Seth Rogen

That's like a trick we would do a few times. That's what Kristen said. Well, it'd be on the hood. There's a lot of sleight of hand involved. This is a cinephiles fucking whack-off session. We were geeking out. It was so fun for us. It was just like the opposite of how we were always brought up making movies. It was always about two cameras, improv. We'll figure it out editorially later.

We were like, what if we do the exact opposite? And we are painting ourselves into this corner that we cannot paint ourselves out of.

We were like, what if we do the exact opposite? And we are painting ourselves into this corner that we cannot paint ourselves out of.

We were like, what if we do the exact opposite? And we are painting ourselves into this corner that we cannot paint ourselves out of.

Oh, the Golden Globes one was the hardest because of the amount of people. That has a lot of long shots in it, but there's also 400 extras in every single one.

Oh, the Golden Globes one was the hardest because of the amount of people. That has a lot of long shots in it, but there's also 400 extras in every single one.

Oh, the Golden Globes one was the hardest because of the amount of people. That has a lot of long shots in it, but there's also 400 extras in every single one.

so many people and the choreography of it was unbelievably complicated. But it's funny because as we were doing it, we're like, I don't even know if the average person will be able to articulate what is happening here. The energy of it, I think, is what we were excited about.

so many people and the choreography of it was unbelievably complicated. But it's funny because as we were doing it, we're like, I don't even know if the average person will be able to articulate what is happening here. The energy of it, I think, is what we were excited about.

so many people and the choreography of it was unbelievably complicated. But it's funny because as we were doing it, we're like, I don't even know if the average person will be able to articulate what is happening here. The energy of it, I think, is what we were excited about.

Yeah, it's because you're never cutting. And I think it's also because it never settles into a rhythm of cutting back. There's no breathing between two people. We were always like the tone should be stress and panic. It is. And there's only a stories in the episode, which I think was also conducive to that type of storytelling is we're never cutting between.

Yeah, it's because you're never cutting. And I think it's also because it never settles into a rhythm of cutting back. There's no breathing between two people. We were always like the tone should be stress and panic. It is. And there's only a stories in the episode, which I think was also conducive to that type of storytelling is we're never cutting between.

Yeah, it's because you're never cutting. And I think it's also because it never settles into a rhythm of cutting back. There's no breathing between two people. We were always like the tone should be stress and panic. It is. And there's only a stories in the episode, which I think was also conducive to that type of storytelling is we're never cutting between.

You set up my story and I'm doing this thing and you set up my story and he's doing this thing. The stories are all singular. And so that also helps with the singular camera and the singular style of being in the room with the characters.

You set up my story and I'm doing this thing and you set up my story and he's doing this thing. The stories are all singular. And so that also helps with the singular camera and the singular style of being in the room with the characters.

You set up my story and I'm doing this thing and you set up my story and he's doing this thing. The stories are all singular. And so that also helps with the singular camera and the singular style of being in the room with the characters.

writing standpoint you know it's funny i did these table reads it's actually where i met katherine hahn for the netflix is a joke festival a few years ago we did a live reading of seinfeld scripts oh i remember this i was jerry and aziz azari was george and jack black was kramer and katherine hahn was oh my god And I feel like in reading them, it was like the Rosetta Stone or something like that.

writing standpoint you know it's funny i did these table reads it's actually where i met katherine hahn for the netflix is a joke festival a few years ago we did a live reading of seinfeld scripts oh i remember this i was jerry and aziz azari was george and jack black was kramer and katherine hahn was oh my god And I feel like in reading them, it was like the Rosetta Stone or something like that.

writing standpoint you know it's funny i did these table reads it's actually where i met katherine hahn for the netflix is a joke festival a few years ago we did a live reading of seinfeld scripts oh i remember this i was jerry and aziz azari was george and jack black was kramer and katherine hahn was oh my god And I feel like in reading them, it was like the Rosetta Stone or something like that.

It's all the structure. Math. And it's not even the jokes. It's the order of the scenes and the raising of the stakes. That to me is what I would want to do with a show.