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  • - I always enjoy working with people,

  • when it's not their 40th movie.

  • People are great when it's their 40th movie,

  • but it's different when it's their first movie

  • and they really wanna score,

  • and they have so much energy and passion.

  • When you get to you 40th Harrison Ford movie,

  • he tends not to give you that time, and he shouldn't.

  • Hey Vanity Fair, this is Judd Apatow,

  • and this is the timeline of my career.

  • - [Coworker] Good morning, Phil.

  • - Good morning, okay.

  • - And how are we, today?

  • - [sighs] We are great. [coffee splashes]

  • - Oh, thank God the rain just stopped, eh?

  • - The first thing that I ever directed

  • was The Larry Sanders Show.

  • I never had the courage to ask Gary

  • to direct the Larry Sander Show.

  • One day, he just walked in my office and said,

  • "You're doing the next one," which was terrifying.

  • The weird thing was a few weeks before that,

  • we were doing a show about a psychic,

  • and a psychic was hanging around the office

  • and reading different people.

  • And she said to me, "You're gonna have a flood at your house

  • "and you're gonna direct soon."

  • And then, it rained and flooded my house

  • and then, two weeks later, Gary said,

  • "You're gonna direct the next one."

  • I saw that psychic for years. [jazzy piano music]

  • Once, that psychic told us to be careful driving in Hawai'i

  • and it scared us so much that we went

  • to Hawai'i and never left the room.

  • - Phil, do you like my outfit?

  • - Yes, I do.

  • - Isn't it fetching?

  • - Yeah, that's not the word I'm looking for.

  • Excuse me. [upbeat rock music]

  • - [burps] Oh man, I gotta pee!

  • - How Freaks and Geeks happened was I said

  • to my good friend, Paul Fink, "Do you have any ideas?"

  • And he said, "Let me think about it."

  • And then one day, he just handed me an envelope

  • and it had Freaks and Geeks in it.

  • It never works out like that.

  • No one ever hands you a script that's great.

  • And you go, "All right, I guess we'll just make that."

  • While in production, we thought it was going well

  • and we really loved it, but we also knew

  • that some of the people who ran the network didn't like it.

  • So we always felt like it was gonna end at any moment.

  • And then, it did.

  • We shot the finale in the middle

  • of our production 'cause we were so sure

  • that they were gonna cancel us at any moment

  • that being neurotic, we just shot it,

  • episodes before the season was over just

  • in case the guillotine came down.

  • And thank God that we did.

  • - What if they trash the place,

  • 'cause they think they're drunk?

  • - They won't. [old, upbeat music]

  • I don't think.

  • - This could be bad.

  • - Support whatever decision you make.

  • - Thanks.

  • Your support's awesome, you guys.

  • Just really great to have you around.

  • So I need the rent.

  • - North Hollywood's a pilot we did in 2002, I think.

  • It was about a bunch of people who wanted

  • to be in show businesses who were struggling,

  • living in North Hollywood.

  • So it was Amy Poehler and her day job was working

  • as Judge Reinhold's assistant;

  • Jason Segel, who played Frankenstein

  • on the Universal Studios tour;

  • and Kevin Heart, who had a lot of money 'cause he was

  • in a beer commercial that was questionable in its content.

  • We made this show, probably, mainly inspired

  • by the vibe of Curb Your Enthusiasm.

  • ABC said they wanted edgy programming.

  • And we had January Jones in it

  • and Adam McKay was acting in it

  • and we really had the best time making it, but in the middle

  • of making it, we heard that ABC changed their theory

  • about what they wanted the network to be.

  • And they wanted it to be more retro, like Happy Days.

  • And while we were shooting, we thought,

  • they're never ever gonna order this.

  • And they didn't.

  • I always thought they would call and go,

  • "Okay, we don't wanna do this show,

  • "but we can tell all these people are gonna be stars."

  • And they never called, they showed no interest in anybody.

  • - This is really embarrassing for me,

  • but I don't have money to pay for the rent right now.

  • I was hoping you could float me for a couple of days.

  • - I think I was in love, once.

  • - Really, what was her name?

  • - I don't remember.

  • - That's not a good start, but keep going.

  • - Will Ferrell and Adam McKay wrote the script,

  • Anchorman, and they showed it to me

  • and the first drafts were really hilarious and crazy.

  • It was about the anchor team flying

  • to an anchorman convention, the plane crashes,

  • and they wind up on the side of a mountain,

  • where they all are trying to survive.

  • And it almost becomes like the movie,

  • "Alive," but with anchormen.

  • And we were trying to get it made

  • for years and slowly, they started changing the story

  • because nobody would make this crazy version of it.

  • I always thought that they should still make that version,

  • that at some point, they should go back and do that.

  • - I love lamp.

  • I love lamp.

  • - You really wanna know what love is?

  • - Yeah.

  • - Yes, tell us.

  • - They were nice.

  • You know, when you grab a woman's breast

  • and you feel and it feels like a bag of sand,

  • when you're touching it.

  • - I was one of the producers of Anchorman

  • and I would watch Steve Carell on the set every day

  • and he was always so hysterical.

  • So one day, I walked up to him

  • and I said, "Do you have any ideas

  • "about you being the star of the movie?"

  • And then a few days later, he walked up to me and said,

  • "Ya know, I was working on this sketch.

  • "I never really figured out, at Second City,

  • "about a 40 year old virgin."

  • And then he said with the sketch, it was like a poker game

  • and everyone's telling sex stories

  • and my character's clearly lying 'cause he's never had sex.

  • And he's saying, "You know when you touch a woman's breast,

  • "it feels like a bag of sand?

  • "Then you go down her pants

  • "and there's all the baby powder?"

  • And I said, "I think this is something that we need to do."

  • One of the most fun parts of making "The 40 Year-Old Virgin"

  • was were able to put in a lot of people

  • that we thought were great, who weren't giant stars yet.

  • So Jane Lynch played his boss and she was hysterical.

  • And then, we had Mindy Kaling as Paul Rudd's ex-girlfriend,

  • who he was obsessed over and I think

  • that was her first time in a movie.

  • Romany Malco was someone that we love,

  • he did an independent movie with Paul Rudd

  • called, "The Chateau," and they were so funny together

  • that we thought we should use them both.

  • In this movie, Gerry Bednob was a comedian that I used

  • to always work with in the valley at the LA Cabaret

  • and we made him one of the bosses at the stereo store.

  • One of my favorite scenes is when he's talking so filthy

  • to Steve Carell 'cause Steve was always so funny,

  • reacting to people being filthy.

  • So Seth Rogen was on the side,

  • writing up all these dirty phrases

  • and handing them to Gerry Bednob.

  • - It's not about these rusty trombones,

  • and these dirty Sanchez.

  • - Please stop.

  • - And these Cincinnati bow ties.

  • - Mooj.

  • - I would do terrible, disgusting things

  • to hook up with Jules, unforgivable things.

  • - I hear you, man, I'd give my middle nut

  • to start dating Becca.

  • - Becca's a bitch.

  • - "Superbad" began when I was working with Seth Rogen

  • on "Freaks and Geeks" and he always talked about how him

  • and his friend Evan Goldberg had been writing a script

  • since they were 13 or 14 years old,

  • and then after "Freaks and Geeks" was canceled,

  • we were working on "Undeclared" together,

  • and we did a table read with the cast of "Undeclared"

  • reading "Superbad" and it was really hilarious,

  • but for years, nobody had any interest in making it.

  • And at one point, the producer joined us 'cause we thought,

  • "Maybe we're not powerful enough,"

  • so we got this powerful producer to jump on the project

  • to help us, and then suddenly he got hired

  • to be the head of a studio and we thought,

  • "Well now we're gonna get to make it."

  • And the first decision he made as the head of the studio,

  • was to not make the movie that he was the producer of.

  • We started the casting process with our director,

  • Greg Mottola, and he loved Michael Cera,

  • as did Seth and Evan, and we were just all in love with him.

  • But it was really hard to figure out who was as good

  • as Michael Cera, Michael Cera's the greatest in the world.

  • And then one day we just got frustrated

  • because we couldn't figure out who to cast,

  • and Jonah was just hanging around on the set

  • of "Knocked Up" and we all just looked at him

  • and went, "Do you wanna shave really good

  • "and put yourself on tape?"

  • And then he did.

  • And then we realized he was always a shave away

  • from playing a high school student.

  • - This whole thing is bigger than you,

  • Fogell, so grow a pair of nuts

  • and fucking walk in there and buy the alcohol.

  • - What if I don't feel like it anymore, Seth, what?

  • - Then I'll fucking kill you.

  • - What?

  • - I'm pregnant.

  • - With emotion?

  • - With a baby, you're the father.

  • - How "Knocked Up" happened, is I was sitting with Seth

  • and Seth was pitching me some ideas for movies

  • and they were big, science fiction type of ideas,

  • and I was trying to convince him that he was so funny

  • that he didn't need anything like that.

  • I was trying to kill his imagination.

  • So I said, "You know, Seth, you're funny

  • "just standing there, you don't need any of that.

  • "You could just, like get someone pregnant

  • "and that's enough for a movie."

  • And then we went, "Wait a second."

  • It was great working with Seth as the lead,

  • I think that people always work harder when its their big...

  • lead break.

  • So I always enjoy working with people

  • when it's not their 40th movie.

  • People are great when it's their 40th movie,

  • but it's different when it's that first movie

  • and they really wanna score, and they have so much energy

  • and passion, so when we auditioned people

  • to play what became Katherine Heigl's part,

  • Seth read with every single woman who came in, for months,

  • and that's part of how he developed his character,

  • was by reading with a hundred different people.

  • And when you get to your 40th Harrison Ford movie,

  • he tends not to give you that time.

  • And he shouldn't.

  • - Okay? - Okay.

  • - I couldn't take it, I can't raise this baby alone.

  • - Remember, and it gets all--

  • - You don't get it, see you don't understand how it works.

  • I don't wanna shop at old lady stores.

  • I wanna go to J. Jill and Chico's and Ann Taylor Loft,

  • I'm not ready yet, I need two more years.

  • - That is so insane, it kind of makes sense.

  • - We were trying to figure out a way to talk about

  • that moment when you turn 40 and you look at your life,

  • and you just have to assess how it's going.

  • And we came up with this idea

  • that they would have birthdays in a similar time frame

  • and they would have some sort of fight

  • and nervous breakdown which would make everything bubble up

  • to the surface, and we were really lucky

  • to get a chance to work with Albert Brooks

  • and John Lithgow on the movie.

  • That was very, very exciting, having them around.

  • That was the dream, I didn't even think it'd be possible

  • to get them in any of my movies.

  • - Happy birthday and go fuck yourself.

  • - Hey, see you when the Cubs win the pennant.

  • - I got to work with Maud and Iris.

  • They were a little bit older, and so it was fun

  • to find a way to show their sibling rivalry on screen.

  • And sometimes I was just setting up multiple cameras,

  • giving them a subject and letting them actually

  • have a fight, and then Paul and Leslie always

  • have such hilarious chemistry as a couple.

  • And I would get such a kick out of coming up

  • with scenarios that would make us laugh,

  • and a lot of it was based on things that all our friends

  • were talking about, and we were talking about

  • at the time, about flashpoints of a couple,

  • what drives each other crazy about their behavior.

  • The most fun about making movies like "This is 40"

  • is working with Leslie, we collaborate on all the scenes

  • and all the ideas, so we do get the chance to sit

  • with each other and come up with comedic takes

  • on these different situations

  • that have driven each other crazy.

  • The funny thing about that movie is,

  • the poster is Paul on an iPad, on the toilet.

  • And at the time, in 2011, the joke of an annoying husband

  • who's always sneaking away to get a break

  • and play video games on his iPad, was kind of a new joke.

  • No one had really made that joke before

  • about sneaking off to be on your phone,

  • and now it's our entire lives.

  • - Hey.

  • - What are you doing?

  • - Going to the bathroom.

  • - Mahalo.

  • Everybody hates you ♪ [piano music]

  • Everybody wishes that you were dead

  • - When we were working on "Freaks and Geeks,"

  • I loved working with Jason Segel.

  • He really made me laugh, and he was so creative and smart.

  • I kept saying to him, "I don't know if you're gonna

  • "get a movie that's perfect for you as the lead,

  • "'cause you're kinda like a weird guy.

  • "I don't know if you'll match in perfectly

  • "with scripts that are laying around town.

  • "I think you probably need to write it

  • "to show people what you can do."

  • And one day he pitched me the story

  • for "Forgetting Sarah Marshall,"

  • and he wasn't a big star at that moment.

  • He was kind of between things in his career,

  • he was just getting going on "How I Met Your Mother,"

  • and I said "You know, to get the studio to make this,

  • "the script has to be unbelievably great."

  • And Nick Stoller, who was a writer in "Undeclared,"

  • said "Can I direct that, and I'll help him with the script?

  • "I'll give him notes and see what I can do."

  • And the script was unbelievable,

  • and then they let him make that movie and then they all got

  • to hang out in Hawai'i for many months.

  • ♪ 'Cause Peter you suck ♪ [piano music]

  • Peter you suck

  • Peter your music is fucking terrible

  • Peter you suck

  • - It's no the right casino, wait!

  • - Ah!

  • Sh, calm down.

  • - I'm having a heart attack.

  • You're not having a heart attack, are you?

  • Jesus, why can't everything be this simple?

  • After "Forgetting Sarah Marshall,"

  • Nick Stoller and I were so taken

  • by Russell Brand, we were trying

  • to think of something else to do with Russell.

  • Obviously, we wanted to do something else with Jonah Hill.

  • Nick had this idea about having Russell play a rock star.

  • And Jonah Hill playing someone

  • at the record company who has to deal

  • with this out of control rock star.

  • Our problem was that Jonah played a waiter

  • in "Forgetting Sarah Marshall."

  • So it made no sense that if we

  • had Russell play the same character that he played

  • in Sarah Marshall, wouldn't Jonah be the waiter?

  • And we shot something when we shot,

  • "Get Him to the Greek" where we reference him

  • as having been a waiter in his past, but then we cut it out

  • and just decided who cares about logic?

  • [flames burst]

  • - Now, this is what the music industry is all about.

  • - Sergio's gone crazy.

  • - I love this game!

  • - I never wanna kill anybody else again.

  • - Ever.

  • - Yeah, that's something you can just dip your toes into.

  • - Ya know? - Ya know,

  • it's like we dipped our toes into murder.

  • It's done, let's move on. - I killed six guys.

  • - For years, Seth and Evan and I were trying

  • to get "Superbad" made and nobody would pay for it.

  • And I was trying to think of something else

  • that they could do that might be more commercial.

  • And I always had this idea about a pot head action movie,

  • because I love "True Romance,"

  • and there was that scene with Brad Pitt,

  • where all the assassins come in and he's really high.

  • And it was one of my favorite scenes and I thought,

  • "I wish that was the whole movie.

  • "I wish you followed Brad Pitt out

  • "and he was on the run from the assassins."

  • So I said, "Why don't you guys try

  • "to come up with a movie based on that thought?"

  • And Seth and Evan wrote this amazing script.

  • And then, we found out that that was way less commercial

  • than "Superbad" and everyone said no to that, also.

  • And only after "Superbad" did well,

  • did somebody say, "You guys have anything else?"

  • And we were like, "Well, we have this other thing

  • "that everyone rejects all the time."

  • And that was "Pineapple Express".

  • - I shot someone who was already dead,

  • so that doesn't really count as a murder.

  • - But apparently, you hit him with your car, I'm told.

  • You killed him.

  • - Why are you telling me this, George?

  • - 'Cause I want you to possibly do me a favor.

  • - Okay yeah, what?

  • - Kill me.

  • - What?

  • - For a long time before "Funny People,"

  • I was trying to think about how to make a movie

  • about why we like making comedy and how we feel about it.

  • Are we crazy, are we egomaniacs,

  • are we paying some sort of price

  • for this obsession, is it making us jerks?

  • And I also wanted to write about

  • observing my mom when she was sick

  • and how when she didn't think she was going

  • to live, she seemed happier.

  • And then, when she thought the medicine was working,

  • she got very neurotic, again, and caught up in life.

  • And I would see that happen, time

  • and time again over many years.

  • So the movie became about, can we

  • accept the wisdom that being ill provides us?

  • And one day, I realized oh, maybe that's the same movie

  • as the movie about why are we in comedy, what does it mean?

  • I talked to Adam Sandler early in the process

  • of writing "Funny People".

  • So he was a big part of helping me develop the idea.

  • And it was always my dream to work with Adam.

  • We were roommates when we were kids,

  • when we were first starting out in standup.

  • I had never gotten a chance to direct him in a movie before

  • and one of the great pleasures of my life was how fun he was

  • to work with and what a great actor he was.

  • He was always a great friend but it was the first time I got

  • to see up close how brilliant he is in his work.

  • I always knew that Erin Cabana was funny.

  • I had seen online these crazy sketches he used to do.

  • He had some sort of variety show

  • in Australia and he used to do Arnold Schwarzenegger

  • and he had this really hysterical Tom Cruise Impression

  • that he did.

  • So I was very excited to put him

  • in a comedy because he was really getting these incredibly

  • serious parts, intense parts,

  • but he hadn't shown his comedic side yet, in a movie.

  • And he was so fun to work with.

  • - He's really funny.

  • I don't know why his movies aren't funny, though.

  • That's weird, isn't it?

  • - And then, we also laugh because we feel

  • like we're such goofy idiots.

  • So when a real actor shows up who knows what he's doing,

  • who's way better looking than all of us,

  • it always makes us laugh, like "Look, a professional.

  • "A professional's here today, working with us.

  • "How did this happen?"

  • - Kill me, Ira.

  • I'm begging you.

  • - Can you at least give me a night to think about it?

  • - Ha!

  • - Dude, you had sex with him.

  • [plate clinks]

  • - We had an adult sleepover.

  • - Hmm, did you let him sleep over in your mouth?

  • - I was always a huge fan of Kristen Wiig's.

  • I saw her in the first episode that she was

  • on of Saturday Night Live, and she killed

  • on the first episode she was on, which nobody does.

  • Usually it takes people a long time to get comfortable

  • on the show, so we put her in "Knocked Up"

  • and she played an executive at the E! Channel

  • and she was so funny in these scenes with Alan Tudyk,

  • giving Katherine Heigl all this awful, insulting advice.

  • And her part didn't exist, it was all made up by her

  • in improvisations, then we worked together on "Walk Hard."

  • She played Dewey Cox's first wife

  • who didn't think he was gonna make it.

  • So we were always looking for opportunities

  • to work with her, and one day her

  • and Annie Mumolo said they wanted to do a movie

  • about a maid of honor who can't really afford

  • to even do all the events and the things that she needs

  • to do for her friend, and how it made her feel bad

  • that everyone seemed to be doing better in life than her.

  • And at the time, we didn't even think it was a movie

  • that was a female-driven comedy.

  • It never even occurred to us, we just thought,

  • "Oh, we're making a movie with Kristen."

  • And then when it was done, people started saying,

  • "Oh isn't this great, a female-driven comedy."

  • And we were like, "Oh, I guess."

  • I mean that really wasn't something that was on our minds,

  • we just thought, "Let's make a movie

  • "with all these hilarious women."

  • We didn't think it had any meaning,

  • we didn't think it was significant.

  • But then afterwards, I think it became important

  • that it was such a big hit and was so funny,

  • because I hope it opened up opportunities

  • for other people to make movies.

  • - Holy shit, you look amazing. [all exclaim]

  • That dress is so pretty it makes my stomach hurt.

  • - We're professors, Hannah, professors.

  • We can't keep bankrolling your groovy lifestyle.

  • - My groovy lifestyle?

  • - Somebody slipped me a DVD of this movie called

  • "Tiny Furniture" that Lena Dunham made

  • and I didn't know who Lena Dunham was.

  • I didn't even know that she was the person in the movie.

  • I thought that she was the filmmaker of the movie,

  • and then when the movie ended it said,

  • "written and directed by Lena Dunham, starring Lena Dunham"

  • and I was like, "Oh my god, so that girl did all of this."

  • And I felt a real connection to her.

  • She does very personal work, she's so funny and open

  • and brave, and I feel like a lot of the work I did

  • on "The King of Staten Island" was inspired

  • by lessons I learned from collaborating with her,

  • because she was always so courageous

  • about really baring her soul in all of these scripts

  • and all of these stories.

  • - Hannah, look at me.

  • He never, ever texts you back.

  • - Maybe we should call him, I mean didn't you say texting

  • is the lowest form of communication on the pillar of chat?

  • - Hey there, it's Darren.

  • - Oh, this is Amy.

  • I think you butt dialed me.

  • - No, no I dialed you with my fingers.

  • - What's she saying, what's she saying?

  • - Shh.

  • I was a giant fan of Amy Schumer's from her standup,

  • and I heard her on The Howard Stern Show talking

  • about her family, and her relationships,

  • and I asked her if she wanted to work on a movie

  • and at first we worked on a different movie for a while,

  • and then one day we just sat down

  • and we started talking about relationships,

  • and Amy came up with the idea for "Trainwreck"

  • and it was one of the great, fun experiences.

  • We got to work with Colin Quinn, who played her dad,

  • who's someone that I did a pilot with 15 years before,

  • who was the biggest star we knew when I was a kid.

  • He was on Remote Control, and he would talk to us

  • and he was the comedian we looked up to,

  • so it was great to work with Colin Quinn.

  • Bill Hader is somebody that has been in a few of our movies

  • and it was real fun to try to have him play

  • this leading romantic lead, which he always found funny.

  • He thought it was a weird thing

  • that he would be the romantic lead.

  • I found him romantic.

  • But before he got the part, I went to New York with Bill

  • and had him and Amy hang out and have dinner,

  • almost like a date, and I sat at the table

  • and just watched them, and he said

  • it was the most uncomfortable thing he's ever gone through,

  • just me creepily deciding if they were sexy together.

  • - Did you guys make love?

  • - Yeah.

  • - Oh, woo!

  • My boy got intimate.

  • - Yeah.

  • - Sexual intercourse, woo!

  • - What do you think the employee discount is

  • at the dollar store?

  • [crowd chuckles]

  • There you are.

  • You think it's just take it?

  • - "Crashing" began when Pete Holmes had a talk show

  • and he asked if he could come do a sketch

  • where he pitched me movie ideas,

  • and in the sketch he's pitching me tons of terrible ideas

  • for movies, and we're improvising,

  • and in the improvisation I said,

  • "But seriously, Pete, what's the idea?

  • "Do you have any ideas for like a movie

  • "or a TV show, like come on, what's the personal idea?

  • "Tell me the idea."

  • And in the sketch, he said "Well, I was a young comedian

  • "and I was married and my wife cheated on me,

  • "and then I was religious and I went to New York

  • "to try to be a comedian and I had to crash

  • "on a lot of people's couches."

  • And in the sketch, I said,

  • "Yeah no, that's too sad.

  • "That's too sad, no one wants to see that."

  • But then six months later, he called me

  • and he said "I kinda really do wanna do that

  • "idea I was talking about in the sketch."

  • And that joke became the show.

  • - I thought maybe I could go on earlier,

  • you know, while the crowd is still here.

  • - Yeah, yeah.

  • Nah.

  • - What do you mean, nah?

  • - Please welcome the lovely Garry Shandling!

  • - [Male Host] Garry Shandling is over here.

  • Here he is, Garry Shandling.

  • - [Female Host] Garry Shandling.

  • - Ten years. - It's been ten years

  • since you were here, isn't that remarkable?

  • - It's remarkable.

  • - And is there a problem?

  • [crowd laughs]

  • - "Zen Diaries of Garry Shandling" began

  • when I was helping his family go through his belongings

  • and he had all these incredible journals

  • and memorabilia from his life and these books with thousands

  • of jokes, and when we held the memorial service for him,

  • I cut these little five minute documentary pieces

  • about him and pretty quickly, I realized

  • there was a great documentary to be made about our friend.

  • And I got permission from his family, and I called HBO

  • and I said "I think this might need to be two parts.

  • "It might need to be like the Bob Dylan documentary."

  • And I said, "How come Bob Dylan's

  • worth four, four and half hours?

  • "Garry's worth same amount of time as Bob Dylan."

  • And they said "Well, if it works at that length,

  • "we'll do it."

  • And that's what we did.

  • I was excited that it got such a great reception,

  • because I really felt like there were all these ideas

  • that Garry wanted to share with the world

  • that were related to his spirituality,

  • to all the work he had done to try to heal himself,

  • to focus on love and kindness and Buddhism,

  • and he was just beginning to understand how

  • to find a way through art to talk to people about that.

  • So in my mind, I always felt like this movie was,

  • hopefully, what Garry was trying to express to people.

  • - [Garry] As you grow, you have to find a new purpose

  • and intention for doing what you do, or you won't grow.

  • - I wanna become a real tattoo artist.

  • - Your work is mad inconsistent.

  • Obama ain't right.

  • - I love your tattoos, this is my favorite.

  • - I met Pete Davidson when I was casting "Trainwreck."

  • I said to Amy Schumer, "Who's funny?"

  • She said "There's this kid, Pete Davidson.

  • "He's 20 years old, he's way funnier

  • "than he has any right to be at that age."

  • So he gave a very, very brief cameo in the movie,

  • and Bill Hader enjoyed working with him so much

  • that the next day he called him and said,

  • "I'm gonna recommend you to Lorne Michaels

  • "for Saturday Night Live," and then he auditioned

  • and he got Saturday Night Live.

  • Over the next few years, we talked about one script

  • that he worked on with his partner, Dave Sirus,

  • and then after a few years we realized maybe

  • that wasn't the one, and we slowly started talking

  • about this idea, which became "The King of Staten Island."

  • "The King of Staten Island" is made up, it's fiction

  • but we like to think of it as emotionally truthful

  • because it is about a lot of what Pete went

  • through in his life.

  • His father was a firefighter who died on 9/11,

  • and that was something that was very, very difficult

  • for him to deal with as a kid and throughout his life.

  • And in this movie, it's a bit of an imagining

  • of what might have happened to Pete

  • if he didn't find comedy, because at about 15 years old,

  • he started going to comedy clubs

  • and through comedy and getting on stage and traveling

  • around, he became a very ambitious, driven person.

  • But in the movie, he's someone that didn't find

  • that interest, and he's just sitting around,

  • smoking pot, hanging out with his friends,

  • and he's about to get in a lot of trouble.

  • In the movie, his mom, played by Marisa Tomei,

  • hasn't really dated since his father died.

  • And she starts dating a fireman,

  • and this forces Pete's character to have

  • to deal with all the issues and obstacles

  • that have held him back in his life.

  • And what we were trying to do is,

  • hopefully a really funny movie,

  • but a movie which talks about grief

  • and how people and families get

  • through that kind of traumatic event.

  • Recently, I was talking to Mindy Kaling

  • and she said, "You know, I think in all your movies,

  • "somebody's stuck, like they're stuck.

  • "It's about them getting unstuck."

  • And I never thought of that, my entire career,

  • that that's what it was, and I thought,

  • "I think she's right, I think Mindy Kaling understands me

  • "more than I understand me."

  • And then I felt really weird.

  • That's it, Vanity Fair, that was a timeline of my career.

  • I am exhausted from reliving it.

  • [sighs heavily]

  • I hope your day is good.

  • Be well, be safe.

  • I'll be here, for the next year.

- I always enjoy working with people,

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Judd Apatow Breaks Down His Career, from 'Superbad' to 'Freaks and Geeks' | Vanity Fair

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    林宜悉 發佈於 2020 年 12 月 15 日
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