Seth Rogen on How Rich People Get Weird About Money | The Interview

you guys going to make another movie. where they're friends, then they stop. being friends, and in the end they're. friends again. And [laughter] I remember. like being like, "Oh, yeah, that's that. is every movie we've ever made.". [music]. I'm Lulu Garcia Navaro and today I'm in. Los Angeles to interview Seth [music]. Rogan. At 44, Seth Rogan seems to be. having the opposite [music] of a midlife. crisis. >> Excuse me, everyone. Um, I got a bit of. a bummer of an announcement to make, but.

we craft. >> his series, The Studio, which he. created, [music]. writes, produces, directs, and stars in, just won 13 Emmys. Plus, his production. company, Point Gray Pictures, has been. banging out the hits. And his new movie, The Invite, which is. directed by Olivia Wild, has been. generating a lot of buzz. That is so. nice. Thank you. >> Yeah. >> Oh, say thank you, Joe. >> Thank you. >> So, I wanted to talk to Rogan about how.

he went from being [music] a teenage. actor. >> I feel odd. >> to one of the most successful, wide-ranging, and [music] prolific. careers in Hollywood. >> We would skip school to write Superbat. >> Here's my conversation with Seth Rogan. >> Seth Rogan, thank you so much for being. here. >> Thank you for having me. [laughter]. You were recently just in can. Um, [laughter]. >> which you go to often any. >> I've never been to can. [laughter].

>> What? >> No, never. That was my first time. >> I just assumed. I actually didn't know. one way or the other. >> No, I'd never been. Why? Yeah. I don't. generally make the kind of films that go. to film festivals and have [laughter]. that type of attention or focus in any. way. And so, no, I'd never made anything. that that was at can before. Yeah. Oh. >> yeah. It It's funny because, you know, we very luckily have had very. like I say we like my me and my group I.

guess the royal we I'm Canadian close. enough. Um but you know we've had very. long lovely careers where up until very. recently we didn't really do any of this. stuff, festivals, awards, things like. that. And I think honestly in our heads. we kind of assumed it which is that that. was not what our careers held and we. were really at at peace with that. And. so now that I am starting to get to go. to festivals like can and and see see. it. It is funny that there's like this. entire other side of the industry that.

has sort of just been withheld from from. me for the last 20 years. [laughter]. and and and [gasps]. I never really uh I I I never thought. about it that much cuz I always just. thought like ah that's like that's for. those types of movies and I don't really. make those types of movies. But now it. is amazing like the level of industry. and infrastructure and sort of pomp and. circumstance that I had nothing to do. with all these years. [laughter]. Just felt like a lot of parties I have I. was never invited to until now. So uh. yeah, it was really exciting. You know,

>> I find it very comforting that there's a. velvet rope that you were not [laughter]. allowed to go by. >> There's plenty more. Trust me, even now. that I'm here, there's many more velvet. ropes that I have [laughter] not I'm not. invited to beyond. >> I have this theory that there's always. another room that you just don't get. into. >> I remember as a kid hearing like like uh. I can't remember who was saying it. It. was Jud or Gary Shanley, one of these. older comedians I was hanging out with. It was like you work your way up through.

Hollywood and eventually you are led. into a room alone with Jack Nicholson. and that's like that's the end. [laughter] of the line like it's just. it's just you and him in a small room. together and that's when you're like I. did it. [laughter]. >> So you do have another film um which is. the invite and. you play Joe. Joe is an angry person um whose. long-term marriage to Angela, played by. Olivia Wild, who also directs the movie, is not in a good place. Um I saw this.

recent interview where Olivia Wild said, "You are both non-con confrontational. people, but in this role you accessed, and this is a quote, your deep rage, [laughter] and I want to understand what. Seth Rogan's deep rages. Tell me what. she meant.". >> Um I mean, I don't know if that I'm glad. she thought it way, if that was helpful. uh for the film, you know. I think yeah, it was, you know, as we were rehearsing and. working on the script leading up to. shooting, it just seemed like the the.

more like palpably uncomfortable. the the couple was, the more. uncomfortable the audience would be, the. more uncomfortable this other couple. would be entering this environment. And. I had just been out with couples where. you just see like they don't like each. other. And it's really unpleasant to be. around. And there is this like simmering. undercurrent of anger. And in every. moment where you would choose to forgive. or excuse a person that you actually. cared deeply about, like these people. choose not to forgive and excuse their.

their partner and they choose to make a. big deal out of it or to use it as an. opportunity to to make a dig at their. partner or say something hurtful or feel. superior or something like that. and and. those are people I'd been I I mean and. continue to be around in my [laughter]. life and and and I've always found it. incredibly unpleasant. And to me that. resentment was something that I thought. would be very, you know, like additive. to the film and would would create like.

a tone and environment that that served. the the the film. You know, >> it did make me wonder what causes you to. feel deep rage or are you this person. that does not feel that? >> No, I get really angry sometimes. [laughter]. Um, and it's mostly. I think it's evolved over the years. [laughter]. What what makes me angry? Like. you know I used to really get angry. about. I mean like for lack of a better.

expression what I would say like people. with my like like when I. was doing like a creative endeavor and. and I felt like like the powers that be. were just like messing it up for no good. reason and were were obstructing me from. expressing what I wanted to express and. what I felt would would would create a a. great product ultimately and they were. interrupting that process or or again.

just complicating it or making it. needlessly painful and and that was the. thing that used to really enrage me um. more privately, you know, but I at. times, you know, I bet people I've. worked with over the years would say. that I I'm not always 100% pleasant 100%. [laughter] of the time when when it. comes to those types of situations, you. know. >> Um, >> but honestly over the years I've seen. that we very rarely lose those arguments. and we almost always get to do what we.

want creatively and and and there's a a. number of instances I could probably. count on one hand where we've actually. like been forced to do a thing that we. really don't want to do creatively. And. I think over time I've realized it's. like not worth getting that angry about. that stuff anymore because it just the. it rarely manifests into a thing that I. actually don't like. It's more the fear. of it would enrage me, you know. Um. but now I think as I've gotten older.

it's more like it's more it's much more. directed inwards. It's much more I get. mad at myself and I get disappointed in. myself or I will do a thing that I don't. feel like I did as well as I could or I. will feel like I'm spinning out over. something or ruminating on something or. or fixating on a thing and then I'll get. mad at myself for removing my myself. from the day-to-day. present experience I should be having. because I'm somewhere else fixated on.

some dumb thing. You know what I mean? that that is usually my own doing. something that I felt like I didn't do. well enough, something that I had said. that I wish I hadn't said or something. like that. Um, that is much more where. my anger lies these days is like at my. own [laughter] at my own behavior and at. my own uh yeah at at at myself which is. probably not healthy but that's you know. I'm doing my best over here. I go to. therapy. [laughter]. Let me um [clears throat].

can you give me an example of a moment. where something got intervened in that. you felt did a disservice to your. vision? >> It's been a long time honestly like and. and we've the whole reason we became. producers and made a production company. which was like 10 years ago at this. point I think maybe more was to like. insulate ourselves and and really try to. protect ourselves from this from that. happening you know. Um. >> and so Good work cannot come from by.

committee. Is that like. >> No, I have a very strong committee like. and and I I have a partner specifically. like I I I I am amazed that good work. comes from any singular person, you. know. [laughter] Um I need sounding. boards, you know, and. >> you know, I'm I'm I'm filming the studio. right now, so I'm very like in it. But. like I just see that like you know the. team we have on set, our. cinematographer, our editor, our. writers, the the production designer,

the costume people, the camera operator, like these people make the show better. I think at the end of the day, and I say. this all the time, like the hardest part. about being a director for me is when is. when you are the only one who thinks a. certain thing and when everyone's. looking at you like you're crazy and you. have to be like, "No, this is what we're. doing." Cuz ultimately, like I'm the one. who has to live with this at the end of. the day. And if I don't do the thing. that I really think is right, even. though everyone's looking at me like, I.

don't think this is right. And 99% of. the time the committee's in league and. then 1% of the time me and my partner. are standing there and everyone's. looking at us like we're crazy and we're. like, "This is what we have to do." Um, and to me, like the thing I hate the. most is when I make a thing and it isn't. quite what everyone hoped and someone. who was there is like, you know, I I. kind of maybe thought that maybe this. wasn't going to work. And that's when. I'm like, say something. Like, you were.

right. Say something. Not like, I wish. you had said that because you would have. made me see something that I wasn't. seeing. And it and and if you had said. that then this would actually more. reflect what I want to be putting out in. the world, not less reflect that. You. know what I mean? And so that is. something I like just recognized over. the years like is really valuable like. to me personally, you know? >> You know what fills me with rage? Someone coming and saying, "I told you. so.". >> Yeah. [laughter].

I don't like that either. funnily. [clears throat] enough. Um, just to. return to the movie briefly, um, the. movie's funny, tender, very dramatic. Um, as a long-term married person, >> yeah, >> it brought up a lot of familiar themes. I was saying to my producer, also called. Seth, by the way, um, that the. >> I have to fight him now. >> Yeah, you do. [laughter] WE WERE SAYING. THERE HAS TO BE A CASE. >> IT'S a Highlander. Yeah. every time I meet one. [laughter].

>> That opening scene where uh you and. Olivia are fighting bitterly over the. dinner party, she is throwing for the. neighbors. She'd forgotten to tell your. character about it. Um I had had that. very same argument that week with with. my uh husband. >> There you go. >> Yeah. Um. >> were there things in the movie that hit. home for you? Obviously, you've been. with your partner Lauren Miller for a. long time. What did it bring up for you. and and also your your fellow actors as. you were portraying this very.

complicated emotional dynamic? >> I mean, we we we we rehearsed the movie. for a little while going into it and the. movie was like completely rewritten, I. would say, in like the weeks leading up. to shooting. Um, huge ideas that are in. the movie were not there at all when we. were when we started the rehearsal. Um, and so the movie actually changed a lot. as we were um, leading into filming. And. that's not uncommon. And.

what's funny with a movie like this and. you're rehearsing and the actors are. there and the writers are there and and. you're talking about relationships and. and and at some point you kind of have. to. define what in according to this film at. least is a good relationship and what is. a bad relationship. You know, and people. really bring their own personal stuff. into those definitions. You know what I. mean? And what you very quickly see is.

that, oh, like what I view as a bad. relationship is not what these people. necessarily view as a bad relationship. Or maybe she agrees with me, but maybe. they have a very this person does not. agree with me, and they view what I. would view as completely unacceptable to. be to be normal in a relationship and. things like that. So, as we were. rehearsing and writing, like I I. remember feeling like I could really. confidently speak about what a very good. relationship was like and one that had.

been good for a very long time. Unafraid. >> I mean, I think it's a couple who is. nice to each other and who loves each. other and who goes out of their way to. excuse the other person rather than to. find things that they hate about the. other person. I'm not blaming it like. but to me it comes down to like. like a caring you know like and like a a. a tenderness and a niceness that is born. out of a desire to do that for the other.

person which I think is also very. important is like you have to want to. love your partner and you have to want. them to love you back you know and I. think you have to be intimate with your. partner and sexually attracted to your. partner and I think they and that should. be returned as well and I think and the. movie really gets into that and so very. quickly me and the other cast members. and the writers [laughter] found. ourselves having [gasps]. what maybe we didn't intend to be. incredibly revealing conversations but.

what ultimately you couldn't you. couldn't hide were incredibly revealing. conversations cuz ultimately you're. arguing oh I think this is this is. healthy or this is unhealthy you know um. >> are you just are you saying you know you. now know more about Penelopey Cruz's. marriage. >> yes exactly [laughter] is that what. we're circling around here. >> I do know Javier Bardam had back. problems that [laughter] that were. similar to my characters, which was [clears throat] a funny, you. know, again, [laughter] much more than I. needed to know about him necessarily. Um, and she does think it had to do with.

stress and emotion more more so than. than a physical [laughter] ailment. Um, and so yeah, so all that stuff kind of. comes out. So Eststera Prell um the. relationship psychotherapist and. bestselling author was a consultant on. the film. Was she mediating something? I. mean what were you guys having group. therapy? >> No. I mean honestly from my experience. we just talked about her a lot like and. and I think there was a point where like. we were kind of dancing around just like.

using her philosophies in the film. And. honestly I think maybe maybe that made. them go to her and be like will you be a. consultant on the film? And cuz cuz I. think there was some fear at first of. like are we are we overlapping and I I I. remember being like just embrace it like. like we are saying what she says that is. the point of this. We agree with it. We. all agree with it. >> What is the it? the it is this I think. to me it's this very simple idea of that. you have many relationships throughout.

your life as you change and you age and. and your perspective [gasps] changes and. and and sometimes your partner changes. with you and you have several. relationships with the same person that. have new parameters and new boundaries. and new new new guidelines that are. reflective of who you are as you become. different people and sometimes you. become incompatible with that person and. and you start a relationship with a new. person and it just it just really rang.

true and it's something I've seen in in. couples that I know and something I've. seen in my own relationship like you. know me and my me and my wife started. dating when we were like 23 years old or. something like that you know and so. we're obviously very different people. than we were in our early 20s uh now. that we're in our mid-4s but but we grew. in a way that we stayed very compatible. with one another, you know, and I've. seen other couples. >> not have that happen, you know. >> I'm glad you brought this up because I.

have a theory about your relationship. >> Great. [laughter]. Well, I saw you talk about your wife on. Howard Stern, and you told several. anecdotes that basically boil down to, "I was on drugs and my wife encouraged. me to go on LIVE TELEVISION, GET. [laughter]. GET ON STAGE WITH MADONNA, do something [laughter] potentially. publicly risky, but very fun.". >> And I just loved that [laughter] because. this is clearly someone that is.

>> sort of the opposite of trying to shut. you down or you know, circumscribe you. She wants you to be full Seth. Um, >> she does. Yes. And at times will also. tell me maybe it's too much Seth. [laughter] I'd say in a very good way. Um, and it's honestly like when we were. making the neighbors movies that was. like a lot of the dynamic between me and. Rose Burn came from conversations with. me and Lorie. >> Welcome to the neighborhood. That's the. gist of all. >> where it was like we. >> she's not like the naggy woman who's.

trying to shut down the fun like she's. she me and her love doing the same stuff. and and and if anything yeah she's like. encouraging it you know and so we've. always I think in a great way like. fundamentally been on the same page as. one another and like to do the same. actual things with our day as one. another which I think [gasps]. is also just a thing that like you see. is like oh this couple like just doesn't. want to spend their day doing the same. thing anymore. And then they used to and.

now they don't. And now like she wants. to do this and he wants to do this and. and and and they might still care about. each other, but it's just like what they. want to do all day is completely. different, you know? Um and we like. doing the same things, which is also. good, I think. [laughter]. >> What do you wish she'd stopped you from. doing? >> Um nothing. If anything, she has. successfully stopped me from doing. things I shouldn't have done. [laughter]. which which is good. She she's she has a. very good track record with [laughter]. that.

>> So you often play with thwarted desire. in your projects. Um you know. dude wants a hot girl isn't in her. league. Um and that frustration is often. sort of comedic and played for comedic. effect. >> Could you give me your theory of what. makes desire funny? Um, I mean to me. it's more just like when a character is. is getting in the their own way of what. they want is the funniest thing for a. character to do. And when a character.

fundamentally has a personality that. does not allow them to easily achieve. what it is that they want and and they. are their own worst enemy and they they. are doing things that are making their. own situation harder and worse. Um, that. to me is the funniest thing and I think. it does come from something I relate to. deeply, which is like the thing that. makes you the happiest also is the most. painful thing in your life at times, you.

know. Um, and I think like Larry Sanders. show is the thing that me and Ev and my. partner like reference a lot, you know, and and I think that is like. >> fundamentally. a incredibly great comedic character in. that like. >> he's constantly trying to be someone he. isn't. He's constantly trying to be. [gasps]. nice with cool cool cool to the. employees that he works for or works. with, but he just is too wound up and. and uh to to allow it to happen. And he.

wants to think he can he can date a. woman who's more famous than he is, but. he just can't. And he wants to think he. can allow his sidekick to to to be. funny, but he just his ego won't allow. it. And so it's sort of this like. conflict between like ego, you know, like like what the worst parts of your. ego make you do versus what your purest. desires like want you to do, you know? [snorts]. >> Okay, this is kind of a little bit of a. silly question, but it is something that. I've always been curious about. Um, in a.

lot of your films, there isn't some big. pretty woman moment though um for the. dude when you get a makeover and you're. suddenly like pumped up. you always end. up getting the girl. Um, but you don't. get the glow up. There isn't like this. this [laughter] big moment where all of. a sudden, you know, you're you're kind. of rip off your shirt and there you are. [laughter]. >> And, you know, I was thinking like. Longot with Charize Theren and and all. these things. Is being funnier sexier.

than being hot? [laughter]. >> I mean, I hope so, but no. The answer is. no. [laughter]. Being hot is better. [laughter]. It can It can help. But. >> if you think about the characters, I'm. not personalizing this. [laughter]. >> Um, it's funny like when we were making. movies when I was younger, that the joke. I was always making as we were making. them is like, oh, like my guy's going.

from wearing like a t-shirt to a to a. polo shirt. Like that was always like. the arc. like, "Oh, he got a button he. got a buttoned up shirt." Like, "Wow.". [laughter] Um, and even then I could. recognize kind of like the the silliness. of that and how superficial it all was, you know? So I think more so as we got. older and we were you know making more. of these types of movies like that more. became I think the idea is like it. shouldn't be some like superficial thing.

you know a movie like longshot it should. be like fundamental character things. that are evolving and changing and. they're influencing one another in a way. that isn't you know just how they look. and dress but it is more like as people. they are enriching one another you know. what I mean. >> since I've known you you've cared about. this and now you're just going to get. rid of it. >> I'm trying to compromise here for a. bigger goal. >> And so yeah, I think that's kind of more. where that type of thing came from. But. like [snorts] truthfully, I don't make.

that many like I haven't made a romantic. thing in quite a long time. >> That's [clears throat] true. >> Yeah. [laughter]. >> Yeah. It's I think cuz I'm in a very. good relationship and have been in for a. long time. It's like not that creatively. interesting to me to like show two. people falling in love with one another, [laughter] like it's not where my brain. goes, you know? Um, and I think also. when we were first coming up especially, it was like every movie had a romantic. storyline or like conflict between the. main couple that had to be resolved in.

some way. And and and I think that also. just and I remember we were making. Pineapple Express like we sort of have. like a really silly ridiculous story. line with me and and and like the woman, you know, uh character and it's like not. even remotely a romantic story line. It's um it's sort of like this. disastrous thing, you know. And I. remember at the time everyone's like it. has to be romantic. Like that's what a. movie has. And and we were like no like. that that's not we don't care that much. about that. and and Knocked Up like was.

like all about that and Longot was like. it was like a romantic comedy, you know. Um. >> but I think yeah, to me it was it was. either more interesting to like fully. explore this dynamic or not explore it. at all and not have it be like an. obligatory part of our things. And it's. why honestly as we're making the studio. now, it's like there's like no romantic. story lines on the show unless we're not. really like. >> a little a little. >> a little kind of but like not really. I. mean, your dating life is a part of the. comedic. >> stuff. Yes. It's in one episode and it's.

like uh and the whole joke is that I. can't date. You know what I mean? And so. other than that, it's not like a thing. we're tracking is like Matt's Matt's. dating life. Like it's sort of like a. non there's sort of like an asexuality. to the show [laughter] in a weird way, which which to me is fine. >> It's interesting. >> It is. [laughter]. >> Um you got to work with one of the. greats, Katherine O'Hara, um in the. studio. Um, how did you experience that loss? Did.

you have any particular memories of. working with her? Any good Katherine. O'Hara stories? >> Oh, I mean so many. Like when we. first conceived of the show, like she. was the one that we wanted on it more. than anybody. Like and and and to me and. Evan, she was like a god to us, especially as Canadians. Like I mean I'm. not joking like Home Alone is the movie. that made me want to make movies and. like and and her being in it and and.

then I as we got older we just became. obsessed with like Christopher guest. films and Waiting for Guffman and and. things like that and and and Beetlejuice. was one of my favorite movies ever. growing up. So to us, she was just like. as funny as as a person could be, you. know, and then I mean getting to work. with her on the first season like it. really like pushed us to want to do. right by her and to want to make the. show like live up to her standards and.

what we felt she deserved to be. >> And she and she plays your sort of. mentor in this. >> Yeah. and she plays my mentor and kind. of a maternal figure to me which she. sort of was at times as we were making. the show and would would would send us. notes on the scenes would completely. rewrite the scenes say in like the most. Canadian way ever. She would send me an. inant email being like, "Here's some. thoughts." And then would be a. completely rewritten version of the. scene. And it would be like, "Take it or. leave it." [laughter] And it was like.

such a funny Canadian way of being like, "This is better. You should do this.". But never said with those words, you. know. Um, and then it was just. incredibly sad. We just start to hear. she was sick and we'd see her and we. heard she wasn't doing well. And as we. were kind of nearing the second season, you know, it was we would just talk to. her and it was she would clear her. health was not great, but she really. wanted to come back and intended to come. back and and I think it was a real like.

goal for her to come back um and keep. doing the show. And I think she was. really looking forward to coming back. and doing the show. Um. and. and and honestly in the back of our. heads we were like we hope she can but I. don't we don't know if she will be able. to. And so it is this kind of very sad. thing where like kind of creatively. you're kind of making like in the back. of your head these contingency plans but. you kind of don't want to think about it. but your brain is kind of telling you.

one thing and you're trying not to. believe it in some ways you know. Um, yeah. And then we heard she passed away. one morning and it was the first week of. shooting the show and it was [gasps]. really really sad and. and we were all together, the whole crew. and everyone loved her very much and the. cast and we kind of didn't know what to. do and and we just kept shooting and we. were like I think the idea of like. making each other laugh and being.

together [gasps and sighs]. felt. preferable to anything else we could. have done that day, you know? Yeah, >> I'm sorry. So, um. I I want to go back a little bit um to. your upbringing. You grew up in. Vancouver. >> I sure did. >> One of the seminal things about you is. obviously you started in comedy really. young. You started playing standup in. clubs at 13. >> Yeah. >> And your mom was really encouraging.

>> Uhhuh. >> She would let you stay out, stay. [snorts] up all night working on your. routines. And I think that's pretty. unusual for a parent. Were there ever. moments of tension with her about it. that you wanted to do things that she. wasn't letting you or was she just. letting you kind of open that door and. walk through it? >> I mean, she was there all the time. So, it wasn't that it wasn't like. unsupervised freedom, you know what I. mean? Like, so at once it didn't, it's. funny like freedom is not the word I. would use to describe it. It was more.

like she was just very supportive of a. goal I had. It didn't feel like my mom. was just like taking me to comedy clubs. to hang out. Like I was there to do. something, you know? And and um. and the comedians were old and I didn't. like hanging out with them that much. honestly. Like they it was fine to hang. out with them, but I wasn't like I want. to be friends with these guys. Like I. was I was I was a teen like I I had. teenager friends, you know what. [laughter] I mean? Like and every time I. did hang out with them socially, it was. weird. And so I I that wasn't like the.

goal either. Like it wasn't like I. wanted to hang out with these old guys. and get drunk or anything like that. Like it it more felt like I was really. like ravenously pursuing a thing and my. parents recognized like I was I was like. unique in a way that I was like pursuing. this thing in a very serious way. You. know, >> you use the word ravenously. That's such. an interesting word. Is that is that how. it felt? >> Yeah. I think for sure one of the. reasons that I I think especially from a.

young age like managed to work a lot was. because I like yeah had like a a. [clears throat] like a real hunger for. it and and was willing to really put in. a huge amount of time and and energy. um in a way that I you know I I assume. maybe like teenage athletes would you. [laughter] know but for me it was it was. this you know, and I loved it. And like. when me and Evan started writing Superb.

Bad together when we were 13 or 14, like. it's all I wanted to do. Like I wanted. to like like I would we would skip. school to write Super Bad. And I think. even my parents could probably see like, oh, like this is he really likes this. and he's really motivated to try to. succeed at this. Not in like a cute kid. way, but in a way that felt real, I. think. You know, >> do you look back and think it's weird. that you and Evan connected at 13 in.

this? No, but and that it has just been. this incredible partnership. It just. seems to me that two boys who. connected so fundamentally and had so. much talent were able to. be at the same place at the same time. and and keep in touch. >> Yeah, we marvel at it all the time. like. it's not lost on us that it's sort of a. mira like a miraculous thing. I think it. was like two people with like a little. spark met, but then together we became.

like a a singular kind of creative. entity in a lot of ways and like we're. brain our brains weren't even like fully. formed when we met. like our brains I. like our creative brains really formed. around one another and like I I I think. that's not like any small part of why we. work so well together and why we. continue to work well together is. because we started like a very young age. together and [snorts] there became like. a cohesion and thought that was really.

like it's impossible to replicate I. think because like we truly grew up with. each other and watched movies together. all all the time would talk about them. First started to learn to write dialogue. together and to experiment with that. together and to try to structure a story. together. And so inherently like what I. think is good story structure is what he. thinks is good story structure. What I. think is good character development he. thinks is good character development and.

what I think is a good way to write a. scene he thinks is a good way to write a. scene because we we we came up with it. together. Hm. You ended up moving to LA um at 16 to. star in Freaks and Geeks after an open. casting call in Vancouver um uh where. you got the part. Um and you know, one. of the things that is also really. interesting is that you were started. financially supporting your family at. 16. >> Yeah. >> Do you think that responsibility shaped.

your work ethic? I mean, you you talk. about like absolutely loving what you. were doing, but that also feels like it. might have been, >> you know, >> for sure. Yes. something [laughter] that. felt like. >> I think I very much had like a fear of. going broke and a fear of not having. money and a lot of my friends were much. more well off than we were and I would. just see I would go to their houses and. it was [gasps]. you know it was like yeah it was like a. real house and like I grew up in like a. co-op like you know like in sort of you. know like a little like row you know in.

like a little housing community. basically it was like somewhere between. like an apartment and a and a condo I. guess you know and Um, and yeah, I I for. sure and I and we were never like, you. know, we weren't like going hungry or. anything, but but I could just see I was. >> in a very different financial situation. than everyone that I was kind of in my. community, you know? I'm sure that had. something to do with uh, you know, my. drive from a young age. >> Did has that shaped how you think about.

money and success? Now, >> I think if anything, and this is. probably not like the healthiest way to. approach it, is like I think I spent so. much time worried about money when I was. younger that now. that I make more money than I ever. thought I would. Like [laughter]. I think like the gift I've given to. myself is I never think about it. Like I. have no. >> I almost never think about how much. money I'm spending or making. I don't.

fetishize money. I don't care if other. people are making more money than me, doing the exact same thing as me. I. don't have like an ego about it. I'm. making more than than I ever thought I. would. And so I see other actors who are. very competitive. I've had conversations. with other actors about it, you know, and and and that has just not been my. approach to it. And as far as spending. money goes, like it's again not a thing. I see rich people who are like I'm like. you're focused on that amount of money. like like the amount of stress you are.

causing yourself over an amount of money. that will never impact your life in any. way, shape, or form is insane to me. And. so I I think like the gift I've given. myself is I I truly spend as little time. thinking about it as humanly possible. and as little time trying to focus on it. or fixate on it. I I try not to be. overly principled about it. If I feel. like I'm getting charged more because of. who I am, I'm like, "Yep, that's the way. if you're going to charge anyone more,

it's probably me." You know what I mean? And and and that's the way the world. works. I try not to be philosophically, you know, uh, up in arms about my own, [clears throat] you know, financial. situation in any way. I don't care if. I'm getting ripped off a little. I don't. care if I'm overpaying for [laughter]. things a little, honestly. Like, I'm not. again. And I'm around people all the. time who are always who are rich who are. trying to get deals and trying to get a. break and trying to get like they trying. to feel like they are makes them feel.

special or something more. It's funny. like there's this uh I read this book on. I read that going clear book really. every once in a while you know like you. read like one sentence and it like snaps. your whole perspective into place a. little bit. And I remember reading that. book about Scientology and there was. just one sentence in it about how famous. people tend to do a thing where if they. aren't treated in a certain way, they it. makes them think they're not as talented.

as they wish they were. And it's like if. I go to a restaurant and I have to wait. 20 minutes for a table, instead of them. just seating me right away as as they. are the famous person next to me, is it. because I'm not as am I not as talented. as I thought I was? Am I not as good as. I thought I was? If I'm, you know, if. I'm trying to get into a party and and. and they don't just let me in and I have. to wait in line, like, does that mean. I'm not as good a writer as I thought I. was? If I'm not getting a deal, if I'm. not getting the best hotel room and I go.

next door and and and someone has a. nicer hotel room than me on the press. tour, does that mean that I am not as. good an actor as I thought I was? And I. think that is how a lot of famous people. interpret how they're treated. and they. think that if they're not getting the. best treatment, it they aren't as. skilled as they wish they were, as they. thought they were. And that was a thing. that I realized when I read that. It's. like, oh, it it is tapping into some. deep part of me that makes me worried.

I'm not as talented as I as I as I want. to be or as I wish I was or or And. that's it. And and and cuz that's like. the thing you fear the most and is the. most potentially painful. How did you. work through that? How did you Because. obviously you said you felt that at some. point and then it changed for you. >> Honestly, as soon as I read that one. sentence, I it it it started to shift. for me and I started to. much more easily identify in myself when. that was happening and and I was able to. sort of I think shift my behavior pretty.

quickly in the wake of that. >> Yeah. >> Um once you've moved out of that, how do. you define your success? How do you what. are the metrics by which you say you. know what this is good I did well I'm. okay. >> um I mean I wish it had nothing to do. with how the work was received but it it. for sure doesn't [laughter]. like that that is definitely a part of. it you know um.

>> obviously. >> obviously and and and I think that is. the thing that most artists feel the. most conflict about is like. external validation versus like did I do. what I wanted to do? But the truth is if. my work isn't received well then I then. I didn't do what I wanted [laughter] to. do cuz cuz I want people to like what I. do and to enjoy it. And especially when. you're making comedy, which I think is. the hardest thing to make in a lot of. ways because you you are you are you are. announcing that you are going for a.

specific reaction. And with a dramatic. film, you're not really saying that. you're you're kind of saying like, you. know, we hope you find it insightful or. interesting or meaningful or sad or. cathartic, but with a comedy, you're. saying like, I want you to laugh, and if. you don't, I've failed. And and it's. also the making of it to me. Like, that. has to go a certain way. And and and. that has to be a certain process, I. think, in order for the work to be. successful. And I think um like the the.

daytoday of it has to be, you know, cohesive to to to what I feel. that should be in order for me to think. the work is good. I think. >> when I look at the studio, you are the. creator, the producer, the director. You. help write it and you star in it. >> So it is really a Seth [laughter]. Rogan production in every possible way. that it could be. Yeah.

>> Um, and then just to use, you know, the. film that you're currently in, um, you're just acting and obviously you. helped craft the character and the. dynamics, but it's not you don't have. the same kind of responsibility. >> No, my name is on it one time. >> Yeah. So, can you parse that out for me. in terms of that idea of getting. satisfaction or having it reflect. yourself? How do you differentiate. between those two different.

>> um things? >> I mean the the truth is like I for me it. is much more engaging to do what I'm. doing on the studio. Like I I greatly. prefer to act and write and direct and. it and it's really hard and taxing and. [laughter]. it takes a lot of me but I genuinely. love it and I never feel like I am. >> doing more of what I should and could be.

doing from like a creative standpoint. than when I'm doing all those things. and and when I'm on the set of the. studio and I'm it I I I I appreciate the. the crushing pressure and the focus and. and what is required of me in order to. do all those jobs well. And when I am. able to actually do them all, well, I. feel a level level of creative. satisfaction and gratification that I I.

will never get from from just doing one. of those things, you know? And so if I'm. going to act in a thing, it has to be a. thing that I feel like I would really. love the product of a movie that if I. saw it, I was like, "Oh, like that's the. exact type of movie I love to watch.". And and and then and the Fablemen, Steven Spielberg, etc. >> Yes. A thing like that. You're like, of. course, I'm going to work with Stephen. Spielberg and and and it'll be. educational and and and I and I then.

make it put it on myself to really like. extract everything I can from from the. experience as well. And and even if I'm. acting for an hour a day, I I I'm on set. all day and I and I I literally stood. beside him, just asked him questions. I. would bring up scenes from his movies on. YouTube and just be like, "Explain to me. how you did this. What? How? What did. you think of how technically did you do. it? And he loved it. And I. >> really. >> Yeah. And I did that and and I was just. stood beside him all day asking him. questions about how he filmed his movies.

and how he conceived them, how he. blocked them, how he storyboards, how. he, you know, like I think what I. learned about blocking on the Fablemans. was like directly put in the studio and. how to move the actors around and move. the camera around the the characters and. how to make it dynamic. even a scene. where people are at a dinner table. talking and like all that I was like, "Oh, I'm going to absorb all of this. from from Stephen Spielberg if I can.". >> So, the way I read your um onscreen and. off-screen history, as we've sort of.

discussed, it's sort of a testament to. male friendship. Um there's Jed Appatau, of course, who hired you for Freaks and. Geeks, and then you met a whole bunch of. buddies through that. um Jason Seagull, James Franco, and of course you've had. the same writing partner. >> Yeah. >> Evan Goldberg as we've discussed. Um. I asked you earlier what makes a good. relationship. What makes a good male. friendship? >> [laughter]. >> Um, I think the same things as any other.

dynamic, you know, like um like I found. with, you know, Evan and and the people, you know, I tend to work with my close. friends. Not all of them. I have very. close friends from growing up who I. don't work with. Um, but I think, you know, I think like a desire to. be good to one another, which again. sounds [laughter] intuitive, I guess, but I think when I look at people who.

have bad relationships and bad dynamics, like that's the thing I notice is just. like they don't seem to want to be nice. to each other and they seem to be. looking for every reason to not be nice. to each other. And I think it comes down. to like. [clears throat] do you just do you like. this person, you know? And I come from a. a world Yeah. where it's like it was not. like a macho sportsoriented. like environment like you know I come. from a world where like everyone's you.

know parents were in therapy and and you. know like I'm from the I'm from the. Pacific Northwest. you know, we were. ahead of the curve on a lot of that. stuff in the ' 80s and '9s. And so, I. think like. I come from a group of friends who were. very like communicative and open and not. afraid of sort of sharing what they were. feeling with one another. >> Why do you think that version of male. friendship translated so well on screen? Me and Evan still marvel that like Super.

Bad is still remotely. not just like accepted in today's. society, but it's a thing like kids. still really seem to watch. And like. just like when we were young, we would. all watch we would watch Fast Times and. things like that. Like it seems like. >> Superb has somehow like filled the slot. in many ways of like the high school. movie you you watch and relate to when. you are in high school, you know? >> All right. You look like a future. pedophile in this picture. Number one.

Number two, it doesn't even have a first. name. It just says Mcloven. >> What? What name? What name? >> Who are you? Seal. >> And I think part of it is because like. it is. it is about exploring. kind [snorts] of being vulnerable with. your friends, you know, and and that I. think is is a coming of age thing like. in and of its own right, you know. And I. remember. when I I was moving to LA. I was I did a.

bunch of shrooms with my friends. I was. 16 years old and we were all at their. house. We were at one of my friends. houses and it was like the sun was. coming up and I was laying on the couch. and my friend Fogle who Mcloven is based. on was was there laying on the couch. beside me the other like like we were it. was like a sleepover and we were kind of. you know um and I remember just being. like I'm so terrified to like move to. Los Angeles to do this show and I'm not. going to see you guys anymore and I'm. have no I don't know anybody out there.

and and he was like yeah man like high. school ends next year for us too like I. don't know where any of are going to. college, if we're going to be friends. anymore, if any of this is going to. happen. And like it it it really and it. felt like a big moment and it felt like. the first time any of us had really. acknowledged to one another like how. much we cared about one another and how. afraid we would be without one another, you know? And I think that's like a. feeling especially as high school ends. and you're kind of going your separate. ways. For me, it was to go work, but it.

it was no different than if I was going. to a college and all my friends were. going to a different one, you know. Um, and I think that feeling, a little. different, but [laughter] for all, you. know, for logistically it was very. similar, you know. Um, and and I think. that feeling was what we really tried to. put into the movie was this feeling of. >> it's, you know, not that high school's. easy, but there's. >> you're on the cusp of something. you're. on the cusp of something unknown. And I.

think that was. however we were able to like bottle that. feeling and put it into the movie seems. to resonate. >> I mean, one interesting thing about your. character in the invite is that he has. no friends. And I mean, it just seems pretty. reflective of what's happening in the. culture today more broadly with men. You. know, the loneliness epidemic. >> for sure. And I I just wonder is. Hollywood doing a good job of showing. positive male friendships the way it. used to. >> I don't know [laughter].

because I think about that's what I'm. saying. I was thinking about Super Bad. and then I just it just really. >> when I thought about your character in. the invite and just what we're seeing in. the culture at large and as someone who. has really channeled male representation. on screen I I you know I mean I came up. watching Lethal Weapons. >> you know Ferris Peeler's Day Off Bad. >> things just don't seem to look like that. anymore. >> Um I think I mean I it's interesting. Yeah. Like we we we try to do it on the.

studio a little bit. you know, there's. the stuff with me and Ike, like I think. ultimately like that is a relationship. we do keep like it's probably the most. emotionally kind of constant. relationship on the show and um but I I. don't know why other people don't. explore it. I I I know we have just done. it a lot and so I think it's something. as we look to it's like I mean it's. funny we did this roast many years ago. um and Nick Kroll had a joke that really. hit close to home where he was making. fun of me and Evan on the roast and he.

was like what are you guys going to make. another movie where they're friends then. they stop being friends and at the end. they're friends again and I remember. like being like oh yeah that's. [laughter] that that is every movie. we've ever made. And not to say that's a. bad thing, but the fact that he could. boil it down that that simply into a. joke, I think we were like, "Yeah, maybe. we should move away from that a little. bit." [laughter]. H um. I'm going to ask you about um.

a friendship that you did have a public. break with, which was your friendship uh. with James Franco after allegations of. sexual misconduct were leveled against. him. I am curious about how you work. through that decision and did that. change the way you think about. friendship at all? Um. I mean I'm trying to think [laughter]. how much I want to personally share.

about this. >> I understand that. >> I. >> the reason I ask is this. I think as a. culture we are still grappling with if. and how we allow people who've behaved. badly back into our lives back into the. culture. And so I was sort of wondering. about, you know, what what was a very seinal. relationship for you. >> Yeah. Like I honestly think the nuance. of it is too personal for me to get into. right now. like it it is a very personal.

thing and I think there's like the. public facing side of it which I've. spoken about and and and I and I have. the same stance publicly that that that. I've had and I think the proof is in the. pudding more than anything is just I. haven't I I have not worked with him in. years, you know. Um, but like the. personal side of it is just it's it's so. nuanced and it involves people that I. don't know if I should be dragging into.

this and and and I think it's you know I. don't know what I would benefit from. getting [laughter] deeply into it in. this moment. Um, but I'd say everything. I've said I nothing is nothing has. changed really since since the last time. I've talked about all this and I haven't. worked with him in a really long time. and I have no plans to. >> Do you talk to him? >> I haven't talked to him in a long time. No. >> So, I want to ask you about your. on-screen relationships with women. because um I love Platonic.

uh where you have a deep friendship with. Rose Burn who's also like a regular. collaborator with you. >> Yeah, she's great. Um, so. how have you sort of thought about the. female male dynamic on screen? Because. Platonic literally is again about. friendship. It's not romantic. Yeah. >> It's so interesting considering your. your previous comment, you know, comments about not finding the romantic.

dynamic interesting that this is a. central [laughter] a central story line. here. >> Yeah. I mean, I think it can again I. think it can be like reductive. Like I. think like for so long that was the only. dynamic there was between a man and. woman on screen essentially was was a. romantic one. And so I think part of it. is just like what's what is new that. that hasn't been explored but is true to. all of our lives or many of our lives. anyway. And and and it's funny like I.

think so much overthinking it in some. ways goes into like. what makes a funny female character in. relation to a funny male character, you. know? And do they have to be smart? Do. they have to be dumb? Is it dumb? Is it. bad if they're dumb? Is it sexist if. they're dumb? Or is it sexist if they're. smart? Like I've seen I've seen both. things argued. I've seen, [laughter] you. know, it's like, oh, you don't want to. get rid of the dumb character, but like. that's often the funnier characters, the. dumb character, you know what I mean? And the worst choices a character makes, often the more comedicly they can.

perform as a as an actor, you know? Um, but they're dumb, you know? And so, like. I. >> I mean, Marilyn Monroe is one of the. great comedic actors. [laughter]. >> Exactly. So I think like. to me what I've found with to be the. healthiest conversations is just like. what creates the most comedic potential. if that is what you are trying to do you. know um and to not. try to I think as soon as you start to. think too globally and lose sight of.

like the thing you're making is when you. get lost in the weeds a little bit and. and and and. >> what does that mean? So, so that idea of. like having to. >> workshop everything to see like it. doesn't offend some group. >> Yeah. or or like or or or or like if you. start to feel like well like what we are. saying with this is like men are like. this and women are like this like that. to me is so much harder to wrap my head. around than like what I'm saying is this. guy is like this and this woman is like.

this like and it is specific to this. [laughter]. and and what we are doing is making it. work for this and and as long as it. works it's good you know what I mean and. as long as it it It's funny. You you. you're not thinking. is he dumb or is he smart or is she dumb. or is he like you're just thinking it. works and and all of a sudden all the. stigmas and the and the history and the. conversation around it kind of falls by. the wayside because you're just watching.

a thing that works. You know what I. mean? And so I think that's what I've. seen work is like with Platonic. It just. is, [snorts] you know, Rose's character is. like doing incredibly stupid things all. the time, making incredibly poor. choices, being irresponsible, putting people in danger, putting people. at risk, doing things that again, I. guess you could like philosophically. argue like is it is it great to portray. anyone like that? Is it good? Are we.

what are we saying about women when we. do this? What are we saying about men. when we do this? But I think what they. do so well on that show is like they're. not trying to do that. They're like what. makes this character. allow Rose Burn to give the funniest. performance she could possibly give and. be as funny in these scenes as she could. possibly be. And I think like that's. really how I think of it is like I find. like these kind of heavier conversations. about theme and society and culture like.

hopefully that's just within you and and. will come out through your work because. it's organic to your perspective. >> Do you think Hollywood has become more. riskaverse? >> Yes. [laughter]. >> Okay. >> Yeah. 100%. Yes. Um period. end of like. and we've just seen it like you know. Superbat's a good example like when we. made that movie like they bought our.

script they hired a director they said. it would have a $20 million budget and. it would start shooting in August or in. April of that year. Um and it would come. out uh in like August of the following. year. That's it. like and then we cast the. movie. We found a director for the. movie, we made it according to their. schedule and we released it on the date. they chose. That would never happen. today in a 100 million years. No studio.

would just buy a script, give it a. release date, cast it, and then make it. like now. Everything has to be in place. before they will decide whether or not. they're making it. Who's the director? Who are the actors? Are they famous. enough? Do they have big enough names? If not, then we got to change. We got to. get different ones or else we won't make. it. And I know we want it to start. shooting in April and release it next. summer, but if we don't have the right. actors, we're not going to do that. because we think these actors will get.

us more money than these actors, even. though they might not be the funniest. actors for the role. They might be more. commercial for the role. Not to say you. won't ultimately get to the funniest. people for the role, but you'll have to. go through an incredible process to do. it in a way that is all due to risk. aversion. You know, like Amy Pascal was. willing to just say like, "Make this. movie. You'll put the funniest people in. it. That will make the best version of. the movie, and the best version of this. movie is what will make us the most. money." That is not said anymore really.

in in Hollywood. As I was preparing for. this interview, I was looking at your. list of credits and you know, it's just. astonishing when you sort of sit with it. and and look at it. Producing the hit. superhero series, The Boys, acting in. The Invite, voicing Kung Fu Panda, Platonic, [laughter] The Studio. I mean, there's just like a lot um there. And I. was recently watching Jud Appatile's. excellent documentary on Mel Brooks. >> Oh, yeah. and thinking.

that you're our generation's Mel Brooks. [laughter] I mean, you've already made. comedies that have sort of defined a. generation. You're only 44. I mean, is he someone that you've. modeled your career on? Um, honestly, what's I love Bro, I I. more model my career off of like Harold. Ramos and um, you know, and I would look. at like, you know, not not not profession, you. know, not not on a personal level, but I. was a big my my parents loved Woody.

Allen movies when I was a kid, you know, and I was sort of inundated with like. Hannah and her sisters um and and things. like that and um, and and I love and Mel. Brooks. I mean, I I like it's funny like. Space Balls, like I I watched Space. Balls before Star Wars probably. [laughter] 100 million times, but um I I. never What's funny is I never had like. too close of a plan or too specific of a. goal or I never looked at anyone's.

career really and was like, I want that. career. I I. I think from a very young I think when I. was in my early 20s, I sort of surpassed. any expectation I could have had for. myself in many ways. and and and after. that I sort of. saw that like the greatest gift I could. give to myself was to like do whatever. creatively excited me in whatever moment. I was in and and and.

not working towards some thing where. like I'll only be happy if I do this and. if once I do this I'll know I've made it. you know like I I I I felt like I made. it when I was 23 years old [laughter]. and so after that I was like, I I think. I should just do what seems exciting to. me. And and and it is funny because. sometimes I will do an interview and. look back and I'll be like, "Wow, I'm. doing a lot of it's a lot of stuff." And. it's and it's a weird array of stuff and. but I look and it's a stuff it's stuff.

that truly reflects my taste and who I. am and my sensibilities. Me and Evan. grew up reading comic books. We were. that's one of the first things we bonded. on. And so getting to adapt comic books, Garn is one of my favorite comic book. writers of all time. So getting to make. Preacher and The Boys and things like. that, especially like, you know, I. remember when like David Fincher was. attached to make Preacher and then it. fell apart and we ended up making it and. The Boys, like every big director in. Hollywood was attached to adapt The Boys. at one point or another and we just sort. of like hung out in the background for a.

decade until everyone else fell through. and we became the the most viable option. to to produce. >> They turned it down. >> It wasn't even turned down. It. >> it didn't work out. it just didn't work. out. They kept making versions. It It is. tricky and we changed it quite a bit. from the source material, I think, to. make it into something that was far more. uh digestible as as as visual. entertainment than than it would have. been otherwise, you know. Um, but I I I.

think like the greatest. gift I have in my career is that I truly. we can kind of do anything and we can. make dramatic things and comedic things. and animated things and live action. things and things like Ninja Turtles. honestly like has been one of my. favorite things we've made in years and. like I love that movie and I think it's. so good and so reflective of my taste. and my sensibility and what I loved when. I was a kid but also infused with like. the highest level of writing and.

storytelling and plot construction that. I could fathomably have helped conceive. of in that time in my life. And I look. at how it's constructed from like a. structure and story standpoint and I'm. like legitimately very proud of it and I. think like oh that is like as well. structured a film as you can make in. many ways. And my hope is that our work. just clearly has had the highest level. of thought and care and consideration. put into it no matter what it is. And.

like as riskaverse as Hollywood is, I'm. always trying to instill in the people. that we work with like if we can take a. swing, let's take it. Like it's not. often you get if if no one's looking, let's do something crazy. If no one's if. we're in this moment where no one's. paying attention, like let's let's make. Ninja Turtles look insane. like let's. let's really push it and and to me I. also hope our work has that sort of like. intrepid spirit like a a spirit of that.

we are going [music] for it and that. we're we are not playing it safe but we. are swinging for the fences you know. >> Seth Rogan [music]. thank you so much we'll speak again. >> thank you [laughter]. >> on the interview we talked to our guest. [music] twice so a few days later I. talked to Seth Rogan again and asked him. about one major way he's really. influenced the culture through his. championing of weed. Seth Rogan, so glad to talk to you. again. >> We're back. >> We're [clears throat] back. All right.

Um, in our first conversation, we talked. about uh opportunities for young people. coming up in Hollywood and how the. industry has changed and possibly, you. know, someone like you wouldn't have the. same sort of opportunities to make. movies today. And then, you know, we. just saw two YouTubers dominate the box. office. One of them, um, Kane Parsons, the director of Back Rooms, is 20. Uh, he was 16 when he made the YouTube video. the movie is based on. Um, and then.

Curry Barker, the director of Obsession, is 26. These have just been like huge. successes. I mean, what do you make of. that? Um, I mean honestly it totally fits in. line with advice that I have been giving. people for years when they come up to me. which is I they say I want to make it in. movies. I want to do something um and I. tell them like make stuff like and make. stuff that that is really good. And I'm. like trust me people like me are like. begging that praying that they see.

something impressive. Um, I met with. Kane when I think he was 16 or 17 years. old because I watched his YouTube. videos. >> Oh, wow. >> Um, and I remember the people at my. company being like, "Why are we meeting. with a 16-year-old?" And [laughter] I. was like, >> trust me, this this this kid is very. talented, you know, and so ever since. our phones had cameras on them, basically, I've been that has become my. default advice to people. And now with. Blender and visual effects and things. like that, people like on literally on a.

laptop you can make a thing that that. that you know when I was growing up. would cost you tens of millions of. dollars, you know. Um it it has really. opened the door for people who are. skilled and dedicated to really show. what they're they're capable of, you. know, and and I think that that's a. great thing. Yeah. [clears throat]. Hollywood always seems to be in the. middle of like an angsty crisis. Um, Variety called um, what just happened.

with these two YouTubers a quote. tectonic shift in Hollywood that sent. shock waves through the [laughter]. industry. I do wonder um, first of all what you. make of that. I mean, do you think. that's overstating what just happened? Because I guess what I think is so. alluring to executives is that. YouTubers, as you just mentioned, have. cheap technology that they can use to. get millions of eyeballs. They can. workshop an idea um and then have a. built-in audience. So, I guess it takes. the guesswork out of selling tickets.

So, I'm just wondering how you see it. since you already were tracking him for. so long. >> Yeah. Yeah, I mean I I I I don't I don't. know if like online engagement. necessarily. translates into like ticket sales. definitely. You know what I mean? Um, but I think to your first part of the. question, like [gasps]. I think it's overstating that it's a. tectonic shift. [laughter] if your assumption is that.

these shifts don't happen constantly in. Hollywood, you know, like and I think. that's something me and Evan talk about. a lot is we, you know, like it's from. network. Like I always think of that. line in network where Robert Duval is. like it's a volatile industry and the. investors are like well we we shouldn't. be why are we financially invested in a. in a volatile industry and and but I. think by definition it is a volatile. industry you know um and and it changes. and and it's almost it's almost the one. defining feature of Hollywood from my.

experience in it is that it there is. every few years a tectonic shift and. thank god it's not really my job to. be like overly invested in these trends, I guess, and I'm able to sort of keep my. head down and and and we're aware of. them again and and and we'll kind of. ride the waves of them if it fits in. with our own creative ambitions, you. know, and I'm more than happy to like.

say in a pitch how whatever I'm doing. maybe fits into the trend of what I hope. the executive I'm pitching to or assume. the executive I'm pitching to is for but. um I to me yeah like I it's not that. shocking to me that something like this. happened. there's like a whole. generation of people who have access to. essentially professional film making um. equipment for uh a price that again when. I was young was like completely. unobtainable and um and they're and.

they're making their own stuff and. studios are are are making tons of money. off of it which again is not that. different than like when Lonely Island. and those guys made YouTube videos and. and people hired them or when the Broad. City girls made their show on YouTube. and people hired them or when you know. Nathan Fielder all the a lot of people. like in comedy it's a little more. commonplace I think but I think now with. technology it's allowing people who. really thrive in different genres genres. that traditionally maybe require more. resources um to really kind of show what.

they can do and again and studios will. be more than happy to capitalize off of. that [laughter]. whenever they see an opportunity to. >> let me ask you just as an aside what. makes a good pitch. >> um I think a good pitch is short. generally speaking honestly. Like I I. and I think a pitch. [snorts]. um and I'm not I I I'm not someone who I. assume is great at pitching honestly. You know what I mean? Like. >> people [laughter] pitch you. I'm sure.

So I'm just curious. >> if the idea is genuinely good. The pitch. is kind of easy. And I'm actually get. kind of suspicious of people who are. like good pitchers if the idea, you. know, like like to me like the. quintessential pitch I'm used to hearing. is from like a nervous comedy writer who. has terrible people skills, who has no. ability to [laughter] like present. themselves in in a way that is nearly. representative of what they're capable. of. You know what I mean? And so when. someone comes in too slick and and.

flashy, uh, I I get a little suspicious, honestly. Um, but I'm just looking for. the idea. I know myself, I've had so. many ideas that are so hard to pitch. I. remember trying to pitch people. Pineapple Express and them just looking. at us like we were insane and trying to. pitch This is the end and people looking. at us like we were crazy. Like with the. studio when we pitched that, our only. like thought was to like way overd. deliver and to like attach like I I'm I.

kind of more approach our pitching from. like a business standpoint of like what. makes it easy for these people whose. entire job is like risk mitigation to. say yes to me. And so they could see. like, oh, it has a cast and I don't have. to imagine like who's this character, like it's this person, who's this. character, it's this person. Like, and. and I think it showed like we really. like were geared towards making the show. and not just towards like writing the. show for money, which is another thing a.

lot of people do, you [laughter] know. H um one of the other sort of big. disruptors in Hollywood is of course AI. and you've been you know vocally against. AI's use in writing and in animation. Do. you feel like you're standing against. the tide and and why are you standing. against the tide? Because again I guess. it's like a a [snorts]. >> you know I think the executives view it. as like a cost savings, right? because I. think they see it as a way to yeah.

execute in a in in a way that doesn't. require as many resources. >> Yeah. And I think like I guess I look to. the different sectors of the industry. Like I know a lot of people who work in. visual effects who think who who are. visual effects artists truly who think. AI can help them do their work better. But they work in a field where. technology is something they are having. to navigate in order to do their job to.

what they view as the best of their. abilities. I don't think writing has. that problem. You know what I mean? I. don't think if you're having a hard time. writing that technology is the thing. that is in your way. Um I think it it is. either. your your dedication or your skills or. your abilities or just the amount of. time you spent doing it and and and and. the amount you have to develop your own. abilities to match what it is you're. you're hoping you're you're putting out. in the world. You know, and and I'm only.

speaking for my own personal interest in. it. You know what I mean? Like I know. other writers who who do use. [clears throat] uh you know chat GPT to. to to kind of have conversations I guess. about their ideas. It's just not a thing. that has ever interested me and and it's. and it's not a thing that I ever was. even remotely [clears throat] tempted to. engage with because I have a writing. process that I really enjoy. You know. what I mean? But I do understand how you. if you were alone somewhere [laughter].

in your apartment writing, trying to. write a script, having no one to talk to. about it, having no no one in your life. cares that you're doing this, I. definitely understand the temptation to. to use a like artificial intelligence as. some sort of sounding board because. working alone is very hard and and and. scary, you know. But I think I would. advise people to seek out some sort of.

creative community and even like the the. the worst person you know who has any. interest in writing is probably more. helpful to you ultimately than some. [gasps and laughter]. like artificial intelligence program to. talk about your writing with. >> You're not going to have an Evan AI bot. to be. >> Exactly. [laughter]. >> All right. Hard pivot. Um, as I. mentioned, uh, you were on Howard Stern, where you told a lot of stories about.

drugs. Yeah. >> And you said, um, the only time that you. were drug-free was on a trip to. Singapore when drugs are [laughter]. illegal on penalty of death. >> And I really was curious because you. didn't describe the experience of what. it was like not to be high um, for the. first time [laughter] since you were a. kid. >> It was fine. It's not It's not that. weird. Like uh, I Yeah, I I It was fine. I and I go straight like it's not like I. in my day-to-day life I am not in a.

position where I can just smoke weed. literally all day every day at all times. like I I you know last week we were. filming in some skyscraper downtown you. I couldn't smoke weed in there. [laughter] and so I went I went all day. without smoking weed and it's pretty you. know it's not like I'm freaking out or. anything. Um it's just you know I'm a. little happier if I can smoke weed all. day that's all. >> Yeah. I mean, you've helped normalize. cannabis use. Um, when I think about. Pineapple Express to today, it's been a. complete sea change, and I think it's.

No, but I think it's a real testament to. the cultural impact of your work. Was. that an explicit aim or just sort of a. fortunate byproduct? >> Um, I'd say it was a I'd say it was sort. of a specific aim, but a very like. personal one. Like I don't think our. goal was like. >> if this works we will change cultures. view on weed. I think it was more like. we don't like how we are stigmatized as. people who smoke weed. And I think the.

ultimate way to kind of show that people. who smoke a lot of weed are not who you. think they are is to. really proficiently make an entire movie. about people who smoke weed implicitly. by people who smoke weed that is for. people who smoke weed, but is actually. like has the thought and care and. consideration and and and technical kind. of acumen put into it that that like any.

real Hollywood movie has. And I think to. us that's kind of what had never been. done before. Friday is probably the. closest one, you know. Um, and I love. that movie, but but even that was sort. of like a very I think they move they. made that movie for like almost no. money, you know. It was a very small. movie and and and um and I think that. movie kind of had an outsiz impact. But. um yeah, we were really kind of on a. personal level trying to be like what if.

we made like a real like a real weed. movie and people saw that like it wasn't. this like outcast thing for idiots. It. was a thing that that that that could be. as mainstream as as anything, you know, and we were shocked when it was so. embraced honestly. And that today when I. go to the weed store, the fact that. there's like Pineapple Express weed that. exists is like so funny. I think and and. like a real direct kind of descendant of. of the movie. And I think the fact that.

yeah that it was a weed movie that and. even when we were promoting that movie. like it was not easy like you know they. people I remember going on TRL which. dates this story and like really. literally right before I went on they. were like oh and you can't talk about. weed at all. And I'm like I'm here to. promote a movie like the movie's title. is is is weed. Like what am I going to. talk about? And they were like, "I don't. know. Figure it out." Well, you can't. you literally can't mention weed on on. this show. >> How do you promote that without. mentioning weed?

>> Well, what I think I did is I did talk. about it and then they like aired it. once and then it scrubbed it from TRL. existence. [laughter and gasps]. Yeah, it was tough. >> Okay. Um, before I say goodbye, you're. filming the studio today. Anything that. you can say about the new season? Anything at all? >> Um, [laughter]. I don't know. [clears throat] Um, I can. say it's it's. it is even it is far more ambitious than. the first season. And and I honestly.

like there's been many times I've been. on set this season and I've been I I've. been truly amazed at at what in a way. that has offered me a lot of. gratification and pride. like I've been. amazed at what we've been able to pull. off and the people we've been able to. talk into doing the show and and the. people I've gotten to work with. Um I. and and I've watched the episodes and I. really feel as though I'm pushing myself. more and more. I'm excited and nervous.

for people to see it, but as we make it, it feels like we have, you know, [snorts and music] tried to up our game. and and and there are moments where I. really feel like we we we are doing. something that I'm very [music] proud. of. Yeah. >> Seth Rogan, thank you so much. >> Thank you so much. Good to see you. again. >> Good to see you, too. Bye. >> bye. [music]. >> I'm Lulu Garcia Navaro. >> And I'm David Maresy. and we're the. hosts of the interview, an audio and.

video podcast from the New [music] York. Times. >> Every week we interview fascinating and. influential people from all walks of. life. >> Subscribe to our YouTube channel so. you'll never miss an episode.