Seth Rogen

And yeah, we shot a lot of old homes from the 50s and 60s and 70s. That house is a John Lautner house. It's a very beautiful, beautiful house. And in the show, it's as though we kind of

have a storyline as though Frank Lloyd Wright designed the studio that we are in because he was in California making, you know, Mayan revival buildings, like at the time that these studios were made and, and that it sort of has this like grandeur to it, you know, and this like kind of thing that you're trying to live up to. And, you know, I remember, uh, It's a name drop.

have a storyline as though Frank Lloyd Wright designed the studio that we are in because he was in California making, you know, Mayan revival buildings, like at the time that these studios were made and, and that it sort of has this like grandeur to it, you know, and this like kind of thing that you're trying to live up to. And, you know, I remember, uh, It's a name drop.

have a storyline as though Frank Lloyd Wright designed the studio that we are in because he was in California making, you know, Mayan revival buildings, like at the time that these studios were made and, and that it sort of has this like grandeur to it, you know, and this like kind of thing that you're trying to live up to. And, you know, I remember, uh, It's a name drop.

I was at 30 Rock Ones with Lorne Michaels. And I was saying what an amazing building it was. And he was like in his way like, well, you know, when any industry is new, they build cathedrals for it. And I always remembered that. And it was so true. And like the studios feel that way a lot of them. Like there are these beautiful places.

I was at 30 Rock Ones with Lorne Michaels. And I was saying what an amazing building it was. And he was like in his way like, well, you know, when any industry is new, they build cathedrals for it. And I always remembered that. And it was so true. And like the studios feel that way a lot of them. Like there are these beautiful places.

I was at 30 Rock Ones with Lorne Michaels. And I was saying what an amazing building it was. And he was like in his way like, well, you know, when any industry is new, they build cathedrals for it. And I always remembered that. And it was so true. And like the studios feel that way a lot of them. Like there are these beautiful places.

And they were built at a time when they were kind of like unabashedly beautiful. like, lauding and trying to, like, bolster the importance of the industry, you know? And so that to us was something very important. And we got really lucky with that shot because we shot the show where basically every scene is one take, which was very hard to do.

And they were built at a time when they were kind of like unabashedly beautiful. like, lauding and trying to, like, bolster the importance of the industry, you know? And so that to us was something very important. And we got really lucky with that shot because we shot the show where basically every scene is one take, which was very hard to do.

And they were built at a time when they were kind of like unabashedly beautiful. like, lauding and trying to, like, bolster the importance of the industry, you know? And so that to us was something very important. And we got really lucky with that shot because we shot the show where basically every scene is one take, which was very hard to do.

But what it allowed us to do is a scene like that, for example, it's all one shot, and we shot it –

But what it allowed us to do is a scene like that, for example, it's all one shot, and we shot it –

But what it allowed us to do is a scene like that, for example, it's all one shot, and we shot it –

maybe 15 times, and the first, like, 10 times, it was, like, rainy and gray and cloudy, and we kept having to go inside because it was raining on us, and it just looked miserable, but we had, like, a very specific shot we wanted to do, and so we literally just sat inside and waited for it to stop raining as the sun was going down, and then it's like this magical thing happened.

maybe 15 times, and the first, like, 10 times, it was, like, rainy and gray and cloudy, and we kept having to go inside because it was raining on us, and it just looked miserable, but we had, like, a very specific shot we wanted to do, and so we literally just sat inside and waited for it to stop raining as the sun was going down, and then it's like this magical thing happened.

maybe 15 times, and the first, like, 10 times, it was, like, rainy and gray and cloudy, and we kept having to go inside because it was raining on us, and it just looked miserable, but we had, like, a very specific shot we wanted to do, and so we literally just sat inside and waited for it to stop raining as the sun was going down, and then it's like this magical thing happened.

We're like, right as the sun was going down, the rain stopped, and rainbows appeared.

We're like, right as the sun was going down, the rain stopped, and rainbows appeared.

We're like, right as the sun was going down, the rain stopped, and rainbows appeared.

You could see the whole city, and we were just like, let's go shoot now. And... Like, it just all happened in one take. And that was the take we ended up using, which was great. And to me, it was like a real magical Hollywood moment, kind of.