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ENTERTAINMENT INTERVIEWS
Judd Apatow Interview – KNOCKED UP
5/22/2007
Posted by
Frosty
     
<<< Page 1


Can you talk about the upcoming DVD and if you’ve thought about what you might be directing next?

 

The DVD there’s going to be a one- and a two-disc version released at the same time sometime in the winter time and we just have so many extras that it’s ridiculous. It’s taken so much time to watch them. They’ve literally handed me DVD’s with 6 hours of footage that I have to go through. One thing we did that I think is really funny is we shot a fake documentary during the making of the movie and the documentary is about how Seth Rogan was the tenth choice to play the lead. So during our shoot we would have actors come and perform a scene and then I would fire them. And so we had James Franco do it, Justin Long, David Krumholtz, Allen Covert. I did it. There was a moment where I think I should be the lead as an actor/director. Orlando Bloom did it. It’s really funny. It’s this whole documentary about hard it was to find Seth. And then we also did a very funny fake documentary about how I was having fights with the studio so they sent in Bennett Miller, the director of “Capote,” to oversee the shoot. And so Bennett came to the set and we would shoot all this footage of him changing my angles and my coverage and debating me and it’s very funny. I keep talking about how I don’t like moving the camera because it’s bad for the comedy and he says, “Do you think it’s funnier ‘cause it looks like shit?” [Laughs] And it ultimately comes to blows between me and Bennett Miller. So we really went out of our way to make a DVD that takes a lot of comedic chances. There’s a very funny documentary about the roller coaster sequence because Jay Baruchel didn’t want to do it because he says he gets panic attacks on roller coasters. The documentary is about me manipulating him into doing it and you see me basically lying to him saying, “It’s not that bad” and then him having a panic attack on the roller coaster. And then he won’t do it again and we have to keep doing it all day and then you see – because most people want to see this – most of our actors vomiting over and over. It’s just a funny little 5-minute documentary. In addition to deleted scenes, there’s a ton of deleted scenes and raw footage, I like to put just the raw takes on the DVD because I think it’s fun to see our process.

 

Have you thought about what you might be doing next?

 

Well I wrote a movie. We have Superbad coming out August 17th which is a movie that Seth wrote with his partner, Evan Goldberg. It’s a high school comedy and it’s a really hilarious movie that I think is going to be really, really popular at the end of the summer. It’s truly one of the funniest movies I’ve ever been a part of or near. It just works. It stars Jonah Hill who’s in “Knocked Up” and Michael Cera from “Arrested Development” and Seth and Bill Hader play cops in it and it’s just funny. It’s about one insane night in high school, the last week of high school, and Greg Mottola, the director of the Daytrippers, he directed it. And then I just finished a movie that I wrote with Jake Kasdan and Jake directed it and it’s called “Walk Hard: The Dewey Cox Story” and that is a goof on movies like “Ray” and “Walk the Line” and “Selena” and “Great Balls of Fire” and it’s about the long hard walk of Dewey Cox. He’s been addicted to a lot of drugs. He’s gone through a lot of wives and when he was a kid, he accidentally cut his brother in half with a machete. He’s working out these problems in this movie and we’re very sure it’s going to win an Oscar. We’re pretty sure that it’s a shoe in at this point.

 

Could you talk a little more about working with Seth? What makes the two of you such a good team and how did your working relationship develop over the years?

 

Well I met Seth when he was 16 years old and he was in Vancouver. Someone gave me a tape of actors reading generic scenes for “Freaks and Geeks” and Seth was really funny and he seemed real. I was looking for kids who seemed authentic and we wrote this scene where a kid is explaining how he’s going to grow pot underground and then if the cops come, he’s going to blow the entrance and then they’ll just see the corn at ground level and he’ll just say he’s a corn farmer. But Seth [deep voice] talked like this and he was really deep {resumes normal voice] and he did the whole scene really pissed off and it made me laugh so hard and there was no part for him and we just created a part in the show. And then he moves down to do the show and he brings his parents and I realize I’ve completely altered his entire life because now his whole family lives in America because we find him humorous. But he was so funny when we did the show. You could just see that the light was on him and when we would improvise, he would say things that only a great comic mind would think of. Even though he was 16 years old, it was like he was born as a fully formed comedic personality. So when that got cancelled and we did “Undeclared,” I thought well I’ll make him a writer. Now he was 18 and he will tell me if things are not accurate to the experience of an 18-year-old even though he didn’t go to college because he did “Freaks and Geeks” and I had ruined his life that way. I’d ended his education. And then after that, he was having trouble getting work and he wasn’t getting any acting work. A lot of people who are super funny, they don’t’ fit into any category so he went pretty much half a decade not getting cast, but in that time we were writing these scripts like “Superbad” and “Pineapple Express” and he wrote a script called “Drillbit Taylor” that we have coming out in the spring and he was working really hard on his writing and in my head I thought sooner or later we’re going to get one of these movies made and he’s going to star in them. It’s been really funny and he’s really easy to work with and we’re in enough of the same wavelength that we never fight. We’ll start fighting now that he’s a big star. Now’s the moment where it all caves in and we’re like Martin and Lewis. You know, he’s like one of my great friends and it’s all been really easy and we laugh hard all day long and it’s a very pleasant experience. I’m really proud of him because it’s not like everybody in town thought this would happen. So to see him actually pull it all off is very exciting.

 

Just curious, when you were a young man coming up, were there any particular sex comedies that might have rocked your world and made you realize you could make movies like that?

 

Well I was pretty obsessed with “Annie Hall” when I was younger. I had the videotape of it as soon as videotapes were invented. That was one of the first videotapes my family had. So I put in a lot of hours watching “Annie Hall” and “Manhattan.” So those probably had a big influence on me in terms of romantic comedies. Later “Fast Times at Ridgemont High” and “Terms of Endearment” were movies that I’ve always returned to for movies that are super funny but very real and emotionally impactful. Those are the main ones. “Say Anything,” I loved “Say Anything” when I was a kid. I used to watch that a lot. I loved the way he presented teenagers.

 

Can you talk a little bit about your experiences working with Cirque Du Soleil?

 

Cirque Du Soleil was fantastic to us. We had this idea. I’d written Cirque Du Soleil into movies before and for one reason or another it never seemed to survive the rewrites and I always knew that there was a great comedy sequence to be done with Cirque Du Soleil and I was frankly very surprised that it hadn’t already been done. There’s very few things that are fresh that are that popular. So when we sent them the pages, they were very, very receptive and they got the joke and were very comfortable with it because it is about guys doing mushrooms at Cirque Du Soleil but it didn’t seem to bother them. They got the joke and we went to all the shows and tried to figure out which show would look right for the sequence and then when we went there, for an entire day they performed the show just for our cameras and about 900 extras and it really couldn’t have been easier. It’s the kind of thing that you would thing would be incredibly difficult to accomplish, but theirs is just such a well run operation that they made it all easy and I’m really proud of the sequence. It gets really big laughs and I’ve been to all of those shows a billion times and we all went to the Love show the weekend that we shot that sequence. I’ve since been back. I’m very thankful to them. Then later I found out that the woman who was in charge of approving everything babysat me when I was 8 years old. Isn’t that odd? She was my babysitter, now she’s head of public relations for Cirque Du Soleil.

 

Does she remember you?

 

She did, she did due to my childhood antics. I’m sure I created a lot of problems for her then.

 


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