one
of them.
Speaker 3 (50:03):
One but this is it?
Speaker 1 (50:07):
Yes, yes, well, I mean there's so many, but I
will say that for you know, forty year old Virgin
was to me like, how how much input are you
given for scripts? Or how open is Judd to having
(50:27):
you guys adjust the comedy? The way that it looked,
it almost seemed like this got to be on the
spot and he just say keep the cameras rolling.
Speaker 3 (50:34):
A lot of improvised Yeah, I was, I would say,
like because super Bad had been written and no one
would make it. And same with Pineapple Express. So you
was still shopping it actively and me and Evan and
my especially because Evan was in college at the time
and wasn't there all the time. Like I was always like,
(50:56):
people want to see a movie where people talk like this,
like more than anything. That's what I had a strong
feeling of, was like they want a comedy where people
where it's conversational and not so like Plucky and jokey,
and it just feels like people talking, they're swearing a lot,
and and and like it's like taking like again because
(51:17):
we grew up loving pulp fiction and clerks, and we
were just like, if you can really gear that towards
like comedy and like in a great way. And and
since no one would make super Bad Judd like and
me and him together thought that if we could make
these the guys who work in the store kind of
be almost like a it's almost almost like a weird
(51:38):
testing ground for like that type of conversational comedy, whereas
Corel's character was this like sweet kind of like island
in the middle of the movie. We were like, if
we can make these guys like, why don't we try
this where we improvise and have it be very conversational
and you guys can swear a lot and say all
the sick shit you say to each other that makes
(51:59):
each other laugh behind the scenes, but we never say
it on camera, always like that's too much, that's too crazy,
or people won't like that. But we were like, what
if we do that on camera, you know? And that
was really like the first time that any of us
had done that. I think, like it was they had
done Anchorman where it was it was different though, because
(52:22):
the movie is tonally not real, so like it's not
They improvised a lot, but it wasn't like actual conversations
because it's like under this umbrella of like a false reality,
you know. But this was the first time where it
was literally like you can just say whatever you think
you would say in this situation and there's no rating,
like and we had never played in that environment before
(52:46):
and it was really the first time where we were
all like, oh, we can really let it rip. And
I remember the I had improvised that thing about going
to Tijuana and like seeing a woman fucking a horse,
and it's like it's like he comes into the or
he comes it's like Corell comes into work and he
explained making an egg salad sandwich and he's like, what
(53:07):
you do this weekend? I'm like, why I went to Tijuaana.
We went to see this woman horse and like it
was not that cool, Like it was kind of gross,
and I remember like and it was like pretty. It
was like on the scale of like the types of
things people were saying in movies at that time, on
like the very far end of the spectrum.
Speaker 1 (53:25):
Which is why I asked you about the Aristocrats exactly.
Speaker 3 (53:30):
Yeah, and so that and we were just making each
other laugh. And I remember before the first screening we
were like, if people like, if that works, then like
then we're fine. Like then all these instincts we have
of like what people want might be right. And I
remember like it was like like on like that moment
(53:50):
was like a life changing moment in many ways, like
sitting in the theater when that part came on for
the first time and seeing the audience just like explode
in laughter, and like you could see it was just
like shocking to them, but all so funny and also
felt kind of real. And I remember so many people
come up to me after we came out and be like,
you remind me so much of a guy I used
(54:11):
to work with, And you remind me so much of
this weirdo who was in the back room at this
place I would go to and like and and and
you could see that we were kind of like tapping
into this like relatable form of comedy that people you
know at that time. It was like Dumb and Dumber,
which I love, like it is one of my favorite
movies ever. But it is not relatable, naturalistic conversational comedy.
(54:35):
You know, it's huge, crazy gags and very specifically like
written in staged bits right and very smart.
Speaker 2 (54:44):
Can I just give you credit to for putting an
actor in their lesser known name, Evin Hart, Kevin Hart,
the dude Jared, I want to say his name, right, Jerry,
He's funny. The East Indian guy who's just stopped everyway?
Speaker 3 (54:59):
Is he okay? He is? Okay? The other guy not okay? Yeah,
I was like, Jerry's fine.
Speaker 2 (55:09):
The one that was working in the store that was
kept saying nasty ship.
Speaker 3 (55:12):
Yes, what's funny about the guy who mixed up with
the other guy? Not the other guy who might still
be in jail. He is in jail, yes, okay, okay, okay, yeah,
making sure he making sure Rry's great. Yeah, Kevin Hart
was great. Attempted he did succeed, though, Damn damn.
Speaker 1 (55:31):
It's a shame that happened, because murder is bad and
I do not like murder.
Speaker 3 (55:36):
You know, the conversations on the South when you have
to explain that your feeling is murderers back. Let me
just clarify murders back.
Speaker 1 (55:47):
So what I succeeding.
Speaker 3 (55:50):
What I want to ask is.
Speaker 1 (55:53):
When you got the pitch, When you got the pitch
for forty old Virgin, Yeah, I'm when you got the
pitch for knocked Up?
Speaker 3 (56:01):
Yes?
Speaker 1 (56:03):
How is it pitched to you so that you wouldn't
take it personally? Because the thing is because because the
underhand tone of what knocked Up really is is we're
gonna pair this hot.
Speaker 3 (56:19):
Girl yeah with like you, I told you it's something.
It's a joke. I was it. I appreciate you because
you I was in on the joke, right. That's the thing.
Speaker 1 (56:30):
How do you not do the person I.
Speaker 3 (56:32):
Think and what I always I would actually think of that?
Like one of the first other pieces of advice a
stand up comic game. Me when I was like thirteen,
was like whatever, he what's funny is this stand up
comic looked exactly like Garth from Wayne's World. Like he
was like a super skinny dude with long blonde hair
and glasses. And he was like whatever. He's like, you
have to let the audience know that you are self
(56:53):
aware or they'll be uncomfortable. And he's like, so, if
there's something about you that reads very obviously like don't
ignore that thing, like let them know you are more
aware of it than they could ever imagine. And he
was like, he's like, my whole opening five minutes is
about that I look like Garth, Like I fucking get it.
And so I was always aware that I came across
(57:14):
as like a schlubby, kind of stonery loser, and I
was not. I wasn't in any way way self conscious
about representing myself like that because I knew I was
not that you got super confidence. I was too highly productive.
I could date women like that that were that were
(57:34):
well out of my league on a physical level. I
I like, I had a job, I was gaining I
had a nice apartment, I had nice car, like I
was like at that point, like getting successful, you know.
So it was not it was funny to me. And
I remember jud we kept pitching these like crazy movies,
mean and we were trying to make Pineapple Express Man
like I want a big action movie, and he was
(57:55):
like that, like he's like, you first just have to
make something that like establishes who you are in the
most like normal, relatable type of setting. And he just
said it conversationally one day. It was literally like like
like if you got a girl pregnant on the first
date or something like, that's the type of movie we
should make. And it was one of those things where
it was like, oh, we actually could, That's actually a
(58:15):
really good idea. What would that be like like? And
him and his wife had got pregnant very early on
in their relationship, and I think had to make some
quick decisions as to whether or not they were going
to kind of stay together and give it a go,
you know, are just or what the just what the
dynamics of the relationship were going to be, you know
what I mean. I think they weren't planning on having
(58:36):
a kid at that time. From my understanding, yes, exactly.
Leslie's great, yeah, very funny, and so it was Yeah,
so it was personal. It was personal to me because
and I think the way that we were able to
represent my living situation especially was highly personal to me.
And all the roommates and and all those guys were
(58:57):
actually my friends, and I actually had lived with almost
all of them at one point or another, and so
like it did seem like I really yeah, yeah, I
was totally happy with it and thought I would be
funny with it, you know, And there was a thing
where I was just I remember being like, oh, I
can just make this guy like worse and worse and
worse and like just dumber and dumber and dumber. And
it's almost like the Bower inappropriate, like the worst thing
(59:19):
I could say on a date almost is like the
funnier the whole movie becomes. So yeah, wow.
Speaker 2 (59:25):
Okay, did you and Catherinehige who ever circle back and
become besties?
Speaker 3 (59:29):
No, we've run into each other, but yeah, I have
no Yeah, I wish you the best. Get that?
Speaker 1 (59:41):
Yeah, Well, I mean okay, well I guess I'll ask.
Speaker 3 (59:52):
Okay, you don't have.
Speaker 1 (59:54):
No, no, No, it's not that I'm just saying that, is.
Speaker 3 (59:57):
There ever a fear? Okay?
Speaker 1 (59:59):
I go to thirty University and all that entails, you know,
so I'm in in the io stormly is it's it's
a university, sess. And now it's a big giant campus.
Speaker 3 (01:00:11):
In cathedral to which entertainment is built.
Speaker 1 (01:00:15):
So when you're how hard is it, in your opinion,
how hard is it for women to get a seat
at the table.
Speaker 3 (01:00:25):
Insanely hard, way harder, And.
Speaker 1 (01:00:29):
In light of what's happening now and how comedy sort
of has to re examine itself.
Speaker 7 (01:00:34):
And what was cool in.
Speaker 1 (01:00:39):
Two thousand and six might get a raised eyebrow.
Speaker 3 (01:00:43):
Now, how has that eighteen we get a raised eyebrow
out right?
Speaker 1 (01:00:51):
Yeah, So how does that affect not not how does
it affect your world, but how does it affect the
creative process? The fraternity process?
Speaker 2 (01:01:00):
Is a woman in the in the team.
Speaker 3 (01:01:02):
We have women on our team.
Speaker 1 (01:01:06):
But are you more or is it the climate right
now in Hollywood?
Speaker 7 (01:01:11):
Are they super aware of it?
Speaker 3 (01:01:13):
Now? They say they are, But I don't think a
lot has changed. And if you look at the movies
that come out, almost all of them are made by
white dudes, like you know, like it's very like not
that the actual like decision to spend hundreds of millions
of dollars in a new social direction has not happened.
(01:01:36):
I don't think. I think people are talking about it,
and it's like a topic of conversation that's a fun
for people to say. And I think there's they're like
inching towards that. But have I seen, like, oh, all
of a sudden if you look at the slate of
every major studio and they're all more equally distributed between
men and women.
Speaker 2 (01:01:51):
No, that's not the case at all women.
Speaker 3 (01:01:56):
But yeah, and I think that that. But I think
for us, I think we're lucky with comedy for us
because we never like pedaled in that I don't think
like we never pedled in something that I would have
considered to be Like, you know, I think our comedy like,
I'm never complaining that, like about like people being PC
(01:02:19):
or like we can't say the stuff that we want
to be able to say. Like to me, that is
like not an issue, and like you're either the type
of person that like you want your you know, your
work reflects who you are no matter what, and so
if you have your sensibilities trying to be in the
right place at any given moment, then your work will
(01:02:41):
reflect that. And I've found myself not really having to
defend that much of what I've done in the moment
that it has come out. I acknowledge that again a
week later, you look back and you're like, WHOA, that's
age poorly sometimes you know, like, yeah, I think there's
jokes and sausage party that like twenty four hours after
it came out, we're inappropriate. So maybe twenty four hours
(01:03:05):
before it came out, But I think that you know,
we we try not to be offensive, we try not
to exclude people in our work. We try to be
inclusive as possible, and and and we ourselves are those
types of people. So it isn't this like chore to
weave that into our work.
Speaker 1 (01:03:24):
And so I do just know that people now are
hyper aware that that has to happen or that has
to be a thing, Whereas you know before you don't think, like, okay,
it might be inclusive. Am I infending this group or
that group?
Speaker 3 (01:03:38):
I think, I think anything we're trying to be aware
of for the last few years. And I think Neighbors
is the first movie that we really made really trying
to go into it acknowledging that traditionally, especially that type
of relationship that mean rose, like a husband wife relationship
(01:03:58):
in a movie is like always done as certain way,
and we had to not do that, and like it's
always based on the fact that they hate each other
and that they're not happy, and that there's all this
conflict in their relationship and that she's fucking lame most
of the time and that like he's like the carefree,
fun one and she's and like so that was I
think the and it was before all this, you know,
(01:04:18):
all the current you know kind of revelations that are happening.
But even then we were like, just how do we
not do this in a lame way, you know? And
how do we And also like, we want the actors
in the movie to be proud and happy with their work.
And I think as someone who is both an actor
and a writer and a director and a producer like I,
(01:04:39):
I I understand what all those jobs entail, and I
understand what it takes to make all the people doing
those jobs feel like they're really doing something that they
can be proud of and happy with. And that's something
that was just started to become very important when I
started to realize, like, oh, like, if we cast Rose
Byrne in this role, we have to make it good
and funny, and we have to make her excited to
(01:05:00):
come into work every day, and we have to make
it that when she leaves work at the end of
the day, she really felt like she was as funny
as anyone else and given the opportunity to be as
funny as anyone else. So wait, not like she was
told like you tell us to shut up as we
say funny shit over here, you know, what I mean, how.
Speaker 1 (01:05:15):
Does that work? Okay, so how does that work? Like
break it down like we're in third grade? Yeah, all right,
So if you're heading a project, yeah, and you have
to write for a specific character that you might not
really have put a lot of effort or you know,
like what's their background? And first of all, when you
write for a character or write for a movie, does
(01:05:39):
each character have to have their own bio in your mind?
Speaker 3 (01:05:42):
Like to some degree I think, like backstory? Yeah, I
think to some degree, I think it's it depends on
how in like what's funny is like in this is
the end? Like none of us really have any backstory.
We're kind of just who you assume we are and
you slowly and the emotional conflicts are very of the moment.
(01:06:03):
It's based on you know, the word, you're seeing it
play out in real time basically so. But in general, yes,
like some sense of backstory is is helpful and the
more you can think of, the more it's probably good.
But for I think for something like Neighbors, the conversations
were literally like how do we create a plot and
(01:06:23):
a flow of events where that isn't contingent on these
two characters having conflict with one another and instead is
contingent on these two characters really being on the same
team as one another, and right away that allowed both
characters to be outrageous and silly and stupid, and neither
one was trying to control the other. If anything, they
(01:06:45):
were always like encouraging the other to do stupid or
and stupider shit kind of. And so it's more understanding
the dynamics going in and what the result that will produce.
So it's like, if we go into the movie with
this dynamic, the result will be this, And if we
go and do it this typynamic, the result will be this.
And so that's something we were aware of, is like,
(01:07:06):
if we want the result to be this, the dynamic
has to be very specific going into it, you know,
And that that's what we tried to do.
Speaker 1 (01:07:13):
So kind of a three part question. Yeah, all right, Now,
in your career, what is your preference would you rather
lean towards directing a project or writing a project, to
give to someone else to direct or what I would
(01:07:38):
just say blind job, as in doing a project that
you neither had no directing or no hand in writing it.
Speaker 3 (01:07:49):
I do that less and less, like I don't act
in a lot of other people's movies, and I don't
get asked to do a lot of other people's movies. Vehicles,
Yeah exactly, But yeah, so it happens, and I do
do it. Sometimes I think what I'm what I really
(01:08:09):
enjoy is writing something with the hopes that I will
direct it and act in it, which has happened.
Speaker 7 (01:08:15):
You want to wear all three hats?
Speaker 3 (01:08:16):
Yeah? Is a nightmare. No, it's it's almost at a weird.
Thing We've also found is, in some ways, the more
control we have over something and the more jobs we
are filling, the less stressful it ultimately is because most
of our stress comes from fear that other people are
going to fuck our ship up. And so as long
as we are controlling it, I'm not that worried. I'm
(01:08:36):
more worried is the director going to ruin this thing?
Speaker 1 (01:08:40):
So that leads to this leads to.
Speaker 3 (01:08:42):
What have you learned? What?
Speaker 1 (01:08:45):
What have you learned about?
Speaker 3 (01:08:47):
Actually?
Speaker 1 (01:08:47):
I want to do too, what have you learned about?
Green Hornet and the Simpsons? Which I think for comedy
writer is sort of like this this honor of Wow,
I'm doing it, I'm telling a Simpsons episode. Yeah, so
what lessons have you learned in those two instances that
you would have changed now or made you wiser? Yeah,
(01:09:10):
I mean Green Hornet was and I'm not a no, no,
no iconic kid.
Speaker 3 (01:09:15):
No, Yeah, it's not really Like I think a few
things when I look back at that. One is I
really overestimated like our control at that point in our careers.
Like I think that at that point we had kind
of always been able to do whatever we wanted, you know,
And I didn't predict how much a bigger budget, like,
(01:09:39):
but all the movies we'd made at that point were
like twenty thirty million dollars. In Green Hornet was like
one hundred and twenty million dollars. And I didn't quite
predict what that hundred million dollars would do to the
process and how before I would we literally wouldn't talk
to the studio. Ever, all of a sudden, we were
having meetings where we go through like every page of
the script basically, and how like destructive that was to
(01:10:00):
the process and how Yeah, and like the biggest, the
biggest thing was was like we had an idea going
into it that was slowly like completely you know, deconstructed
and built into something else. And it's one of those
things that happened so slowly that like.
Speaker 1 (01:10:16):
So they took yeah, and then said, well, we need
to change this to make this.
Speaker 3 (01:10:20):
The exactly what if we did this, Oh, we need
a big actor for this role, and what about this,
and we need this and like but then.
Speaker 1 (01:10:25):
With Condri directing, Yeah, whom I thought.
Speaker 3 (01:10:28):
Would be good, I think what he and I've seen
him since then, like, I think what he didn't predict
also was the scope of it and how, And that's
what because I think with artists and you probably can
relate to this, Like I think the more you do
your craft or whatever, the more you realize it's not
only what you are doing, but it is how you
were doing it. Like, if you're a painter, you not
(01:10:50):
only want to choose what to paint, you want to
choose what paint you use, and you want to make
your own canvas maybe, and you want to choose where
you painted and all this stuff, you know what I mean.
But with film it's sometimes that gets wrestled away from you,
where it's like here's the shot I want and here's
how I think we should do it, and they'll be like, Nope,
too expensive, here's how you're gonna do it and and
(01:11:10):
that and that ruins the process, especially when you have
a director like Gondry. And what I realized, I think
what he realized is like his whole magic is not
only in what he's doing, it's how he's doing it right.
It's the materials used, literally, and that did not always
apply to this scope of filmmaking basically and uh and
(01:11:33):
it was just like uh, an inorganic combination of elements.
And then there was a point, I think where you're
just kind of like, this seems like it's going poorly.
I slept terribly throughout the whole thing.
Speaker 1 (01:11:45):
You felt you felt, even yea during the process like
this might not get out good for sure.
Speaker 3 (01:11:50):
It was like because it was rocky for like the
year leading up to it. And there was a point
and this was also something I would probably do differently now,
Like we had just spent years working on it, and
there's a moment where you're like do we stop or
just keep going? Because like after years it was it
felt weird to just stop anywhere. It was just like,
I think we just have to see this through, like
(01:12:12):
and and that is something that I probably wouldn't do now. Honestly,
I think after that experience, I would just be like,
let's just pull the plug and maybe we all wasted
three years, but maybe we all learned a lot in
that three years and have some good experiences. But I
think like that's something at the time that I wasn't
prepared to do, which was just say like, you know what, like,
let's not fucking do this, you know.
Speaker 1 (01:12:32):
So my parallel question to you is, Okay, now, as
a person that's been doing what I've been doing at
least what I'm known for uh twenty five plus years,
you know, we kind of had this discussion like are
we sabotaging ourselves but not like wanting to go to
bigger houses?
Speaker 3 (01:12:51):
Yeah, Like we're now in the.
Speaker 1 (01:12:52):
Place where it's like, hey, you guys do know that
we could book a night at blah blah blah. Yeah,
if you guys had the album time whatever immediate thing
was fear like, no, I don't want to play you know,
seventeen thousand, da da da, because I feel like my
zone has always been in smaller theaters. Yeah, so for you,
(01:13:12):
is is a nine figure budget sort of like a
dragnet horns.
Speaker 3 (01:13:20):
It's like, like, would you attempt.
Speaker 1 (01:13:23):
To really go big or do you feel that, you know,
when you do lower budget stuff, then.
Speaker 3 (01:13:31):
I think now in order, we're writing a movie now
that would be expensive, like a pretty expensive movie, not
quite Green Heart, but.
Speaker 1 (01:13:39):
I mean like a popcorn film, like yes, but like
a Summer of twenty twenty one.
Speaker 3 (01:13:43):
Yeah, but like, but we're really trying to make it
have all the stuff that we like out of movies,
but we're trying to make like it's a more it's
still like an R rated like action comedy basically, but
we're the types of movies that are in theaters have changed,
and I think that's something that we're also aware of,
is we like a lot of what are It's interesting,
(01:14:08):
Like we work backwards to some degree from like audience reaction,
and we go to movies and we sit in theaters
and you know, what makes people cheer and what makes
people laugh, and what makes people shocked and what makes
people scared, and that changes over the course of years,
you know, like the things. You know, there's some movies
(01:14:32):
that have come out that ten years ago got a
certain reaction in theaters, and that same thing would not
seem very exciting by today's standards. That shocking by today's standards,
and so we are trying to evolve. We instinctually must
evolve with the climate. And and we like making movies
for theaters, and we creatively think backwards a lot from
(01:14:52):
what would make a theater full of people have like
this experience, Like what would make a theater full of
people be on edge and then excited and then laughing
and then sad and and and in or. But the
theater part is the tricky part because a lot of
movies like Super Bad today, for example, probably wouldn't be
in theaters. It be hard to get it in theaters,
(01:15:13):
you know what I mean. Knocked Up even would more
likely be a Netflix movie today. It's just people talking
in rooms. Like there's no you know, there's no big
action in it, there's no like it's literally people sitting
and talking for two hours, you know, like we go
to circus.
Speaker 1 (01:15:31):
Organically, it wouldn't happen. But I mean, you gotta admit
that you're coming from the canon of the app Town
Apptown Mafia. Yeah, so even by six degrees of separation,
like you know, you would you personally would have to myself,
you would I would think you'd have to release eight
bona Fide below ten rotten to me before I'm like
(01:15:57):
n ninety seen Seth Morgan.
Speaker 3 (01:15:58):
You know, not all horror movies do well. I mean,
you know, like, but even then I'm aware of it.
Speaker 1 (01:16:03):
It's still yeah, there's still some thing where it's like, oh,
you're in it.
Speaker 3 (01:16:07):
It might be good. Yeah, you know, it's out there,
but it's still like it's harder to get movies in
theaters and it's harder to compete for the cultural attention
like that, I think, and that to us is very
important also is we like it when we make We've
seen that in the past. We've made movies that like
work their way into culture and they're referenced in rap
(01:16:29):
songs and in other movies and on TV shows, and
we like that, like we And that's not always a
one to one thing with like success, it's just you know,
it's something that only happens though really with movies that
are in theaters, like movies on Netflix, it's are just
streaming movies. It's much harder for them to capture a
piece of the culture. And a movie like Mid Nineties,
(01:16:50):
which was seen probably by one iota the amount of
people that sees the average Netflix movie capture the cultural
attention in a way that very few Netflix movies do
because it was in theaters and when people saw it,
they turned their phone off for two hours and they
sat in a dark room and they actually watch it,
And you don't do that with Netflix movies. And I
think that is going to become when I look at
(01:17:12):
why I want movies and theaters, that is it like.
Speaker 2 (01:17:15):
But that's not all the way true. Those stuff I
was gonna tell you, Like some certain movies command you
to turn off the lights, watch watched, like when The
Irishman was one of those. This season, Dolamite was one
of those season. It just depends, I think.
Speaker 3 (01:17:25):
Some I think for some people they choose.
Speaker 1 (01:17:28):
To watch Everythriend's just gonna have Nero Patinos.
Speaker 3 (01:17:35):
And there's a million people watching The Irishman like as
they're on Twitter. Yes, I mean, And if it's in
the theater, you don't even have watch like you have
to watch it.
Speaker 1 (01:17:43):
And I think I saw it in the theater me too.
I didn't want to watch me too, Netflix, and I
love it.
Speaker 3 (01:17:48):
And I think when you put a movie in the theater,
you're telling culturally. You were saying, like this is worth
you putting your phone in your pocket for two hours, like,
and you're asking people to do that, and that asks.
It is a big ask, and I think that to
that end, that's why we're writing a very expensive, big
fun We understand what we're asking is not a light ask.
(01:18:13):
We're asking you to give up your timon and in
order to do that, we have to repay you with
something that is worthy of it.
Speaker 2 (01:18:22):
So can I ask it apatole Mafia question? And for
that reason, I'm gonna go back to something that I
wanted to ask you guys when y'all were having the
back and forth. Do y'all ever consider because as a
woman of color, being a fan of what you guys do,
I love it. Wouldn't change it, blah blah blah. However,
time to change it, and not for nothing. I would
be curious to see how a woman of color would
be written to some of these situations, right, because when
(01:18:43):
you look at the majority of the movies that you
guys do, like you said, I know you introduced the
rose burn situation, but not really so have y'all started
considering maybe yes, maybe the next thing. Maybe I don't
know yet, but you're working on.
Speaker 3 (01:18:56):
Something, Yes, very much. I mean it is a prevalent
topic of conversation.
Speaker 2 (01:19:01):
But not on perfect I don't want you to do
it just because oh my god, everybody's demanding that we
have a woman and then we have to have a
woman of color. But just because you see that, hey
wait a minute, that would be funny to get that
perspective in this storyline.
Speaker 3 (01:19:11):
No, and like, yeah, I mean it's something that. Yeah.
I mean, the more perspectives and the more different people
you have working on your material, the better it all is. Yeah.
I mean, we produce the show Black Monday with Don Cheatle.
Speaker 2 (01:19:26):
And Regina and.
Speaker 3 (01:19:30):
It's great and the Preacher. Yeah, and we've just seen
and and it is in Preacher exactly. We've seen it's
very rewarding and and and and it and people get great.
You know. It's the more representation the better. I would
never argue otherwise, but I want to see.
Speaker 2 (01:19:43):
You like I got I love the Daun Cheat in
the Regina Hall. But I was like, man, I want
to see that'd be great.
Speaker 1 (01:19:48):
I'm in OK So in the hindsight, the like I
was paying attention to it, but I don't recall I
remember the email fallouts with Sony. Yeah, with the interview,
did was it worth it?
Speaker 3 (01:20:07):
Uh? Yeah? Because it was crazy and like and did
not to us like other people, I mean talk about sexism.
Like the only real person to be horribly damaged by
it was Amy Pascal, her boss, Michael Litton. He wasn't damaged,
but but she was terribly damaged. Wait, just collect me
(01:20:29):
if I'm wrong.
Speaker 1 (01:20:30):
The the fallout, the fallout of the damn with the
interview was if you guys released this, we'll hack into
your emails.
Speaker 3 (01:20:38):
And then they eventually they had her. They had already
hacked into Sony and they eventually threatened to like bomb
movie theaters that played the movie basically, and that's why
they pulled. Okay, so it was released stream or was
it Google play? I've seen ITAs. I just forgot where
Google released it, and then Netflix released it all within
(01:20:59):
like Google released Actually the day was supposed to come
out in theaters and the Netflix released it two weeks later. Okay,
And again, was it was it worth it? It was?
I mean, it was like it was a really interesting exercise,
like I don't the result of which is still fascinating
(01:21:25):
and I don't even when you say is it worth it.
I don't even I'm not even sure anyone knows what
the fuck actually happened. Like, there was a big article
in the Hollywood Reporter the other day that was like,
what really happened in the Sony Hack? Can you read
the article and you're just like, there's no, I don't
know what happened. I don't know what happened. People don't.
They're not sure North Korea did it. They don't. Like no,
(01:21:45):
people people think they did. So like, it's hard to
it's hard to retrospectively gain a lot of insight from
something where you honestly aren't even sure what the fuck happened,
like as a movie, honestly, to me, the most the
biggest bubber is that the movie got pretty shitty reviews
and that doesn't happen to us that often, and that
(01:22:07):
that bummed me out, Like honestly, yeah, it was like
for us, like pretty bad. And so that to me
was the thing that if I look back and could
change something, I'd be like, oh, I wish the second
act had like a better set piece in it, and
I wish like we rounded out the third act more emotionally.
But I but like, because that was the stuff that
was in my control, you know what I mean, Like
the actual product, the film was the thing we were
(01:22:30):
in control of. And what I'm yeah, what I don't
love is that it just wasn't received as well as movies.
Speaker 1 (01:22:36):
It's just hit me, and I know we're gonna wind
up pretty soon, but uh, it just hit me that
you're one of the cameos in one of Yauk's last pieces. Yes,
make some No, I'm about to call it fight for
You Right too.
Speaker 3 (01:22:50):
Yeah, make video.
Speaker 7 (01:22:54):
Yeah, there was an incidented version that was called fight
for Your Right review.
Speaker 1 (01:22:57):
So how did that? How was that picture come together?
Speaker 3 (01:23:00):
Just?
Speaker 1 (01:23:00):
Oh, man, were you guys aware at the time what
his condition was? And this was sort of like their
swan song.
Speaker 3 (01:23:06):
We kind of got that sense as we were shooting it,
Like I knew he had been sick, but I there
was kind of like the public word on this on
the street was that he was getting better, you know.
And then he just called me. One day, I got
a call from Adam Hill Coke call. Yeah, and it
was just like the greatest fucking phone call you ever got.
(01:23:27):
A huge BC Boys fan my whole life, Like I'd
met him once or twice before at like south By Southwest,
I think, and yeah, and he was just like, we're
making a music video and I want you to be
Mike d And that was fucking great. And then we
shot that video for three days, which is crazy for
(01:23:48):
a music video, and and every famous person ever was
in and I think it was like halfway through day
two where I was like, oh, this is like a
kind of like a big last Tura Swan song. Yeah,
and and then it got kind of sad and bittersweet
but was also fun. And like when when I look
back and think of was like he was just telling
(01:24:10):
like it was literally like we were all his like
g I Joe toys and he was just playing with us,
and it was like for your birthday, here's all your
favorite comedians and they'll do whatever the fuck you tell
them to do for three days straight on this New
York City backlot and like that's literally like he would
just be laughing, Daddy, kick the store in except throw
(01:24:32):
this bear at him, you guys, dance on the cop
car and like and he would just be like laughing
his ass off as we were just like what like
there was no questions, there was It was never like
why would I do that? He was just like sure, yeah, whatever,
whatever the fuck you want, We're it and like we
and it started to kind of imitate the video itself
because we were there all the time, Me and Danny
(01:24:53):
and Elijah who were the Beastie Boys, and then other
cameos would come in for like a couple hours and
we were like this mindset. It was like crazy. We
were just like so geared to just do whatever we
were told to do with Eddie, like if they were
just like body slam Laura Dirt, I was like all right,
was like no, Like I was just like in this
(01:25:14):
like state of like I'll just do whatever the fuck
this guy tells me. That's what we're here for. And
you could see people would come in and be like
this is crazy, Like what are you guys doing in here?
This is like you you've gone nuts? And that really
like we were just spraying beer, a fake beer on
everyone's faces, like throwing like we Yeah, it was it
was a mad.
Speaker 2 (01:25:33):
Danny McBride must be like he writes too correct.
Speaker 3 (01:25:36):
Yeah, he writes eastpounding down and the righteous Gemstone right,
So yeah.
Speaker 2 (01:25:41):
He must be like awesome to work. In my mind,
everybody who was in this is the end in a
way to do their own writing, but who is like
awesome to write with? It blows your mind and you
just like the fuck you come up with that shit?
Speaker 3 (01:25:51):
They're all great in their own ways. Like yeah, like
Danny Jonah is truly the one like on set is
like it's pretty remark to watch, like he's he he's
like he gets like very locked in and is like
it's like a pretty miraculous thing. From time to time,
Danny is very loose and had and biting and like
(01:26:15):
he's the comedian that kind of the other comedians are
a little afraid to improvise with because yeah, because but
he's very sweet and nice. But it was like I
saw him once and he don't know, you know, he's
very sweet, such a nice dude and like not and
(01:26:37):
what's it is one of those funny things where like
he created those characters as a way to make fun
of the guys he didn't like growing up. Basically that
is who he is and his biggest fan base is
probably which is a bummer. Videos.
Speaker 1 (01:26:57):
How how did Kanye contact you to do Bound?
Speaker 3 (01:27:03):
Well, hey, you know you did on your just did
it on our own and then he did really yes,
and then he did ask so he just released it.
We released it, he did it, No, we just did it.
He released his video and literally within an hour of
seeing it, I was like, we're recreating it, and we
had ours up like twenty four hours later. Like it was.
Speaker 1 (01:27:26):
It was I've never seen Kanye's version.
Speaker 3 (01:27:29):
Oh, that's funny. You just saw ours?
Speaker 1 (01:27:30):
Fun fat I never seen Kanye.
Speaker 2 (01:27:35):
Wait, it's okay, I never seen found.
Speaker 4 (01:27:40):
That.
Speaker 9 (01:27:43):
Wow, you wait, what's what's that Patino film? Okay, I'm
reading it.
Speaker 3 (01:27:54):
What's the film?
Speaker 1 (01:27:56):
Not Donnie Frosco's way.
Speaker 3 (01:28:01):
You were the end of his way.
Speaker 1 (01:28:02):
When you think they're gonna get away with it, He's like, hey, no,
you go here and.
Speaker 3 (01:28:07):
You just the Yeah, he came in shy, he stabbed you. No,
I'm sorry.
Speaker 1 (01:28:16):
I've seen the college drap out ones, but I haven't
seen post that.
Speaker 3 (01:28:19):
No, but he did ask us to come do it
at his wedding. Wow Franco.
Speaker 2 (01:28:23):
Yeah, I don't understand.
Speaker 3 (01:28:24):
He called us and was like, will you come do
that at my wedding? And did you know it? Well know,
Like it was one of those things were like throughout
the conversation, I like you thought willed him to realize
how uncomfortable it would be, which he slowly did he
and I was just like, so just and he's just
(01:28:45):
like he's like, as I say this, I realized how
fucking uncomfortable. He's like, it would be funny for ten seconds.
But he's like, I've asked you to fly to her
side for like literally ten seconds and ship He's like,
we shouldn't do it.
Speaker 1 (01:28:56):
But I mean, I mean, you you lived, you lived
a charm sort of bucket listy life. I want to know,
did a project ever get away from you that you
had your eyes.
Speaker 3 (01:29:13):
On that you wish you I wish we did, like you.
Speaker 1 (01:29:19):
Had a chance to no write or direct, blah blah blah.
Speaker 3 (01:29:24):
But there are things like no, I mean, yeah.
Speaker 1 (01:29:28):
Did Lynn Manuel come up to Hamilton.
Speaker 3 (01:29:32):
Get away from your kid? No? There are things that
like that we that came across our desk that then
became very successful. But I don't think when I look like, oh, like,
should we have really like spent like two years making
like you know, like Hobbs and Shaw, Like, I don't know,
(01:29:54):
like maybe it would have been fun or like yeah,
I mean I don't know if it was like outwardly offered,
but there was a point where it's like, come in,
you want to meet on the hobs and char movies
like Deadpool Baby years ago, like a very long time.
But like I think that it's not it just wasn't
our thing, you know what I mean, Like we weren't like, uh,
the idea like plugging in. I think that's what green
(01:30:14):
Hornet scared us off of more than anything. Was like
plugging into this like saying yeah exactly, and plugging into
like an IP that is like very established, yeah, already established,
and having to like work within that. So like like
and working with like a big company is like just scary,
like working with like a Marvel or you know, like
and not to say we wouldn't do it, it's just
(01:30:35):
it's just scary, you know. And and I think and
making like a friend yeah, like making like a Hobbs
and Shot type movie where it's just like this movie's
gonna get made no matter what. We're just the people
like you know, serving you the dish.
Speaker 1 (01:30:47):
Well, the silver lining of green horn is that you
got your health in check.
Speaker 3 (01:30:51):
Yes, and it started working out. Yeah I know, well yeah, no,
it was a lot of good and we learned and
like so much like we that movie was made in
a way movies aren't made anymore, Like we built everything.
It was practical effects, it was visual effects. There was
there was huge stunt teams. There was like literally the
(01:31:12):
stunt team that did Indiana Jones did the movie. Like
we got to learn from these like amazing people, and
and Gondry himself was someone who was amazing to learn from.
And even though the result was debatable, Like I think
very few experiences made us understand the production process and
filmmaking in general more than that movie because it was
(01:31:33):
as logistically complicated a movie as as exists in the world,
and we had like a front row seat to every
step of the process. So that was really interesting. Yeah, wow,
which that made a better movie?
Speaker 2 (01:31:49):
Cans Stone a question real quick, because I remember famously
listening to you on Stern one day and he was
asking you about working out and working out why you
were smoking, and you were like, yeah, I take you
a couple of totes.
Speaker 3 (01:31:58):
Do you do that?
Speaker 2 (01:31:59):
Yeah, I've done it in its little weird when I
do everything. Number One, I want you to give advice
a young Stoners because I think you have to graduate
to that level. Yeah, and I wanted to know when
you got to the point where you knew that you
could do everything Stone that's that's like next level.
Speaker 3 (01:32:18):
It takes a while.
Speaker 2 (01:32:19):
Yeah, tell a baby, that's.
Speaker 3 (01:32:23):
Baby, Yeah exactly. For I like the thing most people,
I'm always telling people to smoke a little bit of wheed,
like to take one hit of wheat. That's what. Like.
I just I was just with David Chay on his
Netflix show and like we went around smoked weed all day,
and I just the whole time was like one little
(01:32:43):
tiny hit and that'll get you going for you'll be
fine and like like or set a timer, take one
hit and then see you feel in twenty minutes and
then maybe have another hit. But like most people just
make way too much weed, and who don't smoke a
lot of weed, And weat is super strong and one
hit is enough literally and get any strange.
Speaker 1 (01:33:02):
I'm also I'm also a reactor.
Speaker 2 (01:33:05):
Yeah, why do you do you smoke the tea?
Speaker 1 (01:33:08):
I'm yeah, well I prefer uh was it. I'm like
so new. I'm literally like seven months into this, so.
Speaker 2 (01:33:16):
We've been trying for thirty years.
Speaker 3 (01:33:17):
Yeah.
Speaker 1 (01:33:18):
But but the thing is when I do it, it
always hits me at the most inopportune moment, like I'll
do it all right.
Speaker 7 (01:33:25):
One time I.
Speaker 1 (01:33:26):
Did it at night, Yeah, and it felt a little weird, like,
oh God, let me just sit down and relax. I
fell asleep right and woke up in the morning. It's like,
oh damn, I didn't get high. That was a waste.
And then twenty minutes and then twenty minutes into my
day right when I got on the drum set of fell.
Speaker 3 (01:33:44):
And all.
Speaker 2 (01:33:47):
From the night before.
Speaker 3 (01:33:49):
That's weird.
Speaker 2 (01:33:49):
Yeah, that is weird.
Speaker 7 (01:33:51):
I have well, see I do edibles.
Speaker 3 (01:33:55):
I don't. I don't smoke, are on, don't do I
do edibles very sparingly because they're wildly unpredicted. Yeah like that,
Like they're they're hard to it's hard to get them. Yeah,
it's hard to get the dose, is right. It's hard
to time them. Sometimes it depends on what. Sometimes they
take an hour to kick in, two hours to kick in,
(01:34:16):
depends what. It takes five hours.
Speaker 2 (01:34:19):
The stone is around you. Do you ever see Steve
eating his weed?
Speaker 1 (01:34:23):
If you eat your weed, there's none left to smoke.
Speaker 3 (01:34:30):
Forgive me.
Speaker 1 (01:34:32):
Again, my my my final question is uh, Oftentimes, like
right now, I'm watching The Morning Show, which is notably
everyone I've knew them. I knew them from the funny world,
the comedy world. But yeah, they're doing drama. Like, would
(01:34:52):
you consider because you did Steve Jobs correct the movie?
Speaker 3 (01:34:57):
No, I did Steve Jobs.
Speaker 1 (01:35:03):
Technical, would you want to further explore into the world
of drama?
Speaker 3 (01:35:12):
Yeah?
Speaker 1 (01:35:14):
And what role are you? What is your like your
fantasy thing that you haven't done yet that you really
want to do.
Speaker 3 (01:35:22):
We're writing that. I mean, that's what's nice about being
able to write your own movies, is like, I've no
one to blame but myself for if if my career
seems limited in scope as an actor, Like yeah, i mean,
what uh, the thing we're working on now, I'm obsessed
with like Buster Keaton and Jackie Chan and so, like,
I've always wanted to make like a highly physical, like
(01:35:45):
action movie, like our action comedy, like something that is
almost entirely predicated on action and not a lot of
talking at all. And that has just always been something
that I always enjoy shooting that type of stuff. And
so that's something that we want to do, and that's
what we're working on right now. You're kind of like
a really violent mister bean.
Speaker 1 (01:36:11):
All right, well, you know, Seth, we really thank you.
Damn we didn't even get to your your hip hop.
Speaker 3 (01:36:16):
It's just that you like hip hop. I love it anyway.
Speaker 1 (01:36:22):
No, we really want to thank you for coming to you.
Yes on behalf of Sugar Steve and Unpaid Bill and
Boss Bill and lie In. This is quest Love. You've
been listening to Quest Love Supreme. Thank you very much, Seth.
We will see you on the next go round. Happy
(01:36:42):
New Year, Happy New Year.
Speaker 3 (01:36:44):
A little bit of week, just a little.
Speaker 1 (01:37:05):
For more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,
or wherever you listen to your favorite shows.
Quest Love Supreme is a production of iHeartRadio. Wait what stop?
Stop the thing, stop the theme, keep it going, stop the theme.
Wait you said that if you sit next to Seth Rogan,
you're gonna be rich on.
Speaker 2 (00:18):
The first of January. Yes, if I started the year
sitting next to.
Speaker 3 (00:21):
Seventh, yeah, I'm gonna be rich and funny. Okay, here
we go.
Speaker 4 (00:27):
Supreme Supremo, roll Call, Suprema Sun s Supremo, roll Call,
Suprema something Something, Supremo, roll Call, Suprema.
Speaker 1 (00:39):
Son Son, Supremo, roll Now Quest Love here thinking, Yeah,
which is which? Yeah? Maybe I need to switch my seat. Yeah,
so I too can get rich Supreme.
Speaker 4 (00:51):
I'm just saying Supremo, roll Call, Suprema something Something, Supremo,
roll call Sugar.
Speaker 3 (00:59):
Yeah.
Speaker 5 (01:00):
Yeah, I'm a mess. Yeah, I've been smoking way too
much Pineapple expressed.
Speaker 4 (01:06):
Supreme Suprema, Roll Suprema Suprema roll Call.
Speaker 6 (01:14):
This is boss Bill. Yeah, back again, my friends. Yeah,
this is the third line.
Speaker 3 (01:19):
Yeah, and this is the end.
Speaker 4 (01:22):
Suprema Sun Supremo, roll Call, Supreme Supremo, roll call.
Speaker 2 (01:31):
Yeah with Seth of course. Yeah, I don't know what
to tell you. Yeah, this will be better than a horse.
Speaker 3 (01:39):
You went to a dark place. Suprema Supremo roll call.
My name is Seth. Yeah, I'm feeling old, yeah handed
New York. Yeah, I'm fucking cold.
Speaker 4 (01:54):
Supreme up Son Son Suprema roll call Supreme, so Supreme.
Speaker 1 (02:01):
Roll, Supreme, Supreme roll.
Speaker 3 (02:08):
So this is how we're going to start.
Speaker 6 (02:14):
We're going to this is a bad omen all right.
Speaker 1 (02:19):
The God saw to it that we should have no
more theme. Get to it, ladies and gentlemen. Uh, this
is the newly rich neuvau Reese Quest Love another episode.
Happy New Year. This is January first, twenty twenty.
Speaker 3 (02:35):
Everybody, how do you feel good?
Speaker 1 (02:38):
Old and cold?
Speaker 7 (02:40):
How is your How is your holiday? Your festivities?
Speaker 3 (02:46):
It was old and cold.
Speaker 1 (02:47):
No, we had a great time, of course, Okay, all great.
Speaker 7 (02:50):
We can't remember did the checks come through?
Speaker 3 (02:52):
Yeah?
Speaker 1 (02:52):
The honk check's clear. So well. I'm actually shocked because
whenever any of your brother come on the show, your
your you always your roll call is usually geared towards
you call.
Speaker 5 (03:07):
Yeah, yeah, start incorporating the Jewy Park, but just left
it with the stone a stoner.
Speaker 3 (03:11):
I think. Yeah, I'm about to say, I think are
pretty like there's a lot of overlap. Would not anyway.
Speaker 1 (03:23):
I'm your host Questlove, joined to day by my croonies,
Boss Bill Sugar, Steve unpaid bills. Surprisingly isn't here? Yeah, boy,
is he not coming?
Speaker 3 (03:33):
Or did we call him? Did we let him know?
Speaker 2 (03:35):
Let him? You know he does play streets and stuff.
Speaker 1 (03:38):
Okay, so he can muppets enough bagel jokes. We can
make anyway, uh not to stall anymore, Ladies and gentlemen,
we have comedian, director, producer, actor, writer, leading man cannabis connoisseur,
also uh advocate for sleeping in the bed room under
(04:00):
sixty seven degrees.
Speaker 3 (04:01):
It's true. We will get.
Speaker 1 (04:09):
I guess uh Philadelphia Music culture event, fan police, the
man in the roots, Ladies and gentlemen, and hip hop
head and Canadian ladies and gentlemen, please welcome to the show.
Speaker 3 (04:20):
Seth Rogan.
Speaker 1 (04:25):
Wait, I gotta all right, we this this is a
show of rabbit holing. Let's just start first, all right,
I'm a little I'm miffed.
Speaker 3 (04:34):
All right, so I have to explain that a lot
of backstory.
Speaker 1 (04:38):
I was very fortunate. I was very fortunate to attend
uh sets uh Hilarity for charity event. Shout out to
uh Menisian and Mary Ellis Museum.
Speaker 3 (04:53):
Yeah.
Speaker 1 (04:54):
Yeah, So I went there and the discussion of how
much sleep does a person need to.
Speaker 3 (05:00):
Have that healthy brain? Yeah, brain health, Yes, yes, No.
Speaker 7 (05:05):
I learned a lot.
Speaker 3 (05:06):
I learned that.
Speaker 1 (05:07):
As of lately, I'll say, in the last two months,
I've been back into the eight hour range of sleeping.
That's good because, right because people were always like, when
do you sleep? When do you slee You didn't used
to sleep, right, I was three. I was three to
five hour guy, and I was told that you don't
even reach r EM state until six hours and forty
(05:29):
seven minutes and for your body to heal. And you know,
I'm adjusting my lifestyle right now. I'm trying to get
back to a healthier place. I got to do somewhere
between eight to ten hours for the magic to begin. So,
but then you guys left me with this this gem
of the room has to be cold.
Speaker 3 (05:51):
Yeah, you sleep best if the room is freezing. I've
heard that before, like sixty in the sixties.
Speaker 1 (05:56):
Well, yeah, my girlfriend took that the heart and now
reading night, Yeah, it's cold as hell. It's been sixty
five degrees in the bedroom.
Speaker 3 (06:04):
Are you sleeping better?
Speaker 1 (06:05):
No, No, I'm sleeping well, but it's not like I
needed to be Africa hot.
Speaker 3 (06:15):
My wife, Well, that's why my wife likes it much
colder than me, and that's why they have heating pad.
That's what we're talking about. There's there's pads from Actress
where you can set the temperature so you could keep
your side hot and her side cold, and it's something
that's throughout l Yeah. Perfect, I'm sorry, it's exactly right,
(06:36):
but uh no, it's fun. And I think I think
as bed get older, they get colder. It is we
would get older, they get hotter. Yeah. Yeah, me and
my wife have kind of We were just talking about
how we like crossed over. Like when we first started dating,
I was always hot and she was always cold, and
now I'm always cold and she's always hot. And we
probably had like three years where we were both the
same temperature and we didn't realize how good that time
(06:58):
was until it was gone.
Speaker 1 (06:59):
No, it could be really probably problematic because I'll get up,
I'll reach my limit at exactly like four to seventeen am.
Speaker 3 (07:09):
And you're freezing. Are you sure I'll sneak up with nothing?
Don't you remember? Do it all right? You remember on.
Speaker 1 (07:18):
Sesame Street the green guy in the in the in
the trench coat that used to always sell Ernie like
a letter Hey.
Speaker 3 (07:28):
But yeah, yeah exactly, letter dealer, right, so like his
little creep music, creeping tiptoe music. Yes, exactly.
Speaker 1 (07:41):
So I'm in my own house that I paid for creeping,
putting that ship back to like something normal like sixty eight.
Speaker 3 (07:51):
I don't go below sixty eight ars. That's where we've landed.
My wife Lauren would go to this like low sixties.
Speaker 2 (07:57):
Over thirty five. You got to go to sixty six, brom.
You got put on another blanket and then make it
hot underneath it. You know what I'm saying. That's the gold.
Think about it.
Speaker 5 (08:07):
What's the what's the logic keeping it colder? What's the
physics of well?
Speaker 1 (08:11):
And then the thing is that your your brain is
divided into two parts. There's the conscious brain, and like
the concert is like hey, uh, I'm gonna go to work.
I'm gonna go to work later today, I'm gonna take
the subway home, I'm gonna lose weight, I'm going to
ask that girl out. And then it's a subconscious which
does stuff like I'm gonna make sure your heart's beating
(08:33):
I'm gonna make sure you're waist. So it's the it's
the part of your brain.
Speaker 3 (08:38):
WHOA, yeah, what you said. And so it's actually a
fish song of course. And so.
Speaker 1 (08:49):
Your body has to be totally knocked out. So you
get to that R. E. M state at exactly six
hours and forty five minutes. When you're that sleep, then
you're right out of brains, like waking up like.
Speaker 7 (09:01):
All right, he's asleep, let's get to work.
Speaker 1 (09:04):
And so then that's where the fat burns. That's where
like all the things that you want to help have
happened for your life to be good. Your your brain's
like all right, they're knocked out. Now now we can
get to work. But the thing is that most of
us don't get that much sleep, so we're doing ourselves
a disservice by only sleeping six to seven hours.
Speaker 3 (09:27):
It's terrible for you.
Speaker 1 (09:28):
But yeah, you didn't answer my question. Why does it
have to be cold?
Speaker 3 (09:32):
Probably because people probably because it was cold at night.
Speaker 1 (09:35):
You're you mean like before we had houses.
Speaker 3 (09:37):
Yeah, Like it's probably like we're conditioned to sleep in
colder environments.
Speaker 1 (09:42):
So I think so at this.
Speaker 3 (09:48):
Event, Okay, can we just agree that this entire hours.
Speaker 1 (09:56):
I'm kind of on you're side of the fence. Why
does it have to be so damn cold? No, I
mean I'm just asking.
Speaker 3 (10:01):
No, no, no, I'm asking.
Speaker 5 (10:02):
I'm what's the scientific part of I don't think this helps.
Speaker 3 (10:06):
I don't know. That's why I want to know.
Speaker 2 (10:07):
Google where we changed the subject.
Speaker 7 (10:11):
I'm just going to suggest everybody hop on Google.
Speaker 3 (10:13):
Yeah, Google, and then anyway, let's talk about movies. But
you do sleep better what it's called, and that's that's fact. So, uh, give,
we don't need wise? Are we giving wise? We're just
giving answers here. It's said that completely unsubstantiated information scientists.
Speaker 1 (10:37):
Scientists have going on a record and said.
Speaker 3 (10:39):
So we had a doctor he substantiated it.
Speaker 5 (10:42):
Yeah, I kind of believe me and my curiosity exactly.
Speaker 1 (10:50):
So you were born in Vancouver, Vancouver, British Columbia. Huh,
home of the the hip hop national anthem.
Speaker 7 (10:58):
Wait, who else was Alfia Chang?
Speaker 2 (11:01):
Because he's yeah episode.
Speaker 3 (11:05):
Yeah, I think I've bet her over the years.
Speaker 1 (11:07):
Actually she'll be on the future episodes. Great anyway, Yeah,
I know.
Speaker 3 (11:14):
The Rascals are a hip hop group from Vancouver that
were the The Rascals they were called like, uh and
uh Northern Touch, Yeah, rascals, checkmate, Cardinal Allen thrust Claire,
how do you know this? How do you know that
very no American knows that song? I do my research
is well, maybe you can help you to steal the
(11:37):
beat of that song for a song. Yeah, there is
a d m X song with the exact same beat
as Northern Touch, and I think if you're Canadian, it's
very jarring. But you're like, oh, this is a good beat.
Speaker 1 (11:50):
It I can't yeah, express bt express sample that E
P M D used head banger ev Well, no, no,
no for uh uh you know what I'm saying.
Speaker 3 (12:02):
Yeah, Northern Touch first, get the bows that no EBMD
was first, and then Northern Touch, yes maybe.
Speaker 1 (12:07):
And then DMX came and just took it. Did Did
you know that your your hometown is also uh what
I consider that the national anthem of hip hop? Did
you know that Apache was created in Vancouver?
Speaker 3 (12:24):
Apache? Yes?
Speaker 1 (12:25):
Apache was recorded and created in Vancouver.
Speaker 3 (12:28):
Really? Yes, I did not know that.
Speaker 1 (12:30):
Yes, that's one of my favorite factoids about that is
a very good fact with Vancouver and the other and Wars.
Speaker 3 (12:37):
From Vancouver is the other I love. Yeah, Your interviews
with him are great. Have you interviewed been I've been
interviewed by him once.
Speaker 1 (12:44):
Have you ever seen a non savory nord war interview
like a lot of the earlier ones where they don't
you know if he's trolling them or not.
Speaker 3 (12:52):
Oh? Yes, so, I mean I grew up watching him,
So I've seen like so many.
Speaker 1 (12:56):
How long has he been doing this?
Speaker 3 (12:58):
Like thirty years? He's like fifty something. Yes, he's younger
than me.
Speaker 1 (13:06):
No.
Speaker 3 (13:07):
There's actually an amazing yardbar interview with Nirvana, like backstage
at the P and E Forum, which is the place
in Vancouver from like nineteen ninety, like three or something
like Courtney Love is there and it's like a very
long interview that's filmed and throughout it's like forty minutes
or something like. Throughout the course of it, you see
Kurt Kobad like slowly realize he's a genius, and like
(13:27):
at first it's this thing where it's just like, why
is this fucking guy here bothering me? And then he's
slowly like clues in the house is yeah, he totally
does know. But I've seen because now people know who
he is, Like, but for years I would watch interviews
where famous musicians would just get interviewed by him and
be like, who the fuck is this guy? And even
(13:48):
still some people don't. I feel like, don't get it.
I feel like people all right, So that jay Z interviews,
the jay Z didn't seem to appreciate. No, I warned
him about it. Yeah, I take him do it.
Speaker 1 (14:00):
And then Farrell doubled down. Yeah, so he did it.
Because if we say it's a thing, yeah, then jay
Z's just.
Speaker 3 (14:07):
One of them.
Speaker 1 (14:07):
Folmo, I don't want to miss out.
Speaker 3 (14:09):
He's got no question you know anyway.
Speaker 1 (14:17):
And so but I'll say that the first time he
interviewed me, I was paranoid because.
Speaker 3 (14:24):
He just knew ways. Oh it's weird. Too much information
he knew about me. That was he brought out your books. Yeah,
he had my high school yearbooks. Literally, he like knew people,
He knew names that I hadn't heard in like, yeah,
twenty five years.
Speaker 7 (14:39):
Got a bag from the shop at your mommy store.
Speaker 3 (14:41):
Yes literally that. Yeah, it was totally crazy.
Speaker 7 (14:45):
It would freak me out.
Speaker 3 (14:46):
It was super fucking freaky. But his knowledge is bizarre.
He's always trying to get to Kanye. He's like, that's
his holy Grail. He like emails me and tells me
a YouTube oh alone, not at all. Yeah, I can
see that going very bad.
Speaker 1 (15:01):
He somehow thinks that I have the magic touch to
get him to the Obamas.
Speaker 3 (15:06):
Wowane, Yeah, that's a big step in a much better direction.
Speaker 6 (15:14):
I read somewhere somebody said online that, uh that when
you get to the parlegates of Heaven, it's ard war
that he's the one that's reviewing your entire life there.
Speaker 1 (15:27):
So, speaking of your hometown, are you is every time
I ask anybody from Vancouver, are you knowledgeable the La
Cassa gelato or is that just for tour suckers like me?
Speaker 7 (15:42):
It's the place that has.
Speaker 3 (15:44):
Like hundreds of flavors of gelato. Yeah, it's near. It's
on like the like north end of kind of the
east side of Vancouver.
Speaker 1 (15:52):
It's my favorite place ever, I might.
Speaker 3 (15:54):
It's not somewhere I grew up going, but it's somewhere
that I've heard of Its suckers might be kind of
a vinegar. Yeah. It was one of the first places
to start doing like weird flavors or ship like that. Yeah.
Speaker 1 (16:08):
Yeah, basically cheese ice cream man like a tobacco one
or something like that.
Speaker 3 (16:13):
Yeah for a while. Yeah, well, I mean something.
Speaker 1 (16:15):
That some of the weird ones I liked, Like they
have black pepper vanilla.
Speaker 3 (16:19):
That's weird. How is cheddar cheese? Well that's the thing.
Speaker 1 (16:23):
You you basically you sample all the weird ones and
you get the rocky road.
Speaker 3 (16:27):
That's you know, that's a purely like North American thing
is sampling ice cream? Like, uh, what I was considered rude? Well,
I was in Italy and uh not to brag that
Italy in a gelato shop and there was like a
rush of Americans left and me and by wife for
the holy people of the restaurant, and the woman behind
(16:49):
the counter like very quietly looked at us and goes,
can I ask you a question? We're like, yeah, how
come American always ask the taste? She's like, what is this? Like?
Nowhere else to t I was like, you're right when
you put it like that, it is pretty fucking weird,
Like nowhere else you'd be like can I try that
sand which piece? That's what I said. I said. I
(17:14):
think it all roots back to this one place basket Robins,
where they encourage people to do it and that ruined
really ice cream all over the the Yeah, because I
know that the.
Speaker 2 (17:23):
Sun you are, I'm like, yeah, they combined with dun donuts.
Speaker 3 (17:28):
No, no, no, yeah there. That's the thing though, are they.
Speaker 1 (17:32):
I know that the Sun inherited the empire and because
you know, like generations are the opposites of what their
parents were, the Sun wasn't like you know, he didn't
he was concerned about the cows.
Speaker 3 (17:47):
They were using and.
Speaker 1 (17:50):
Range and so instead he took the family money and
did this expose on how like ice cream companies are
ruining cows environment.
Speaker 3 (18:01):
It's like ice cream succession.
Speaker 8 (18:03):
So they that's crazy basket around. I was just in
the ice cream industry, which explains why they had to
partner with.
Speaker 3 (18:17):
Basket.
Speaker 2 (18:19):
That Margarita flavor is still there is good Margerite ice cream.
Have a Margarita flavor. They've had it forever.
Speaker 3 (18:24):
Wow. Good to condition children at a young age to
develop a taste from Margarita's. So twenty minutes.
Speaker 1 (18:33):
So twenty minutes into this interview, let's start. So you
being born in the early eighties in Vancouver, what was
the what was your environment like in your household?
Speaker 3 (18:48):
My household, I lived on the East side of Vancouver,
which in like a one hundred percent like East Indian neighborhood.
So it was, uh, it was great. It was like
I would walk around a lot. I was just arguing
with my parents. Their memory was that I never walked
around alone, and I definitively did all the time. It
(19:11):
would take the bus all around the city. But uh, yeah,
but I went to school on the West Side, I
grew up. I started doing stand up when I was young,
like twelve or thirteen, and I would started writing around
then too, and I smoked weed a lot, and not
much has changed my life since I was twelve. I ag.
Speaker 1 (19:30):
So the myth, the myth of super Bad and you
crafting this at such a young age is.
Speaker 3 (19:38):
Yes, for sure. Yeah. Me and my partner Evan, who
I still work with, met in bar Mitzvah class when
we were twelve and then started writing together not long
after that, and we had yeah, we probably finished the
draft to Super Bad when we were like fourteen or
fifteen for a complete yeah by then, but we started
when we were like thirteen, And there is some and
(19:59):
it's like what the things were. It's almost sad that
like I'm not that much smarter or fuddier than I
was when I was thirteen years old, because there are
some jokes in the movie that like we wrote when
we were thirteen that are still in the movie, that
are in the movie that like that held up and
that are still Yeah, you'd like to think you got
better in that amount of time.
Speaker 2 (20:17):
At fourteen, you look like a professional.
Speaker 3 (20:19):
I'm trying to say. I remember I made I asked
my mom to buy me Final Draft, which was the
script writing software, and she did. My parents were like
super supportive because I also didn't stand up, so they
saw that, like I would work hard. You know what
I mean? This is ninety six, Yeah, this is probably
ninety five or ninety six or something like that. Yeah,
ninety five, I would say, ninety six.
Speaker 1 (20:39):
Yeah, Like all right, I'm curious, and this is lead
just back to the conscious subconscious. Yeah, when you're subconscious,
it's convinced them of something. Yeah, then your body does it,
which which explains why you know, Kanye uses outward affirmations
I am the greatest, yes, and then everything happens for him,
(21:00):
the same way with Trump, the same way with Diddy,
the same with Jay.
Speaker 2 (21:04):
Remember Day remix it and called it a secret secret.
Speaker 7 (21:12):
I have six million dollars in my bank account right now,
right now.
Speaker 1 (21:16):
So I'm curious what what inside you gave you the
the boss to even be like, yo, let's write a
movie now, Like it didn't even start with like let's
start with community theater.
Speaker 3 (21:32):
Hey, how do you do this?
Speaker 7 (21:33):
Or did you see a movie one day?
Speaker 3 (21:34):
Is like I could do better. Literally, that's what happened.
Like what movie did you see that sets you off?
I can't remember and we are all we love picture
that was like no, like that was something. I had
a pulp fiction poster on my bedroom door, like.
Speaker 7 (21:48):
Throughout if you were a teenager in the nineties, you.
Speaker 3 (21:51):
Had Yeah, I mean that came out in ninety four,
maybe I was twelve, so we saw it around then,
and it was it was also the era of like independent.
It was like the resurgence of this independent film like
Clark Car and Rushmore and Wes Anderson had Bottle Rocket,
so there was oh yeah, we were obsessed with them.
And it's also one of those things that was my
(22:12):
parents loved movies and they were just huge movie fans,
so they would like watch a lot of movies and
collect movies. Vancouver. They made some stuff there, so it's
not like Hollywood, but like you would see movie sets
around and so there was like it wasn't this like
completely unobtainable thing. And then in high school, our high
(22:33):
school was right across the street from to video store,
like uh giant video stores, and we would rent movies,
like we watched. All we would do is like smoke.
We'd watch movies basically, and and when you watch enough movies,
you start to think, maybe we could do this, and
if we write something that's like cheap, then maybe that
was always the thought was, like it was said in
(22:54):
high school super bad, and we were like, where it
comes to worst, like this becomes something we like we
made movies with like our like you know, we had
a video camera. We were like, we could technically make
this ourselves if we wanted to.
Speaker 1 (23:05):
You know, what was your north star in terms of Okay,
So now now it's just hitting me that because I
family that worked at an independent movie theater back in
ninety one ninety two, so I always have free tickets.
But you know, we're seeing al Marachi, We're seeing like
(23:25):
all these indie films, which I mean at the time
I didn't realize it, but it was grooming me to
gear towards art house stuff as opposed to mainstream stuff.
But for you, what were your Were you a film
snob or were you just like you know, I got
Poor GI's and Hot Dog.
Speaker 3 (23:43):
Yeah, no, we were hot the Ski movie, Yeah, of course.
Speaker 7 (23:46):
I liked Hamburger the motion picture.
Speaker 3 (23:50):
Yeah, Hamburger, Hamburger Bucker. Was there a Hamburger movie?
Speaker 1 (23:56):
Yes, I gotta see it.
Speaker 3 (23:58):
It was amazing TV.
Speaker 1 (24:00):
There's a specific like C movie yeh VHS section.
Speaker 7 (24:05):
Anything that was on HBO late night and liked.
Speaker 3 (24:07):
In the mid eighties, we would just rent movies based
on what the cover of the box looking garbage.
Speaker 2 (24:12):
Anybody can find the garbage.
Speaker 3 (24:13):
It's funny. Busy Domight movie just came out. I would
watch it. But we were we were obsessed with Dollmkee
because like it was one of those reason that like
purely based on the colt We're like, what is this?
We did? We did the same We did the same thing.
Speaker 6 (24:26):
Like every Friday night we would all meet up with
this Mexican restaurant in town and then we would all
like caravan over to the video store, argue for about
half an hour about what video we're going to pick out?
Speaker 3 (24:34):
Oh, we would argue for hours. We spend more time
in the video store than we would watching the movies
we rented at the video like that was the activity
was going to the video store. Inside we argue over
what we did.
Speaker 6 (24:43):
We called it tasteless movie night. We would try to
find the most tasteless movie we could find in the
video suffect. Yeah, and we would just go to my
friend Darren's basement and watch it. And just like it
was commentary, it was perfect commentary involved. I'm sure if
there had been well his mom was a teacher, sect.
Speaker 3 (24:56):
Would never So where were you go? Uh? Well, I
think it's like one thing I look at is like
the movies. It's obviously something I've thought about, you know,
is like the movies my parents owned, Like they owned
like forty movies on like vhs that they would like,
there was like three movies to a VHS. They would
tape them off TV yes when they came on, and like,
(25:17):
would you ever watch them? I did all the time.
And those movies are like cementing in my brain. I
know every word to every one. And I also bet
that if I like made a list of all those
movies they like directly correlate to the movies that I've
made since then basically like one, well, it's like Ghostbusters,
(25:38):
they and movies like that. My dad loved Bill Murray.
They also loved like Woody Allen and like Independent like
they like they had like Hannah and Her Sisters and
like any halland movies like that, and I would watch
those movies a lot. And then they had like Albert
Brooks movies, and my dad loved Billy Crystal and so
like it was a lot of that stuff. And my
mom though, loved action movies, and so we had like
(25:58):
die Hard and Total reco and like Under Sage I
remember we had right when it came out, and Lef
a Weapon was like, it's like one of my mom's
favorite movies. And so I would watch these like emotionally
driven kind of comedy drama movies and like the most violent,
insane action movies. And that's kind of a lot of
(26:19):
the stuff we make now, Yeah, I see, yeah, And
so all those movies like we loved, and then when yeah,
and then when Paul fiction of those movies started to
come out, we became cessin Reservoir Dogs we loved and like,
and then we got really in a Sam Raimi and
Peter Jackson's early movies like Army of Darkness we watched
(26:42):
over and over and over again, and Dead Alive we watched.
We watched a lot and like, uh yeah, and then
to see those guys go on that was another thing.
Is like you'd see like, oh, like Sam Raimi's direct
and Spider Man and like these guys who like we
were already fans of for making like the weirdest shit ever,
we're then crossing over and becoming really successful and I
(27:03):
think making big things. And that was also I think
something we always liked and that was interesting to us.
But no, I mean we just like devoured.
Speaker 1 (27:11):
The Vancouver have much of a social or nightlife because
I'm a I'm almost thinking of I'm thinking that Vancouver
is almost like all right, what Minneapolis was to print, yeah,
and how there was a scene there, but because there's
not much to do. Yes, he had a lot of
time to hone his craft, yes, to do music a lot, yes,
(27:33):
And the weather determines staying in.
Speaker 3 (27:35):
Vancouver is a city where people sit, like go to
someone's house and smoke weed. That's like the activity your
experience that is like what people do there or and
when it's nice out, you go to a not a
nature place and smoke weed. It's like a very like
weed was like super prevalent and like it's a huge
(27:56):
It's like one of the most progressive cities in the
world when it comes to weed, even in your in
the night. So you've never been arrested for the right.
When I moved to l A, I got arrested because
I didn't understand how much more strict it was, uh
than it was in Vancouver. Like all throughout high school,
if we got caught with weed, the cops wouldn't would
just take it. They wouldn't even always take it. They
(28:17):
would just be like go away, like like it was
such jewelow on priority, like on the priorities, because Vancouver
had like a terrible, terrible heroin problem and it was
like had a really rough drug problem. And so weed
very early on became deprioritized and decriminalized. And from when
(28:38):
I was a kid, there was a coffee shop you
could go smoke weed in, and there was like indoor
like places you go inside and smoke weed.
Speaker 2 (28:45):
Seth you never know we would see I have.
Speaker 3 (28:48):
But yeah, when I first moved to la we'd buy
pounds of Mexican weed. Wait, virgin here was I It
means lots of seeds and you Reggie, so.
Speaker 2 (29:00):
It's call it Reggie regular weed. But to me, if
Vancouver has been in the hierarchy of the weed game,
I would just assume that, like and you're at a.
Speaker 3 (29:09):
Good like hydroponic, you don't want to smoke the seeds.
Speaker 2 (29:11):
Because you know it takes you. That's a sterile part to.
Speaker 3 (29:15):
Wait, I don't know if that's true. Time out, I
don't know if there.
Speaker 1 (29:24):
That's what That's what I'm saying. Why is it taking
three years for me to really wait? How are you
just gonna let you come here and drink your milk?
Speaker 3 (29:32):
Seeds?
Speaker 2 (29:32):
Right? Parents smoke weed with seeds in them, and we
stole them. We have to pick them out, and it
pops and burns and seats and seats.
Speaker 3 (29:39):
This leather falls out of the joint. Sometimes.
Speaker 2 (29:42):
My dad's a cut all the time. God damn daddy,
always smoking in your car looking at them.
Speaker 3 (29:46):
Hosy, I did that.
Speaker 1 (30:00):
You started stand up at a young age?
Speaker 3 (30:02):
Yeah? Fourteen? Yeah, thirteen or fourteen?
Speaker 1 (30:04):
Okay, So the only person I know they had the
experience with Chappelle.
Speaker 3 (30:09):
Yeah, how I think Eddie Murphy started around that. Yeah,
so happy much better. How do you.
Speaker 1 (30:16):
How do you even negotiate your way into a club?
Speaker 3 (30:20):
Yeah? My mom helped, She would talk to She drove
me to every show, literally because I couldn't drive at Yeah,
And what's funny is very early on it's one of
those like happy coincidences. I did a show that I
did a fundraiser when I was like fourteen, a small
one that the premiere who's like the governor kind of
(30:42):
of British Columbia, was at and my mother cornered him
and was like, if my son's performing at a bar,
can he be in the bar? And the guy was like,
legally yes, And she caught his office to send a
letter wow, saying that as long as I was performing,
it is legal for me to be in the press
and I and I would have to leave right after.
So like I would sit backstage and I would show
(31:05):
it to the club. There was only four clubs anyway,
but once they had all seen it, they would let
me perform there. And and then I performed like regularly,
and I was like, I was like pretty good, Like
I wasn't what was it?
Speaker 2 (31:15):
Check? Like ad age did you get a check?
Speaker 3 (31:17):
Every once in a while, I would like open for
a comic and I'd get like one hundred and fifty
bucks or something like that, which when you're fucking.
Speaker 1 (31:23):
But did you use did you use your your kiddom?
Did you use your youth?
Speaker 3 (31:27):
I tried not to. I tried to. I would well,
at first, I didn't at all, and I because I
was so self conscious about being like gimmicky that I
would try to tell your fourteen I know, things like
the rocket as I was very neurotic, and I didn't
want to be like the kid comics, so I tried
(31:48):
to write jokes that that any comic would write that
were like more like observational humor, but it were you Blue.
I was always wanted Blue. I didn't actually at first
at all. Also, but then I remember this comic Darryl Lennox,
who still does stand up and he's great. He was like,
(32:10):
I was telling you just like like all the cogs
would make fun of me because I had a joke about
like crazy glue, what's so crazy about it? And it
was like the dumb MISSI observational tumer of all time.
And then and then Darryl I remember like sat me
down and I was like fifteen, and he was like, dude,
like you are the only one of us who's like
experiencing all these things like in real time, Like you're
(32:33):
trying to kiss girls for the first time, you're trying
to get your driver's license, you're trying to buy beer,
you're trying to go to parties, you're trying to sneak
into strip clubs, like right. Jokes about that, like that's
something that like everyone's gone through in some way and
you're living it like right now, and and I was
like okay. And then that was also one of the
things that really influenced Super Bad, where we at first
(32:55):
it was more like let's write a high school movie,
and then we were like, no, let's write like whenever
something happens to us, let's put it in the movie,
and let's make us the characters in the movie, and
let's like structure it around.
Speaker 1 (33:07):
So those things happened to you guys in super.
Speaker 3 (33:09):
Bed, not on in one night, but almost a lot
of the stuff in the movie happened, yeah, like in
some form or another, like.
Speaker 1 (33:18):
And everything you grind it up against the girl, and that.
Speaker 3 (33:21):
Happened at a school dance. Yeah, that that that actually
And in real life, I was one of the guys,
Like it played out almost verbatim as it did in
the movie, except one of our friends was the Jodah
character in real life, and I was one of the
guys who was like what is that? Like what's on
your leg there? And that's what happened. And so, yeah,
(33:44):
it was a school dance and we all put our
stuff in like the locker roob in like the Jym
locker roob like before, and we were getting it after
the dance and yeah, and like one of our friends
was like, did you spill it yourself? We were there
like looking at it and then and then what happened?
And we kind of allude to this to the movies.
We noticed on the other side of the locker room
there was another group of guys having the exact same
(34:06):
conversation and they were all like looking at their friend's
legs pokagaping like what is that? Did you spill? I mean,
like the two groups like locked eyes from across the
room and it was like this, guys are so like
moment bro. It was like, oh no, I think we
have a situation on our hands. And then there was
(34:27):
a lot of like cross referencing who they had danced with, and.
Speaker 1 (34:32):
Wait, I got a preface for two people who haven't
seen Super Bad. There's there's a crucial scene where there's
a dance sort of grindy dance moment in which a
girl rubs her crouch on Jonah Hill's I think it's pronounced.
Speaker 3 (34:51):
I forgot it's inside yea.
Speaker 1 (34:54):
Anyway, I'm una bekno to Jonah Hill. His thighs or
his jeans are now maroon five. Yes, they got period
of their bloody period.
Speaker 3 (35:09):
It happened. Oh wait, you're just getting that now.
Speaker 2 (35:11):
I just remember I thought he I couldn't remember on himself.
Speaker 3 (35:13):
Or also on the table that was long shot almost.
Speaker 2 (35:25):
You know.
Speaker 1 (35:26):
My favorite my favorite thing about I visit a lot
of local comedy houses in New York. My favorite thing
is actually watching uh people bomb NFL. No, no, only
because like now I'm entering the stage of my life
where I'm gonna have to give a lot more public addressing.
(35:48):
And it's always how you handle yourself in that moment
that separates the men from the boys. So a lot
of times, like if you watch, if you go to
like I love going to the store in LA when
it's the like the one am show, the very last show,
and usually like the last three people's are always like
(36:09):
the doorman, the bell guy, like okay, I'll let you
go up and do five minutes, like everyone's left the room.
Speaker 3 (36:14):
Yeah, I performed there at that time when I was
like sixteen years old.
Speaker 1 (36:18):
Because I feel in my mind that whenever I'm watching them,
then I believe at one point either not Jerard Carmichael,
who's the guy that I liked, America's Yea, Jamar Nighbors
was one of those guys and he's hilarious, like he's
one of Jerrod Carmichael's dudes. But like it's always the
(36:39):
last three people on the late the graveyard shift that
I love watching them the most to see how they
adjust to it. Have you, when you were in sort
of developing your skills or whatnot, have you ever had
to resort to what they would call the what's the syndrome?
Like aristocrat syndrome or when you know that you've done
(37:02):
a bad set and you're just performing for your buds, like, yeah,
I fucked up in always did everyone do the aristocrats?
Speaker 3 (37:10):
It was at another thing where I never did that specifically,
but there was I mean, yeah, shit would go bad
and they would and there would be times yeah, where
you would just kind of throw it all out and
it was like, uh yeah. Like I think managing the
audience's discomfort is something that is a lesson that I
(37:33):
learned at a young age, and that like you can
carry with you across many different avenues of life, and
I think that that's something that is very valuable. And
I did it, Yeah, I remember doing But my friends
could never come watch me though, because I was a
kid and they weren't allowed it to the club, so
it was always strangers. But I had times when just
(37:54):
group tablesful adults would get up and leave. It was
terrible and they I remember performing at the Impro. I
remember coming la to audition for the Just for Last
Festival when I was like fifteen and going to the
improv and Jerry Seinfeld decided to drop in at the
Just for Last stand up comedy showcase went on right
(38:15):
before me fucking annihilated.
Speaker 1 (38:19):
Hey when that happened, When the big star comes in,
it's like, hey, I'm want to practice that.
Speaker 3 (38:24):
Comedy show Yes on a fucking showcase.
Speaker 2 (38:27):
Did you ever get to tell Jerry what he did
to you?
Speaker 3 (38:29):
Yes, he could not have been more indifferent. And then
I went up after him, and I literally, like to
this day, remember standing on the stage and it being
so quiet. I could hear the electric hum of the
s and I'd been doing set up for years at
that point and I had never heard that sound. Remember
(38:52):
like thinking to myself like, wow, like have the speaker's
always been making that sound and I just haven't heard it?
Or do these ones have like a particularly loud I
just remember hearing like I was like, oh that's a
new one. Yeah. It was brutal. So at the time
I didn't get into the just for last est.
Speaker 1 (39:12):
So Jerry, yes, could you explain how you got inside
of the I guess the mafia of the what I
call the app Townia MAFIAU.
Speaker 3 (39:25):
Yeah, I mean it was all I. I was doing
stand up and I got an agent through stand up.
And I was like sixteen or seventeen until high school
was like going to end, and I like was not
going to go to college. So I was like, I
should I need money so I should start trying to
audition for things. And my plan if you asked me
(39:47):
that point when my plan was I'll be like, oh,
I'll move to LA after high school and I'll try
to do stand up.
Speaker 1 (39:51):
And so you wanted to be a straight up stand
up comment, Yeah, And.
Speaker 3 (39:54):
Then I thought maybe I'll get like on like a
sitcom that was kind of like the only precedent of
that in that time. That was like the thing that
seemed the most achievable because it was like Seinfeld was on,
like everybody loves Raymond and Martin like that. Like at
the time, it seemed like if you were a successful
stand up, you got a sitcom. And I always liked
movies more and so that was always something that I
(40:15):
like wanted, but it wasn't as like it didn't seem
it seemed like the types of movies I wanted to
make at that time especially were like very small independent movies,
and at that time, Super Bad seemed like it would
be like like Rushmore, you know what I mean, like
not in its artfulness, but just in its scope, you know.
And I think that then I moved. So I auditioned
(40:35):
for Freaking Geeks. Was a second audition I got out
sent out on and the auditioned kids out of Vancouver
like they did international. Wait, you all were from Vancouver. No,
they did international, So they auditioned in New York, in
Chicago and Boston and Toronto and Vancouver, and I like,
I went in for an audition one morning in Vancouver
and and then I got it. And then I moved
(40:57):
to LA and uh, the same people I watched.
Speaker 1 (41:01):
I watched that show in the first man, don't let
people I know people now like to revision it like yo, man,
freaking gigs with my ship.
Speaker 3 (41:09):
Man.
Speaker 1 (41:09):
You're like, oh, yeah, well if it was, then why
why watch it?
Speaker 3 (41:13):
Yeah?
Speaker 1 (41:14):
Well I watched it because during the time of us recording,
Uh do you want more?
Speaker 7 (41:20):
Yeah, there was always a TV on the break.
Speaker 3 (41:22):
Yeah.
Speaker 1 (41:22):
So that's how I remember freaking geeks. That was my favorite.
I thought, oh man, this is way better than my
so called life years Like.
Speaker 2 (41:30):
Damn, I was just thinking about that as he was
talking shit, I.
Speaker 1 (41:33):
Can get like, were you excited of the the critical
claim it got?
Speaker 3 (41:39):
And did you I had no. I was like a
seventeen year old podhead from Vancouver who like, I had
no concept of any of that shit. Like I remember being.
Speaker 1 (41:51):
Like, you're in a business man, yet I just didn't.
Speaker 3 (41:54):
I think I was so I was. I was really confident,
and I felt like everything like when someone's like your's
everyone loves your show, like it has one hundred percent
good reviews, I was like, yeah, it's fucking great, like
like it wasn't like really, it was like, of course
we're putting out great shit, like there's nothing like this
(42:14):
on TV, like of course everyone like and if anything,
that made it more frustrating that no one was watching it,
because like we knew it was good. And that's like
I look back on and think, like I didn't even
think of the quality of the show when I went
and did it, like I it could have been the world.
Like I was just like a job, I'll take it.
And then I remember getting to la and to shoot
(42:36):
the pilot, and it wasn't even until then that I
got the full script, like the day before we started filming,
and then I remember reading it and being like, oh,
there's like jokes about shrooms in here and shit like that.
And then we rehearsed for one day and they were
like what would you say here? And then all of
a sudden, we were improvising and they were letting us
add jokes about Hitler and all this stuff, and we
were like, this is really different. And then when we
(42:58):
started shooting it, we were like again, Like the director
was from the independent film world, Jake Kasden had just
made Zero Effect, which was a movie I was a
big fan of. So it was like, oh, yeah, we
have like these writers and directors who were like doing
the exact stuff that I liked. So when it turned
out great, it was like again I was So I
(43:20):
was really like spoiled at that time because I was
just like, yeah, you make something a Chrystmas.
Speaker 1 (43:27):
Together, Like, Oh, the creator the Larry Sanders Show has
this new knew that.
Speaker 3 (43:32):
But I didn't. Again, I didn't realize I think, how
like I didn't realize a how just because you did
something good before it doesn't mean you'll keep doing things
that everyone appreciates. Like I was a fan of the
Larry Sanders Show, a huge fan and grew up watching it,
and but I didn't like I think when I took
the when I first got cast on the show, I
had no idea jud it even I didn't know Judge
(43:55):
was I know Judd worked on the Larry Sanders Show.
There was no IMDb at this time. There was no
way to look up who you were working with. Yeah,
like I had no idea the internet. Yeah, there was
no like work. Maybe there's IMDb, but I didn't know
how to use it. Yeah, there was no like organized
way of checking any of that ship.
Speaker 2 (44:13):
This is like and did Jane Franklin didn't even hit
the soap shit right?
Speaker 3 (44:16):
Like no, it was like no one had done anything.
And so yeah it was. But then it started airing
as we were shooting, and then they just were like,
no one's watching this ship. And it was on Saturday
night at eight or some shit like that against cops.
I remember just like joking like cops beats us. We're
fucked and they cops beat us, and it was like, oh.
Speaker 1 (44:34):
No, So when you gunny about Undeclared, no, because again
I was did you feel like, okay, well we'll do
a better version.
Speaker 3 (44:45):
I was like, oh, this time, will do like a
more commercial version and we kind of work out the
kinks and like again it was like the exact same
thing happened where it was like very critically acclaimed and
then no one watched it. But but that but I was.
I was thrilled, honestly, like a writer and an actor.
On Undeclared, I was eighteen years old, like it was.
You know, it was like a very exciting thing for
(45:07):
me to be doing.
Speaker 1 (45:08):
So, Uh, how hard is it living hand to mouth
in that period?
Speaker 2 (45:13):
Because are you well he never had a did you
ever have a regular job or anyone?
Speaker 3 (45:19):
I after undeclared, I didn't work for like three or
four years. Basically, what did you do? I fucking spent
very little money, but you still a server and I
would help. Jud was very nice and he would get
these super high priced rewriting jobs and then he would
(45:41):
give me a little bitter to help him do it.
So like I helped rewrite Bad Boys Too. As an example,
time wait, time out. First of all, shut app it's out. Yes,
it's like a secret thing. We wrote that joke, and
that was in the trailer where they're singing the song
and they forget the war, they like don't know the world.
(46:02):
Oh yeah, and yeah it was like, yeah, that was
one of the many things we did so maintenance. So
what else did you do? Little things here and there?
Like uh, one of the Big Mama's House movies I
helped on for a few days.
Speaker 2 (46:22):
Wait, so stop in this moment because I was saying
this because I know my whole family gonna get mad
at me. But in this moment, are you understanding your
white funny man because you know that you are like
you like, this is a seriously it's a serious question.
Like nobody else. If you hear the struggles of other
comedians and things of other colors, women, da da da da,
there is never a moment where they haven't had to
(46:44):
like serve or do something that they didn't want to do.
But it seems like since you were fourteen years old,
you was on it. You needed final draft, you had it,
you needed the camera, you had it. You this is
any moment did you realize this?
Speaker 3 (46:57):
I was super, Yes, I was. I was very Yeah,
I was never felt particularly downtrodden. I was very I
felt lucky. I was very I always felt lucky and
was very fortunate and like and and got that. Yeah,
I mean there was a time when I was maybe
gonna like there was a momentere I was like, I
(47:17):
might have to move back to Vancouver because I was
just running out of money and couldn't afford to live
in la anymore. And that's when I got hired on
the Algy Show. And that like continued that like yeah,
and it was like a great. It was like a
great job to have because like it was even it
was like it sounded great in a room, Like it
(47:39):
was like when we went on meetings and we were like, oh,
we got yeah, we got nominated for Emmys. That was great.
Like it was something that like basically I haven't stopped
working since that. It was like that was like the
thing that kind of kept me.
Speaker 1 (47:52):
Going because his because his brand of comedy sasa very cornant,
because he's such a rogue, yeah, kind of archy comedian.
How do you find his voice?
Speaker 3 (48:04):
Like how do you?
Speaker 1 (48:05):
It was like, and the type of stuff he does
is more strolling.
Speaker 3 (48:09):
It was kind of it was hard, and I think
he liked and I think it was good that we
were so young and malleable at this time when we
were working for him, like we were like twenty two
or something like that, and so like he could really
I think without some of like the kid gloves you
would use with older people, being like here's what you
(48:30):
have to do, here's what we do. Do exactly fucking
this and nothing else, forget everything, you know, just do this.
So he likes like yeah, and and and he would
literally lock us in a room and be like write
two hundred interview questions for me to be an interviewing
like an environmentalist in a tree, like and like, don't
(48:51):
come out of that room till you've written me two
hundred questions.
Speaker 2 (48:55):
Well he did.
Speaker 3 (48:55):
Yeah, we came on for Bruno and then we went
on the road with him. We went to spring Break,
we did other spring break stuff with Bruno. It was insane.
He almost got killed.
Speaker 1 (49:07):
What happens when you go to.
Speaker 3 (49:10):
Uh like Daytona Beach. Yeah, it was crazy. What's funny
is I had to kind of hide because I was
not famous, but I was like one in every hundred.
People knew me from freaks and geeks, and so I
was kind of had to like I was like relegated
to the hotel room because like they were. He was
just like the chance that someone sees you and puts
(49:31):
two and two together is like two great. So, like
we would travel from city to city and me and
Evan would literally just sit in a hotel room and
whatever city we were in and like Andy, they come
back Elast, yeah exactly. And they would come back and
they would show us the footage and what they had
done that day, and we would all just laugh hysterically
and be amazed that they hadn't gotten killed and like
it was, uh, it was fun. Yeah, it was great. Wow.
Speaker 1 (49:54):
All right, So I have so many questions about your movies,
but I'm afraid we'll do just get stuck in one
of them.
Speaker 3 (50:03):
One but this is it?
Speaker 1 (50:07):
Yes, yes, well, I mean there's so many, but I
will say that for you know, forty year old Virgin
was to me like, how how much input are you
given for scripts? Or how open is Judd to having
(50:27):
you guys adjust the comedy? The way that it looked,
it almost seemed like this got to be on the
spot and he just say keep the cameras rolling.
Speaker 3 (50:34):
A lot of improvised Yeah, I was, I would say,
like because super Bad had been written and no one
would make it. And same with Pineapple Express. So you
was still shopping it actively and me and Evan and
my especially because Evan was in college at the time
and wasn't there all the time. Like I was always like,
(50:56):
people want to see a movie where people talk like this,
like more than anything. That's what I had a strong
feeling of, was like they want a comedy where people
where it's conversational and not so like Plucky and jokey,
and it just feels like people talking, they're swearing a lot,
and and and like it's like taking like again because
(51:17):
we grew up loving pulp fiction and clerks, and we
were just like, if you can really gear that towards
like comedy and like in a great way. And and
since no one would make super Bad Judd like and
me and him together thought that if we could make
these the guys who work in the store kind of
be almost like a it's almost almost like a weird
(51:38):
testing ground for like that type of conversational comedy, whereas
Corel's character was this like sweet kind of like island
in the middle of the movie. We were like, if
we can make these guys like, why don't we try
this where we improvise and have it be very conversational
and you guys can swear a lot and say all
the sick shit you say to each other that makes
(51:59):
each other laugh behind the scenes, but we never say
it on camera, always like that's too much, that's too crazy,
or people won't like that. But we were like, what
if we do that on camera, you know? And that
was really like the first time that any of us
had done that. I think, like it was they had
done Anchorman where it was it was different though, because
(52:22):
the movie is tonally not real, so like it's not
They improvised a lot, but it wasn't like actual conversations
because it's like under this umbrella of like a false reality,
you know. But this was the first time where it
was literally like you can just say whatever you think
you would say in this situation and there's no rating,
like and we had never played in that environment before
(52:46):
and it was really the first time where we were
all like, oh, we can really let it rip. And
I remember the I had improvised that thing about going
to Tijuana and like seeing a woman fucking a horse,
and it's like it's like he comes into the or
he comes it's like Corell comes into work and he
explained making an egg salad sandwich and he's like, what
(53:07):
you do this weekend? I'm like, why I went to Tijuaana.
We went to see this woman horse and like it
was not that cool, Like it was kind of gross,
and I remember like and it was like pretty. It
was like on the scale of like the types of
things people were saying in movies at that time, on
like the very far end of the spectrum.
Speaker 1 (53:25):
Which is why I asked you about the Aristocrats exactly.
Speaker 3 (53:30):
Yeah, and so that and we were just making each
other laugh. And I remember before the first screening we
were like, if people like, if that works, then like
then we're fine. Like then all these instincts we have
of like what people want might be right. And I
remember like it was like like on like that moment
(53:50):
was like a life changing moment in many ways, like
sitting in the theater when that part came on for
the first time and seeing the audience just like explode
in laughter, and like you could see it was just
like shocking to them, but all so funny and also
felt kind of real. And I remember so many people
come up to me after we came out and be like,
you remind me so much of a guy I used
(54:11):
to work with, And you remind me so much of
this weirdo who was in the back room at this
place I would go to and like and and and
you could see that we were kind of like tapping
into this like relatable form of comedy that people you
know at that time. It was like Dumb and Dumber,
which I love, like it is one of my favorite
movies ever. But it is not relatable, naturalistic conversational comedy.
(54:35):
You know, it's huge, crazy gags and very specifically like
written in staged bits right and very smart.
Speaker 2 (54:44):
Can I just give you credit to for putting an
actor in their lesser known name, Evin Hart, Kevin Hart,
the dude Jared, I want to say his name, right, Jerry,
He's funny. The East Indian guy who's just stopped everyway?
Speaker 3 (54:59):
Is he okay? He is? Okay? The other guy not okay? Yeah,
I was like, Jerry's fine.
Speaker 2 (55:09):
The one that was working in the store that was
kept saying nasty ship.
Speaker 3 (55:12):
Yes, what's funny about the guy who mixed up with
the other guy? Not the other guy who might still
be in jail. He is in jail, yes, okay, okay, okay, yeah,
making sure he making sure Rry's great. Yeah, Kevin Hart
was great. Attempted he did succeed, though, Damn damn.
Speaker 1 (55:31):
It's a shame that happened, because murder is bad and
I do not like murder.
Speaker 3 (55:36):
You know, the conversations on the South when you have
to explain that your feeling is murderers back. Let me
just clarify murders back.
Speaker 1 (55:47):
So what I succeeding.
Speaker 3 (55:50):
What I want to ask is.
Speaker 1 (55:53):
When you got the pitch, When you got the pitch
for forty old Virgin, Yeah, I'm when you got the
pitch for knocked Up?
Speaker 3 (56:01):
Yes?
Speaker 1 (56:03):
How is it pitched to you so that you wouldn't
take it personally? Because the thing is because because the
underhand tone of what knocked Up really is is we're
gonna pair this hot.
Speaker 3 (56:19):
Girl yeah with like you, I told you it's something.
It's a joke. I was it. I appreciate you because
you I was in on the joke, right. That's the thing.
Speaker 1 (56:30):
How do you not do the person I.
Speaker 3 (56:32):
Think and what I always I would actually think of that?
Like one of the first other pieces of advice a
stand up comic game. Me when I was like thirteen,
was like whatever, he what's funny is this stand up
comic looked exactly like Garth from Wayne's World. Like he
was like a super skinny dude with long blonde hair
and glasses. And he was like whatever. He's like, you
have to let the audience know that you are self
(56:53):
aware or they'll be uncomfortable. And he's like, so, if
there's something about you that reads very obviously like don't
ignore that thing, like let them know you are more
aware of it than they could ever imagine. And he
was like, he's like, my whole opening five minutes is
about that I look like Garth, Like I fucking get it.
And so I was always aware that I came across
(57:14):
as like a schlubby, kind of stonery loser, and I
was not. I wasn't in any way way self conscious
about representing myself like that because I knew I was
not that you got super confidence. I was too highly productive.
I could date women like that that were that were
(57:34):
well out of my league on a physical level. I
I like, I had a job, I was gaining I
had a nice apartment, I had nice car, like I
was like at that point, like getting successful, you know.
So it was not it was funny to me. And
I remember jud we kept pitching these like crazy movies,
mean and we were trying to make Pineapple Express Man
like I want a big action movie, and he was
(57:55):
like that, like he's like, you first just have to
make something that like establishes who you are in the
most like normal, relatable type of setting. And he just
said it conversationally one day. It was literally like like
like if you got a girl pregnant on the first
date or something like, that's the type of movie we
should make. And it was one of those things where
it was like, oh, we actually could, That's actually a
(58:15):
really good idea. What would that be like like? And
him and his wife had got pregnant very early on
in their relationship, and I think had to make some
quick decisions as to whether or not they were going
to kind of stay together and give it a go,
you know, are just or what the just what the
dynamics of the relationship were going to be, you know
what I mean. I think they weren't planning on having
(58:36):
a kid at that time. From my understanding, yes, exactly.
Leslie's great, yeah, very funny, and so it was Yeah,
so it was personal. It was personal to me because
and I think the way that we were able to
represent my living situation especially was highly personal to me.
And all the roommates and and all those guys were
(58:57):
actually my friends, and I actually had lived with almost
all of them at one point or another, and so
like it did seem like I really yeah, yeah, I
was totally happy with it and thought I would be
funny with it, you know, And there was a thing
where I was just I remember being like, oh, I
can just make this guy like worse and worse and
worse and like just dumber and dumber and dumber. And
it's almost like the Bower inappropriate, like the worst thing
(59:19):
I could say on a date almost is like the
funnier the whole movie becomes. So yeah, wow.
Speaker 2 (59:25):
Okay, did you and Catherinehige who ever circle back and
become besties?
Speaker 3 (59:29):
No, we've run into each other, but yeah, I have
no Yeah, I wish you the best. Get that?
Speaker 1 (59:41):
Yeah, Well, I mean okay, well I guess I'll ask.
Speaker 3 (59:52):
Okay, you don't have.
Speaker 1 (59:54):
No, no, No, it's not that I'm just saying that, is.
Speaker 3 (59:57):
There ever a fear? Okay?
Speaker 1 (59:59):
I go to thirty University and all that entails, you know,
so I'm in in the io stormly is it's it's
a university, sess. And now it's a big giant campus.
Speaker 3 (01:00:11):
In cathedral to which entertainment is built.
Speaker 1 (01:00:15):
So when you're how hard is it, in your opinion,
how hard is it for women to get a seat
at the table.
Speaker 3 (01:00:25):
Insanely hard, way harder, And.
Speaker 1 (01:00:29):
In light of what's happening now and how comedy sort
of has to re examine itself.
Speaker 7 (01:00:34):
And what was cool in.
Speaker 1 (01:00:39):
Two thousand and six might get a raised eyebrow.
Speaker 3 (01:00:43):
Now, how has that eighteen we get a raised eyebrow
out right?
Speaker 1 (01:00:51):
Yeah, So how does that affect not not how does
it affect your world, but how does it affect the
creative process? The fraternity process?
Speaker 2 (01:01:00):
Is a woman in the in the team.
Speaker 3 (01:01:02):
We have women on our team.
Speaker 1 (01:01:06):
But are you more or is it the climate right
now in Hollywood?
Speaker 7 (01:01:11):
Are they super aware of it?
Speaker 3 (01:01:13):
Now? They say they are, But I don't think a
lot has changed. And if you look at the movies
that come out, almost all of them are made by
white dudes, like you know, like it's very like not
that the actual like decision to spend hundreds of millions
of dollars in a new social direction has not happened.
(01:01:36):
I don't think. I think people are talking about it,
and it's like a topic of conversation that's a fun
for people to say. And I think there's they're like
inching towards that. But have I seen, like, oh, all
of a sudden if you look at the slate of
every major studio and they're all more equally distributed between
men and women.
Speaker 2 (01:01:51):
No, that's not the case at all women.
Speaker 3 (01:01:56):
But yeah, and I think that that. But I think
for us, I think we're lucky with comedy for us
because we never like pedaled in that I don't think
like we never pedled in something that I would have
considered to be Like, you know, I think our comedy like,
I'm never complaining that, like about like people being PC
(01:02:19):
or like we can't say the stuff that we want
to be able to say. Like to me, that is
like not an issue, and like you're either the type
of person that like you want your you know, your
work reflects who you are no matter what, and so
if you have your sensibilities trying to be in the
right place at any given moment, then your work will
(01:02:41):
reflect that. And I've found myself not really having to
defend that much of what I've done in the moment
that it has come out. I acknowledge that again a
week later, you look back and you're like, WHOA, that's
age poorly sometimes you know, like, yeah, I think there's
jokes and sausage party that like twenty four hours after
it came out, we're inappropriate. So maybe twenty four hours
(01:03:05):
before it came out, But I think that you know,
we we try not to be offensive, we try not
to exclude people in our work. We try to be
inclusive as possible, and and and we ourselves are those
types of people. So it isn't this like chore to
weave that into our work.
Speaker 1 (01:03:24):
And so I do just know that people now are
hyper aware that that has to happen or that has
to be a thing, Whereas you know before you don't think, like, okay,
it might be inclusive. Am I infending this group or
that group?
Speaker 3 (01:03:38):
I think, I think anything we're trying to be aware
of for the last few years. And I think Neighbors
is the first movie that we really made really trying
to go into it acknowledging that traditionally, especially that type
of relationship that mean rose, like a husband wife relationship
(01:03:58):
in a movie is like always done as certain way,
and we had to not do that, and like it's
always based on the fact that they hate each other
and that they're not happy, and that there's all this
conflict in their relationship and that she's fucking lame most
of the time and that like he's like the carefree,
fun one and she's and like so that was I
think the and it was before all this, you know,
(01:04:18):
all the current you know kind of revelations that are happening.
But even then we were like, just how do we
not do this in a lame way, you know? And
how do we And also like, we want the actors
in the movie to be proud and happy with their work.
And I think as someone who is both an actor
and a writer and a director and a producer like I,
(01:04:39):
I I understand what all those jobs entail, and I
understand what it takes to make all the people doing
those jobs feel like they're really doing something that they
can be proud of and happy with. And that's something
that was just started to become very important when I
started to realize, like, oh, like, if we cast Rose
Byrne in this role, we have to make it good
and funny, and we have to make her excited to
(01:05:00):
come into work every day, and we have to make
it that when she leaves work at the end of
the day, she really felt like she was as funny
as anyone else and given the opportunity to be as
funny as anyone else. So wait, not like she was
told like you tell us to shut up as we
say funny shit over here, you know, what I mean, how.
Speaker 1 (01:05:15):
Does that work? Okay, so how does that work? Like
break it down like we're in third grade? Yeah, all right,
So if you're heading a project, yeah, and you have
to write for a specific character that you might not
really have put a lot of effort or you know,
like what's their background? And first of all, when you
write for a character or write for a movie, does
(01:05:39):
each character have to have their own bio in your mind?
Speaker 3 (01:05:42):
Like to some degree I think, like backstory? Yeah, I
think to some degree, I think it's it depends on
how in like what's funny is like in this is
the end? Like none of us really have any backstory.
We're kind of just who you assume we are and
you slowly and the emotional conflicts are very of the moment.
(01:06:03):
It's based on you know, the word, you're seeing it
play out in real time basically so. But in general, yes,
like some sense of backstory is is helpful and the
more you can think of, the more it's probably good.
But for I think for something like Neighbors, the conversations
were literally like how do we create a plot and
(01:06:23):
a flow of events where that isn't contingent on these
two characters having conflict with one another and instead is
contingent on these two characters really being on the same
team as one another, and right away that allowed both
characters to be outrageous and silly and stupid, and neither
one was trying to control the other. If anything, they
(01:06:45):
were always like encouraging the other to do stupid or
and stupider shit kind of. And so it's more understanding
the dynamics going in and what the result that will produce.
So it's like, if we go into the movie with
this dynamic, the result will be this, And if we
go and do it this typynamic, the result will be this.
And so that's something we were aware of, is like,
(01:07:06):
if we want the result to be this, the dynamic
has to be very specific going into it, you know,
And that that's what we tried to do.
Speaker 1 (01:07:13):
So kind of a three part question. Yeah, all right, Now,
in your career, what is your preference would you rather
lean towards directing a project or writing a project, to
give to someone else to direct or what I would
(01:07:38):
just say blind job, as in doing a project that
you neither had no directing or no hand in writing it.
Speaker 3 (01:07:49):
I do that less and less, like I don't act
in a lot of other people's movies, and I don't
get asked to do a lot of other people's movies. Vehicles,
Yeah exactly, But yeah, so it happens, and I do
do it. Sometimes I think what I'm what I really
(01:08:09):
enjoy is writing something with the hopes that I will
direct it and act in it, which has happened.
Speaker 7 (01:08:15):
You want to wear all three hats?
Speaker 3 (01:08:16):
Yeah? Is a nightmare. No, it's it's almost at a weird.
Thing We've also found is, in some ways, the more
control we have over something and the more jobs we
are filling, the less stressful it ultimately is because most
of our stress comes from fear that other people are
going to fuck our ship up. And so as long
as we are controlling it, I'm not that worried. I'm
(01:08:36):
more worried is the director going to ruin this thing?
Speaker 1 (01:08:40):
So that leads to this leads to.
Speaker 3 (01:08:42):
What have you learned? What?
Speaker 1 (01:08:45):
What have you learned about?
Speaker 3 (01:08:47):
Actually?
Speaker 1 (01:08:47):
I want to do too, what have you learned about?
Green Hornet and the Simpsons? Which I think for comedy
writer is sort of like this this honor of Wow,
I'm doing it, I'm telling a Simpsons episode. Yeah, so
what lessons have you learned in those two instances that
you would have changed now or made you wiser? Yeah,
(01:09:10):
I mean Green Hornet was and I'm not a no, no,
no iconic kid.
Speaker 3 (01:09:15):
No, Yeah, it's not really Like I think a few
things when I look back at that. One is I
really overestimated like our control at that point in our careers.
Like I think that at that point we had kind
of always been able to do whatever we wanted, you know,
And I didn't predict how much a bigger budget, like,
(01:09:39):
but all the movies we'd made at that point were
like twenty thirty million dollars. In Green Hornet was like
one hundred and twenty million dollars. And I didn't quite
predict what that hundred million dollars would do to the
process and how before I would we literally wouldn't talk
to the studio. Ever, all of a sudden, we were
having meetings where we go through like every page of
the script basically, and how like destructive that was to
(01:10:00):
the process and how Yeah, and like the biggest, the
biggest thing was was like we had an idea going
into it that was slowly like completely you know, deconstructed
and built into something else. And it's one of those
things that happened so slowly that like.
Speaker 1 (01:10:16):
So they took yeah, and then said, well, we need
to change this to make this.
Speaker 3 (01:10:20):
The exactly what if we did this, Oh, we need
a big actor for this role, and what about this,
and we need this and like but then.
Speaker 1 (01:10:25):
With Condri directing, Yeah, whom I thought.
Speaker 3 (01:10:28):
Would be good, I think what he and I've seen
him since then, like, I think what he didn't predict
also was the scope of it and how, And that's
what because I think with artists and you probably can
relate to this, Like I think the more you do
your craft or whatever, the more you realize it's not
only what you are doing, but it is how you
were doing it. Like, if you're a painter, you not
(01:10:50):
only want to choose what to paint, you want to
choose what paint you use, and you want to make
your own canvas maybe, and you want to choose where
you painted and all this stuff, you know what I mean.
But with film it's sometimes that gets wrestled away from you,
where it's like here's the shot I want and here's
how I think we should do it, and they'll be like, Nope,
too expensive, here's how you're gonna do it and and
(01:11:10):
that and that ruins the process, especially when you have
a director like Gondry. And what I realized, I think
what he realized is like his whole magic is not
only in what he's doing, it's how he's doing it right.
It's the materials used, literally, and that did not always
apply to this scope of filmmaking basically and uh and
(01:11:33):
it was just like uh, an inorganic combination of elements.
And then there was a point, I think where you're
just kind of like, this seems like it's going poorly.
I slept terribly throughout the whole thing.
Speaker 1 (01:11:45):
You felt you felt, even yea during the process like
this might not get out good for sure.
Speaker 3 (01:11:50):
It was like because it was rocky for like the
year leading up to it. And there was a point
and this was also something I would probably do differently now,
Like we had just spent years working on it, and
there's a moment where you're like do we stop or
just keep going? Because like after years it was it
felt weird to just stop anywhere. It was just like,
I think we just have to see this through, like
(01:12:12):
and and that is something that I probably wouldn't do now. Honestly,
I think after that experience, I would just be like,
let's just pull the plug and maybe we all wasted
three years, but maybe we all learned a lot in
that three years and have some good experiences. But I
think like that's something at the time that I wasn't
prepared to do, which was just say like, you know what, like,
let's not fucking do this, you know.
Speaker 1 (01:12:32):
So my parallel question to you is, Okay, now, as
a person that's been doing what I've been doing at
least what I'm known for uh twenty five plus years,
you know, we kind of had this discussion like are
we sabotaging ourselves but not like wanting to go to
bigger houses?
Speaker 3 (01:12:51):
Yeah, Like we're now in the.
Speaker 1 (01:12:52):
Place where it's like, hey, you guys do know that
we could book a night at blah blah blah. Yeah,
if you guys had the album time whatever immediate thing
was fear like, no, I don't want to play you know,
seventeen thousand, da da da, because I feel like my
zone has always been in smaller theaters. Yeah, so for you,
(01:13:12):
is is a nine figure budget sort of like a
dragnet horns.
Speaker 3 (01:13:20):
It's like, like, would you attempt.
Speaker 1 (01:13:23):
To really go big or do you feel that, you know,
when you do lower budget stuff, then.
Speaker 3 (01:13:31):
I think now in order, we're writing a movie now
that would be expensive, like a pretty expensive movie, not
quite Green Heart, but.
Speaker 1 (01:13:39):
I mean like a popcorn film, like yes, but like
a Summer of twenty twenty one.
Speaker 3 (01:13:43):
Yeah, but like, but we're really trying to make it
have all the stuff that we like out of movies,
but we're trying to make like it's a more it's
still like an R rated like action comedy basically, but
we're the types of movies that are in theaters have changed,
and I think that's something that we're also aware of,
is we like a lot of what are It's interesting,
(01:14:08):
Like we work backwards to some degree from like audience reaction,
and we go to movies and we sit in theaters
and you know, what makes people cheer and what makes
people laugh, and what makes people shocked and what makes
people scared, and that changes over the course of years,
you know, like the things. You know, there's some movies
(01:14:32):
that have come out that ten years ago got a
certain reaction in theaters, and that same thing would not
seem very exciting by today's standards. That shocking by today's standards,
and so we are trying to evolve. We instinctually must
evolve with the climate. And and we like making movies
for theaters, and we creatively think backwards a lot from
(01:14:52):
what would make a theater full of people have like
this experience, Like what would make a theater full of
people be on edge and then excited and then laughing
and then sad and and and in or. But the
theater part is the tricky part because a lot of
movies like Super Bad today, for example, probably wouldn't be
in theaters. It be hard to get it in theaters,
(01:15:13):
you know what I mean. Knocked Up even would more
likely be a Netflix movie today. It's just people talking
in rooms. Like there's no you know, there's no big
action in it, there's no like it's literally people sitting
and talking for two hours, you know, like we go
to circus.
Speaker 1 (01:15:31):
Organically, it wouldn't happen. But I mean, you gotta admit
that you're coming from the canon of the app Town
Apptown Mafia. Yeah, so even by six degrees of separation,
like you know, you would you personally would have to myself,
you would I would think you'd have to release eight
bona Fide below ten rotten to me before I'm like
(01:15:57):
n ninety seen Seth Morgan.
Speaker 3 (01:15:58):
You know, not all horror movies do well. I mean,
you know, like, but even then I'm aware of it.
Speaker 1 (01:16:03):
It's still yeah, there's still some thing where it's like, oh,
you're in it.
Speaker 3 (01:16:07):
It might be good. Yeah, you know, it's out there,
but it's still like it's harder to get movies in
theaters and it's harder to compete for the cultural attention
like that, I think, and that to us is very
important also is we like it when we make We've
seen that in the past. We've made movies that like
work their way into culture and they're referenced in rap
(01:16:29):
songs and in other movies and on TV shows, and
we like that, like we And that's not always a
one to one thing with like success, it's just you know,
it's something that only happens though really with movies that
are in theaters, like movies on Netflix, it's are just
streaming movies. It's much harder for them to capture a
piece of the culture. And a movie like Mid Nineties,
(01:16:50):
which was seen probably by one iota the amount of
people that sees the average Netflix movie capture the cultural
attention in a way that very few Netflix movies do
because it was in theaters and when people saw it,
they turned their phone off for two hours and they
sat in a dark room and they actually watch it,
And you don't do that with Netflix movies. And I
think that is going to become when I look at
(01:17:12):
why I want movies and theaters, that is it like.
Speaker 2 (01:17:15):
But that's not all the way true. Those stuff I
was gonna tell you, Like some certain movies command you
to turn off the lights, watch watched, like when The
Irishman was one of those. This season, Dolamite was one
of those season. It just depends, I think.
Speaker 3 (01:17:25):
Some I think for some people they choose.
Speaker 1 (01:17:28):
To watch Everythriend's just gonna have Nero Patinos.
Speaker 3 (01:17:35):
And there's a million people watching The Irishman like as
they're on Twitter. Yes, I mean, And if it's in
the theater, you don't even have watch like you have
to watch it.
Speaker 1 (01:17:43):
And I think I saw it in the theater me too.
I didn't want to watch me too, Netflix, and I
love it.
Speaker 3 (01:17:48):
And I think when you put a movie in the theater,
you're telling culturally. You were saying, like this is worth
you putting your phone in your pocket for two hours, like,
and you're asking people to do that, and that asks.
It is a big ask, and I think that to
that end, that's why we're writing a very expensive, big
fun We understand what we're asking is not a light ask.
(01:18:13):
We're asking you to give up your timon and in
order to do that, we have to repay you with
something that is worthy of it.
Speaker 2 (01:18:22):
So can I ask it apatole Mafia question? And for
that reason, I'm gonna go back to something that I
wanted to ask you guys when y'all were having the
back and forth. Do y'all ever consider because as a
woman of color, being a fan of what you guys do,
I love it. Wouldn't change it, blah blah blah. However,
time to change it, and not for nothing. I would
be curious to see how a woman of color would
be written to some of these situations, right, because when
(01:18:43):
you look at the majority of the movies that you
guys do, like you said, I know you introduced the
rose burn situation, but not really so have y'all started
considering maybe yes, maybe the next thing. Maybe I don't
know yet, but you're working on.
Speaker 3 (01:18:56):
Something, Yes, very much. I mean it is a prevalent
topic of conversation.
Speaker 2 (01:19:01):
But not on perfect I don't want you to do
it just because oh my god, everybody's demanding that we
have a woman and then we have to have a
woman of color. But just because you see that, hey
wait a minute, that would be funny to get that
perspective in this storyline.
Speaker 3 (01:19:11):
No, and like, yeah, I mean it's something that. Yeah.
I mean, the more perspectives and the more different people
you have working on your material, the better it all is. Yeah.
I mean, we produce the show Black Monday with Don Cheatle.
Speaker 2 (01:19:26):
And Regina and.
Speaker 3 (01:19:30):
It's great and the Preacher. Yeah, and we've just seen
and and it is in Preacher exactly. We've seen it's
very rewarding and and and and it and people get great.
You know. It's the more representation the better. I would
never argue otherwise, but I want to see.
Speaker 2 (01:19:43):
You like I got I love the Daun Cheat in
the Regina Hall. But I was like, man, I want
to see that'd be great.
Speaker 1 (01:19:48):
I'm in OK So in the hindsight, the like I
was paying attention to it, but I don't recall I
remember the email fallouts with Sony. Yeah, with the interview,
did was it worth it?
Speaker 3 (01:20:07):
Uh? Yeah? Because it was crazy and like and did
not to us like other people, I mean talk about sexism.
Like the only real person to be horribly damaged by
it was Amy Pascal, her boss, Michael Litton. He wasn't damaged,
but but she was terribly damaged. Wait, just collect me
(01:20:29):
if I'm wrong.
Speaker 1 (01:20:30):
The the fallout, the fallout of the damn with the
interview was if you guys released this, we'll hack into
your emails.
Speaker 3 (01:20:38):
And then they eventually they had her. They had already
hacked into Sony and they eventually threatened to like bomb
movie theaters that played the movie basically, and that's why
they pulled. Okay, so it was released stream or was
it Google play? I've seen ITAs. I just forgot where
Google released it, and then Netflix released it all within
(01:20:59):
like Google released Actually the day was supposed to come
out in theaters and the Netflix released it two weeks later. Okay,
And again, was it was it worth it? It was?
I mean, it was like it was a really interesting exercise,
like I don't the result of which is still fascinating
(01:21:25):
and I don't even when you say is it worth it.
I don't even I'm not even sure anyone knows what
the fuck actually happened. Like, there was a big article
in the Hollywood Reporter the other day that was like,
what really happened in the Sony Hack? Can you read
the article and you're just like, there's no, I don't
know what happened. I don't know what happened. People don't.
They're not sure North Korea did it. They don't. Like no,
(01:21:45):
people people think they did. So like, it's hard to
it's hard to retrospectively gain a lot of insight from
something where you honestly aren't even sure what the fuck happened,
like as a movie, honestly, to me, the most the
biggest bubber is that the movie got pretty shitty reviews
and that doesn't happen to us that often, and that
(01:22:07):
that bummed me out, Like honestly, yeah, it was like
for us, like pretty bad. And so that to me
was the thing that if I look back and could
change something, I'd be like, oh, I wish the second
act had like a better set piece in it, and
I wish like we rounded out the third act more emotionally.
But I but like, because that was the stuff that
was in my control, you know what I mean, Like
the actual product, the film was the thing we were
(01:22:30):
in control of. And what I'm yeah, what I don't
love is that it just wasn't received as well as movies.
Speaker 1 (01:22:36):
It's just hit me, and I know we're gonna wind
up pretty soon, but uh, it just hit me that
you're one of the cameos in one of Yauk's last pieces. Yes,
make some No, I'm about to call it fight for
You Right too.
Speaker 3 (01:22:50):
Yeah, make video.
Speaker 7 (01:22:54):
Yeah, there was an incidented version that was called fight
for Your Right review.
Speaker 1 (01:22:57):
So how did that? How was that picture come together?
Speaker 3 (01:23:00):
Just?
Speaker 1 (01:23:00):
Oh, man, were you guys aware at the time what
his condition was? And this was sort of like their
swan song.
Speaker 3 (01:23:06):
We kind of got that sense as we were shooting it,
Like I knew he had been sick, but I there
was kind of like the public word on this on
the street was that he was getting better, you know.
And then he just called me. One day, I got
a call from Adam Hill Coke call. Yeah, and it
was just like the greatest fucking phone call you ever got.
(01:23:27):
A huge BC Boys fan my whole life, Like I'd
met him once or twice before at like south By Southwest,
I think, and yeah, and he was just like, we're
making a music video and I want you to be
Mike d And that was fucking great. And then we
shot that video for three days, which is crazy for
(01:23:48):
a music video, and and every famous person ever was
in and I think it was like halfway through day
two where I was like, oh, this is like a
kind of like a big last Tura Swan song. Yeah,
and and then it got kind of sad and bittersweet
but was also fun. And like when when I look
back and think of was like he was just telling
(01:24:10):
like it was literally like we were all his like
g I Joe toys and he was just playing with us,
and it was like for your birthday, here's all your
favorite comedians and they'll do whatever the fuck you tell
them to do for three days straight on this New
York City backlot and like that's literally like he would
just be laughing, Daddy, kick the store in except throw
(01:24:32):
this bear at him, you guys, dance on the cop
car and like and he would just be like laughing
his ass off as we were just like what like
there was no questions, there was It was never like
why would I do that? He was just like sure, yeah, whatever,
whatever the fuck you want, We're it and like we
and it started to kind of imitate the video itself
because we were there all the time, Me and Danny
(01:24:53):
and Elijah who were the Beastie Boys, and then other
cameos would come in for like a couple hours and
we were like this mindset. It was like crazy. We
were just like so geared to just do whatever we
were told to do with Eddie, like if they were
just like body slam Laura Dirt, I was like all right,
was like no, Like I was just like in this
(01:25:14):
like state of like I'll just do whatever the fuck
this guy tells me. That's what we're here for. And
you could see people would come in and be like
this is crazy, Like what are you guys doing in here?
This is like you you've gone nuts? And that really
like we were just spraying beer, a fake beer on
everyone's faces, like throwing like we Yeah, it was it
was a mad.
Speaker 2 (01:25:33):
Danny McBride must be like he writes too correct.
Speaker 3 (01:25:36):
Yeah, he writes eastpounding down and the righteous Gemstone right,
So yeah.
Speaker 2 (01:25:41):
He must be like awesome to work. In my mind,
everybody who was in this is the end in a
way to do their own writing, but who is like
awesome to write with? It blows your mind and you
just like the fuck you come up with that shit?
Speaker 3 (01:25:51):
They're all great in their own ways. Like yeah, like
Danny Jonah is truly the one like on set is
like it's pretty remark to watch, like he's he he's
like he gets like very locked in and is like
it's like a pretty miraculous thing. From time to time,
Danny is very loose and had and biting and like
(01:26:15):
he's the comedian that kind of the other comedians are
a little afraid to improvise with because yeah, because but
he's very sweet and nice. But it was like I
saw him once and he don't know, you know, he's
very sweet, such a nice dude and like not and
(01:26:37):
what's it is one of those funny things where like
he created those characters as a way to make fun
of the guys he didn't like growing up. Basically that
is who he is and his biggest fan base is
probably which is a bummer. Videos.
Speaker 1 (01:26:57):
How how did Kanye contact you to do Bound?
Speaker 3 (01:27:03):
Well, hey, you know you did on your just did
it on our own and then he did really yes,
and then he did ask so he just released it.
We released it, he did it, No, we just did it.
He released his video and literally within an hour of
seeing it, I was like, we're recreating it, and we
had ours up like twenty four hours later. Like it was.
Speaker 1 (01:27:26):
It was I've never seen Kanye's version.
Speaker 3 (01:27:29):
Oh, that's funny. You just saw ours?
Speaker 1 (01:27:30):
Fun fat I never seen Kanye.
Speaker 2 (01:27:35):
Wait, it's okay, I never seen found.
Speaker 4 (01:27:40):
That.
Speaker 9 (01:27:43):
Wow, you wait, what's what's that Patino film? Okay, I'm
reading it.
Speaker 3 (01:27:54):
What's the film?
Speaker 1 (01:27:56):
Not Donnie Frosco's way.
Speaker 3 (01:28:01):
You were the end of his way.
Speaker 1 (01:28:02):
When you think they're gonna get away with it, He's like, hey, no,
you go here and.
Speaker 3 (01:28:07):
You just the Yeah, he came in shy, he stabbed you. No,
I'm sorry.
Speaker 1 (01:28:16):
I've seen the college drap out ones, but I haven't
seen post that.
Speaker 3 (01:28:19):
No, but he did ask us to come do it
at his wedding. Wow Franco.
Speaker 2 (01:28:23):
Yeah, I don't understand.
Speaker 3 (01:28:24):
He called us and was like, will you come do
that at my wedding? And did you know it? Well know,
Like it was one of those things were like throughout
the conversation, I like you thought willed him to realize
how uncomfortable it would be, which he slowly did he
and I was just like, so just and he's just
(01:28:45):
like he's like, as I say this, I realized how
fucking uncomfortable. He's like, it would be funny for ten seconds.
But he's like, I've asked you to fly to her
side for like literally ten seconds and ship He's like,
we shouldn't do it.
Speaker 1 (01:28:56):
But I mean, I mean, you you lived, you lived
a charm sort of bucket listy life. I want to know,
did a project ever get away from you that you
had your eyes.
Speaker 3 (01:29:13):
On that you wish you I wish we did, like you.
Speaker 1 (01:29:19):
Had a chance to no write or direct, blah blah blah.
Speaker 3 (01:29:24):
But there are things like no, I mean, yeah.
Speaker 1 (01:29:28):
Did Lynn Manuel come up to Hamilton.
Speaker 3 (01:29:32):
Get away from your kid? No? There are things that
like that we that came across our desk that then
became very successful. But I don't think when I look like, oh, like,
should we have really like spent like two years making
like you know, like Hobbs and Shaw, Like, I don't know,
(01:29:54):
like maybe it would have been fun or like yeah,
I mean I don't know if it was like outwardly offered,
but there was a point where it's like, come in,
you want to meet on the hobs and char movies
like Deadpool Baby years ago, like a very long time.
But like I think that it's not it just wasn't
our thing, you know what I mean, Like we weren't like, uh,
the idea like plugging in. I think that's what green
(01:30:14):
Hornet scared us off of more than anything. Was like
plugging into this like saying yeah exactly, and plugging into
like an IP that is like very established, yeah, already established,
and having to like work within that. So like like
and working with like a big company is like just scary,
like working with like a Marvel or you know, like
and not to say we wouldn't do it, it's just
(01:30:35):
it's just scary, you know. And and I think and
making like a friend yeah, like making like a Hobbs
and Shot type movie where it's just like this movie's
gonna get made no matter what. We're just the people
like you know, serving you the dish.
Speaker 1 (01:30:47):
Well, the silver lining of green horn is that you
got your health in check.
Speaker 3 (01:30:51):
Yes, and it started working out. Yeah I know, well yeah, no,
it was a lot of good and we learned and
like so much like we that movie was made in
a way movies aren't made anymore, Like we built everything.
It was practical effects, it was visual effects. There was
there was huge stunt teams. There was like literally the
(01:31:12):
stunt team that did Indiana Jones did the movie. Like
we got to learn from these like amazing people, and
and Gondry himself was someone who was amazing to learn from.
And even though the result was debatable, Like I think
very few experiences made us understand the production process and
filmmaking in general more than that movie because it was
(01:31:33):
as logistically complicated a movie as as exists in the world,
and we had like a front row seat to every
step of the process. So that was really interesting. Yeah, wow,
which that made a better movie?
Speaker 2 (01:31:49):
Cans Stone a question real quick, because I remember famously
listening to you on Stern one day and he was
asking you about working out and working out why you
were smoking, and you were like, yeah, I take you
a couple of totes.
Speaker 3 (01:31:58):
Do you do that?
Speaker 2 (01:31:59):
Yeah, I've done it in its little weird when I
do everything. Number One, I want you to give advice
a young Stoners because I think you have to graduate
to that level. Yeah, and I wanted to know when
you got to the point where you knew that you
could do everything Stone that's that's like next level.
Speaker 3 (01:32:18):
It takes a while.
Speaker 2 (01:32:19):
Yeah, tell a baby, that's.
Speaker 3 (01:32:23):
Baby, Yeah exactly. For I like the thing most people,
I'm always telling people to smoke a little bit of wheed,
like to take one hit of wheat. That's what. Like.
I just I was just with David Chay on his
Netflix show and like we went around smoked weed all day,
and I just the whole time was like one little
(01:32:43):
tiny hit and that'll get you going for you'll be
fine and like like or set a timer, take one
hit and then see you feel in twenty minutes and
then maybe have another hit. But like most people just
make way too much weed, and who don't smoke a
lot of weed, And weat is super strong and one
hit is enough literally and get any strange.
Speaker 1 (01:33:02):
I'm also I'm also a reactor.
Speaker 2 (01:33:05):
Yeah, why do you do you smoke the tea?
Speaker 1 (01:33:08):
I'm yeah, well I prefer uh was it. I'm like
so new. I'm literally like seven months into this, so.
Speaker 2 (01:33:16):
We've been trying for thirty years.
Speaker 3 (01:33:17):
Yeah.
Speaker 1 (01:33:18):
But but the thing is when I do it, it
always hits me at the most inopportune moment, like I'll
do it all right.
Speaker 7 (01:33:25):
One time I.
Speaker 1 (01:33:26):
Did it at night, Yeah, and it felt a little weird, like,
oh God, let me just sit down and relax. I
fell asleep right and woke up in the morning. It's like,
oh damn, I didn't get high. That was a waste.
And then twenty minutes and then twenty minutes into my
day right when I got on the drum set of fell.
Speaker 3 (01:33:44):
And all.
Speaker 2 (01:33:47):
From the night before.
Speaker 3 (01:33:49):
That's weird.
Speaker 2 (01:33:49):
Yeah, that is weird.
Speaker 7 (01:33:51):
I have well, see I do edibles.
Speaker 3 (01:33:55):
I don't. I don't smoke, are on, don't do I
do edibles very sparingly because they're wildly unpredicted. Yeah like that,
Like they're they're hard to it's hard to get them. Yeah,
it's hard to get the dose, is right. It's hard
to time them. Sometimes it depends on what. Sometimes they
take an hour to kick in, two hours to kick in,
(01:34:16):
depends what. It takes five hours.
Speaker 2 (01:34:19):
The stone is around you. Do you ever see Steve
eating his weed?
Speaker 1 (01:34:23):
If you eat your weed, there's none left to smoke.
Speaker 3 (01:34:30):
Forgive me.
Speaker 1 (01:34:32):
Again, my my my final question is uh, Oftentimes, like
right now, I'm watching The Morning Show, which is notably
everyone I've knew them. I knew them from the funny world,
the comedy world. But yeah, they're doing drama. Like, would
(01:34:52):
you consider because you did Steve Jobs correct the movie?
Speaker 3 (01:34:57):
No, I did Steve Jobs.
Speaker 1 (01:35:03):
Technical, would you want to further explore into the world
of drama?
Speaker 3 (01:35:12):
Yeah?
Speaker 1 (01:35:14):
And what role are you? What is your like your
fantasy thing that you haven't done yet that you really
want to do.
Speaker 3 (01:35:22):
We're writing that. I mean, that's what's nice about being
able to write your own movies, is like, I've no
one to blame but myself for if if my career
seems limited in scope as an actor, Like yeah, i mean,
what uh, the thing we're working on now, I'm obsessed
with like Buster Keaton and Jackie Chan and so, like,
I've always wanted to make like a highly physical, like
(01:35:45):
action movie, like our action comedy, like something that is
almost entirely predicated on action and not a lot of
talking at all. And that has just always been something
that I always enjoy shooting that type of stuff. And
so that's something that we want to do, and that's
what we're working on right now. You're kind of like
a really violent mister bean.
Speaker 1 (01:36:11):
All right, well, you know, Seth, we really thank you.
Damn we didn't even get to your your hip hop.
Speaker 3 (01:36:16):
It's just that you like hip hop. I love it anyway.
Speaker 1 (01:36:22):
No, we really want to thank you for coming to you.
Yes on behalf of Sugar Steve and Unpaid Bill and
Boss Bill and lie In. This is quest Love. You've
been listening to Quest Love Supreme. Thank you very much, Seth.
We will see you on the next go round. Happy
(01:36:42):
New Year, Happy New Year.
Speaker 3 (01:36:44):
A little bit of week, just a little.
Speaker 1 (01:37:05):
For more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,
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Hosts And Creators
Laiya St. Clair
Questlove
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