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why there's two in a pack. Shop Reese's

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in my pantry because I love these. It's

1:43

2013 and I don't

1:45

wanna die on James Franco's podcast. The

1:48

movie, this is the end. You

1:51

just look at

1:53

the how these woo

1:59

who Hello everyone

2:01

and welcome to Unspooved.

2:15

I am Paul Scheer joined as

2:17

always by my friend Amy Nicholson.

2:19

We are talking about disaster movies

2:21

all this summer. We've talked about

2:23

action ones. We've talked about dramatic ones, but

2:26

now we're going to talk about a comedy

2:28

one. Remember

2:30

where you were in 2013? I

2:32

do. It was a special time. I was newly

2:35

installed as the chief film critic of the LA

2:37

Weekly. And when there's a cameo of an LA

2:39

Weekly sign in this taxi, I just, I kind

2:41

of melted. Oh, I missed that paper. So

2:43

Amy, let's go back to 2013 and everybody wants to

2:45

ruin the world. I

2:50

mean, at least in film, right? Cause

2:53

there's all these apocalyptic films dominating the

2:55

movie theaters. So many of them that

2:57

I don't even think I've seen more

3:00

than 50 of them, more

3:02

than 50% of them. All right. Like,

3:04

and we're talking about World War Z after

3:07

earth, oblivion, snow

3:10

piercer. I'm putting shark NATO

3:12

in there. It shouldn't technically count, but it

3:14

does. But it's apocalyptic if it's

3:16

not sharks in a tornado. Come on,

3:19

twisters guy. Oh, I'm sorry. I was in twisters and

3:21

now I'm like really judgmental about tornadoes. You know,

3:23

look, I like to keep my cinema and cinema

3:25

and my TV movies on TV. All

3:28

right. I don't want to

3:30

talk about disgusting television actors

3:32

and television movies. Well, have you

3:34

seen like the other famous apocalypse franchise, the

3:36

Left Behind series? Have you seen any of

3:38

them like either like the straight one that

3:41

with Kirk Cameron? No, no,

3:43

I've heard about it. Yeah. No. Yeah. Oh,

3:46

then there's like the Nicholas Cage one, which I

3:48

thought was going to be so fun. And it's

3:51

terrible. This is like Nicholas Cage. He's a pilot

3:53

talking about like everybody's disappearing on his airplane. Yeah,

3:56

I know all these. I

3:58

mean, that's the thing with like Nicholas Cage. Sometimes you think

4:00

you're gonna get a wacky cage, but then it's a wacky movie and

4:02

he gives you a dull cage. You're like, what are you doing, man?

4:04

I know, it's such a bummer. I call that paycheck

4:06

cage. I mean paycheck cage, when you go

4:09

into paycheck cage mode, that's when you know that it's truly

4:11

like a career apocalypse. You gotta come out of it, man.

4:14

The world's end, which was

4:17

the final film of the Cornetto trilogy,

4:20

and this is the end. I mean,

4:22

that's a lot of apocalyptic movies. And we're gonna be

4:24

talking about, this is the end. Because

4:26

this is the only one

4:29

that is about the

4:31

true biblical apocalypse. Yeah,

4:33

the actual book of Revelations, the literal

4:35

Judgment Day. We're not talking the

4:38

James Cameron Judgment Day. We're talking

4:40

about the one where there's locusts and

4:43

trumpets and like seas that are turning to

4:45

blood and boils everywhere and people dressed in

4:47

sack cloths. And if you really read Revelations,

4:49

there's supposed to be 144,000 male virgins singing

4:54

in unison. Whoa. This doesn't

4:56

happen here. This is the version of it that's

4:58

done by a bunch of comedians. But it kinda

5:00

got me thinking, the book of Revelations feels like,

5:02

honestly, the first like disaster

5:05

blockbuster. Like, hey man, let me tell

5:07

you a story about how the world is gonna end. I

5:09

love that. I love that the Bible

5:12

has different genres. Like we have like

5:14

the romance of Adam and Eve, and

5:17

then it goes into like a thriller with,

5:20

who took the apple? And now we're into

5:22

the disaster movie era. I mean, it's pretty

5:24

good. Well, yeah, I mean, I guess it speaks to the

5:26

idea that like it is in our

5:28

human nature from the dawn of

5:30

literature to be really curious to hear like gory stories

5:32

about how the world is gonna end, you know, or

5:35

here the world's gonna end with like a bunch of

5:37

famous dudes arguing about who gets to eat the last

5:39

Milky Way and praying all of

5:41

the names of their IMDB films to God. Dear

5:44

God, I'd

5:47

like to pray to you for a second. Just

5:50

meeting Jonah Hill for

5:54

Moneyball. But this is the end.

5:56

This movie is written by Seth Rogen and Evan

5:58

Goldberg. They met in Bar Mitzvah class. in

6:00

Canada when they were 12 years old, they wrote their first

6:02

script together. By the time they were 15, that turned out

6:04

to become super bad. Then Seth

6:06

got an acting gig on Freaks and Geeks.

6:08

And after that, they reteamed, they kept being

6:10

writers, they did scripts for Pineapple Express, that

6:13

hit with audiences too. And

6:15

now here, they finally get to direct their first

6:17

movie and in it, they cast a bunch of

6:19

their friends. I also just want to call out that

6:21

Seth and Evan were script doctoring

6:23

some of your favorite movies too.

6:26

I mean, these guys had a

6:28

track record of making giant hits,

6:30

but now they're behind the camera.

6:33

And what a way to kind of come

6:35

out and make a movie that is incredibly

6:38

meta because you have a movie

6:40

that is with Seth Rogen, Jay

6:43

Baruchel, Jonah Hill, Danny McBride, Craig

6:45

Robinson, James Franco, all playing themselves.

6:48

And they're all at a Hollywood party

6:50

with people like Michael Cera, Mindy Kaling,

6:52

David Krumholz, Chris Mintz-Platz, Rihanna, Martin Starr,

6:54

Paul Rudd, Jason Siegel, Kevin Hart, and

6:57

Aziz Ansari. I mean, basically

7:00

this is a movie on a certain

7:02

level that shouldn't work because I always

7:04

feel like whenever you make a movie

7:06

about Hollywood, people kind of hold back,

7:09

but in a weird way, it was the

7:11

perfect way in because it kind of grounds you in

7:13

knowing who these characters are. And then

7:16

the movie opens up into this big

7:19

apocalypse disaster film. Yeah,

7:22

I mean, because there are the

7:24

superstar all-star cast disaster films, but

7:26

there's not like the superstar all-star disaster films

7:29

where they're all playing themselves and where like

7:31

half of the celebrities just immediately

7:33

die as soon as the disaster

7:35

starts. 20 minutes in, everybody's screaming

7:37

and falling into giant pits

7:39

all the way down to hell. I mean,

7:42

what I think is interesting about this is

7:44

like, so far in this disaster movie series,

7:46

we have seen people banding together nobly to

7:48

fight the aliens. We've seen people chasing bravely

7:50

after tornadoes and like really caring about each

7:52

other, trying to make sure everybody gets through

7:54

to okay. We've seen people learn bravery, learn

7:56

to take care of each other by like

7:58

dying over and over and over. again. And

8:01

now we have a movie that's all about people who

8:03

are like the least able to

8:05

survive the least morally and physically able

8:07

to survive the least deserving of surviving.

8:09

And I think that's what makes it

8:11

so funny. There's something I was thinking

8:13

about in these big disaster movies.

8:16

It's often this ensemble that we have

8:18

to get to meet. And

8:21

this is a film where they kind of

8:23

go away from, oh, well,

8:25

this is Jonah Hill and he's playing

8:27

a banker. And this is Michael Cera

8:29

and he's playing a stockbroker. The president.

8:31

Right. Yeah. So what they do is

8:33

they just give you these

8:35

versions of these characters. Some are

8:37

completely subverted, like Michael Cera, who is

8:40

just out of his mind on cocaine,

8:42

but the rest, the main core seem

8:45

like versions of themselves. Versions that like

8:47

we love. And I was actually thinking

8:49

about this, watching the

8:51

film. You couldn't make this movie

8:54

today because there aren't

8:56

this many comedy film stars actually

8:58

working. Oh, that's so depressing. Right.

9:01

It's like, this is a moment

9:04

that was so kind of

9:06

wonderful where comedy was exploding

9:08

and these, every one

9:10

of these guys had made multiple

9:12

movies. We love them all. They

9:15

were all hits and there was

9:17

something like very cannonball run-esque to

9:19

this that I feel like you

9:23

just couldn't do right now. Just these guys

9:25

aren't in as many movies as they once

9:27

were, or these movies weren't coming out in

9:30

the same way. They're all obviously still incredibly

9:32

famous, but I think this kind

9:34

of worked like a sequel in

9:36

many ways. It was like Preston Sturgis bringing in this

9:38

group of characters that we love. It's like, Oh yeah,

9:41

all these people, this is so fun. And they're aware

9:43

of themselves and we're aware of them. It

9:45

just, it really is a genius

9:47

idea. I mean, I guess it really is

9:49

rare to have a moment where there's like

9:52

a class of comedians rising up together. And

9:54

I'm realizing that probably the reason why we had

9:56

a class of comedians or what felt like a

9:59

class of comedians. rising up together is that most

10:02

of them had played classmates, like,

10:05

you know, either freaks and geeks or

10:07

undeclared or super bad. They literally like

10:09

were kind of classmates being classes,

10:11

like peers of each other, ascending

10:14

as one. And when I do list the names,

10:16

it is a very dude heavy class. That's what

10:18

this did feel like still a very dude heavy

10:20

time in comedy. Um, dude,

10:22

dude, dude, I'll just say dude a bunch more times,

10:25

but it was at least exciting to be there at

10:27

this moment when it felt like they were kind of

10:29

all holding hands and singing Kumbaya

10:31

in my head, like it wasn't, it wasn't

10:33

quite like this guy only does this type of

10:35

movie in this person. I does this type of

10:37

movie yet, you know, I don't want to like

10:39

undercut what you're saying. Um,

10:41

but I also want to just

10:43

say that while it is

10:46

a dude heavy movie, it also

10:48

feels genuine. Like these are the guys that

10:50

we've seen in like, we know this as

10:52

a crew that hangs out or it feels

10:54

like a crew that has hung out, right?

10:56

It's not like, oh, the studio is putting

10:59

all these pieces together. And I think that's

11:02

how we can get away from that in a way. It's like, Oh, these are

11:04

truly, this is a group of friends or friend of me's

11:06

if you listen to like Jay Barret show stories about how

11:08

he actually doesn't really like don't know how that much of

11:11

the time I say

11:13

unto the the

11:16

power of Christ compels you. Oh,

11:18

does it, does it compel me?

11:20

The power of Christ compels you.

11:22

Does it, Jay? The power of

11:24

Christ compels you. Oh, Christ compelling

11:26

me. Is that what's happening? The

11:28

power of Christ compels you. Guess

11:30

what? It's not that

11:33

compelling. One of the

11:35

fun things about this movie is it is

11:38

not precious with the

11:40

stars, the egos, the jokes, everything

11:42

is up for grabs. And Evan

11:44

Goldberg, a co-director created a

11:46

game for himself during filming, right? The goal was

11:48

to get as many cast members as possible to

11:51

say, no, I can't do that. Or

11:54

just blatantly refuse to do something. And

11:56

according to Goldberg, the only people he

11:58

was not able to. break were

12:01

James Franco and Seth Rogen. They did everything.

12:05

And Seth Rogen goes on to say that he told

12:07

every cast member, look, if we push you

12:09

in a direction, you don't want to go, just tell me it's

12:11

fine. And he said the only cast member

12:14

who never turned anything down was James Franco.

12:16

He was up for it all. I mean,

12:18

that makes sense. Cause when you go through

12:20

and read the interviews at the time, everybody

12:23

mentions their breaking point, right? Like Craig

12:25

was like, I am not here to

12:27

insult mother Teresa. Like they tried, they tried to

12:29

make me insult mother Teresa. I wasn't going to do it. Uh,

12:32

Michael Sarah was like, actually, I think Michael Sarah was pretty much

12:34

down for everything. He said like the one thing he insisted on

12:36

was like, I want to wear a neon jacket. And they're like,

12:38

we don't want you to wear a neon jacket. And he was

12:40

like, I'm going to wear this neon jacket. So maybe he broke

12:43

them, but like, yeah, I mean,

12:45

what was it there? Yeah. There were a couple of

12:47

days Jay said that he, they tried to make him

12:49

insult Canada and hockey, and he was like, I cannot

12:51

insult Canada and hockey. And Jonah Hill

12:53

was like, I actually do believe in God

12:55

and I am Jewish and I cannot like

12:57

insult God that much. I just, I couldn't

12:59

do it. Wow. Well, you know, like

13:02

we said, Franco is the only one who doesn't

13:04

say no. And it actually leads

13:06

to a scene that was cut out of

13:08

the film. You remember towards the end of

13:10

the film when McBride's character becomes a cannibal,

13:12

right? Um, there was this joke

13:14

that he was going to eat James Franco

13:16

alive. And, um, McBride

13:19

ate Franco alive, like literally cut

13:22

off his foot. They drank blood

13:24

out of his. His

13:26

leg. I guess that's McBride and Franco both

13:29

agreeing to do something that really push it

13:31

over the edge. And the audience is like,

13:33

no, no, no, we don't want to see

13:35

this. But I mean, even in that scene,

13:37

you have Channing Tatum being this like submissive,

13:40

uh, sex pet of Danny McBride. Everyone was

13:42

up for everything. And it

13:45

works, Amy. I mean, it worked. It doesn't even work.

13:47

It's huge. It makes $126 million.

13:51

And this is a film that just cost

13:53

over 30 million. So it made its money

13:55

back on that first weekend. And it even

13:57

opened against Zack Snyder's man of steel. So

13:59

this is a movie that comes

14:02

in hot, gets good reviews, and

14:04

immediately people are like, we want a sequel.

14:08

I know, but I think the name of the sequel that they had

14:10

in mind for this is maybe even worse than the sequel we talked

14:12

about last week. You know, because last week when we were doing Edge

14:15

of Tomorrow slash All You Need Is Kill slash Live,

14:17

Die, Repeat, they were saying that like, if they did

14:19

a sequel to that, they'd want to call it Live,

14:21

Die, Repeat, Repeat. Evan Goldberg has

14:23

said that if it is sequel to This Is The

14:25

End, he'd want to call it, no, This Is The

14:27

End, that it would start with like everybody being at

14:29

the movie premiere of This Is The End, and then

14:31

you'd realize like this was the movie they made, but

14:33

the real selves are totally different, and it's actually Seth

14:35

who's like the co-cat and Michael Cera is the nice

14:37

guy. I like that, you know, there's a part

14:40

of me that's just like, why not just make another

14:43

genre movie where these guys play themselves?

14:45

Like, you know, it kind

14:47

of feels like it's open to whatever you

14:49

want it to be. It doesn't have to

14:51

be apocalyptic. You know, I think it's sort

14:54

of finding that thing, but maybe that's what that movie was.

14:56

I don't know, but they don't make it. Or

14:58

they haven't made it yet. In a weird way, I would

15:00

love to see them make it in 10 years, like, you

15:02

know, 10 years from now, which I

15:04

guess would have been last year. So maybe 15

15:06

years. I

15:08

think I mean 10 years from now is

15:10

like 20 years from now when you can

15:12

really see like the Richard Linklater boyhood evolution

15:14

of everyone. I'm down for that. I

15:17

really do like it. I think I was really

15:19

struck last night watching this film at

15:23

how solidly funny it is. It

15:26

has a very simple premise. It also kind

15:28

of has this rich lore because what

15:30

you said early on about it being about

15:33

the Bible, the biblical rapture, I think informs

15:35

this movie in a way where we

15:37

can get on board right away. Not that we

15:39

all believe in the Bible, but we don't have

15:41

to learn about all these different things. There's no

15:44

like, why is this happening? We have to

15:46

stop it. The end of the world is

15:48

happening. There's no stopping it. We don't have

15:50

to understand why. We don't have to get

15:52

into any of it. It just immediately happens.

15:55

And we just buy that this is the

15:57

end of times. And there is this like

15:59

that. freedom than to just

16:01

make jokes. And the movie feels

16:03

so loose. And

16:05

I was like, are they, they feel like

16:07

they're just improvising this entire thing. And

16:10

I read afterwards 85% of

16:13

this movie was improvised. Wow.

16:15

Which is impressive

16:17

because the improv is really good

16:19

and really like great

16:23

scenarios in which to play. And that's kind of what we

16:25

did on the league too. We

16:27

have the outline. And you know what you have

16:29

to do, but you could bring so much to

16:31

it. And it, and it feels like everyone's setting

16:33

each other up instead of fighting for the joke.

16:35

And I think that's what makes this movie like

16:37

a really great ensemble. It's like, Oh, it's not

16:40

like, Oh, this is a movie where Burt Reynolds,

16:42

because we all want to reference Burt Reynolds as

16:44

a cannonball run, that's our main audiences into

16:46

that, you know, it's going to be the funny person

16:48

or Dom Deloese is going to be the funny person.

16:50

It's like, no, everybody in this movie is straight up

16:52

funny. You know, that makes sense that that much of

16:54

it is improvised. Cause you know, of course, like to

16:56

get it green in the first place, they had to

16:58

write a script and I read the

17:00

original script and it is not as funny

17:03

as like what we see here. Oh, interesting. It's

17:05

a lot meaner. Like, I think like they kind

17:07

of shifted the axis of the joke just

17:10

a bit. So it was even harsher about

17:12

the world of actors. You know, like

17:14

it's more of like a comment on like why we think celebrity

17:16

culture is so important. Like the beginning is just to even kind

17:18

of give you an example. Like the beginning of the script is

17:21

like seeing footage of real disasters on the news, like we

17:23

kind of have here, you know, like, Oh, St. Cole in

17:25

Guatemala. And then also contrasting that

17:27

with like your TMZ footage of

17:29

all of these guys wandering around, like being really

17:32

important. Like the first script has like all of

17:34

them talking about their agents and their assistants all

17:36

the time, their careers, like the movies they're going

17:38

out for. And they're all more

17:40

jerkish. Like there are totally jerks here, but

17:42

they are jerks who love each other. And

17:44

in the script, their jerks were just absolutely

17:46

mean, relentlessly mean the whole time. And it

17:49

is a lot less funny. Hi

18:00

guys, Amy Nicholson from Unspooled here, and

18:03

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let's go places. Me

18:35

and the kids were always messaging. They LOL'd, I

18:37

R O F L'd. But then I changed phone

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and the bubbles went green. But where there's a

18:42

fill, there's a way. And I found a way

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to share what's in here. I'm tapping my heart.

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different devices. Message privately with everyone. I

18:57

also think it's a movie that's not about Hollywood. Yes,

18:59

we know these people as Hollywood stars. It's something that

19:01

I get told all the time. You can't make a

19:03

movie about Hollywood. I love it.

19:05

I love Larry Sanders. I'm all on board.

19:08

But I also understand how it's a small

19:10

needle to thread. And this kind

19:12

of just plays up. Yes,

19:14

Franco has props for movies and

19:16

things like that. But at

19:18

the same time, this is your asshole

19:20

friend. This is your friend from out

19:23

of town. They're very relatable friend things.

19:26

Your friend who likes you a little bit too much.

19:29

There's something about it where the

19:31

Hollywood stuff kind of goes away very quickly. I

19:33

mean, there's like tiny, tiny, tiny Hollywood jokes where

19:35

they throw it in lightly. Like when Jonah's like,

19:37

we're going to rescue the actors first. That's how

19:40

this world works. We're the celebrities, which kind of

19:42

sings because it feels maybe like it's

19:44

not 1000% untrue. But

19:46

I think otherwise it keeps it kind of in

19:49

the light mode. It reminds me almost more of,

19:51

you know, Zombieland, how Bill Murray is playing Bill

19:53

Murray in Zombieland. They mostly keep it feeling like

19:56

not to Hollywood except for like his last little bit

19:58

of his regrets. Yes, yes. So

20:01

do you have any regrets? Garfield, maybe. Oh, Garfield.

20:08

And to think that now we are firmly

20:10

convinced that his Garfield was the better Garfield

20:12

than the current Garfield. Ha ha ha ha

20:14

ha ha ha. Oh no. Oh,

20:16

I hate the new Garfield so much. What a world. I

20:19

think Jay Barishill does a great job at

20:21

being the everyman.

20:25

And Jay Barishill, amazing actor, so good

20:27

in Blackberry, so good in so many

20:29

different things. But I think

20:31

because you know him as part of this group but not as

20:34

part of this group as they kind

20:36

of exploded in Hollywood, he's a really

20:39

interesting conduit because it's not

20:41

just a regular actor that you don't

20:43

associate with this group. He is, but

20:45

you also feel that out of the

20:47

friend group element. And that really, I think, is the core of the

20:49

movie. It's like kind of what

20:52

is it like to hang out with your friends when you

20:54

don't actually feel like you're a part of the friend group?

20:56

I think we all have experienced that. Yeah, definitely.

20:58

I mean, because like, yeah, like he was

21:00

the star of Undeclared. But you know,

21:02

he also was the one who

21:04

stayed behind in Canada and didn't really want to do the

21:06

Hollywood thing. Like his whole story I think was that after

21:09

Undeclared, he was like, okay, I'm going to try to

21:11

be a legit movie star. He did like that rom-com.

21:13

She's out of my league. Yeah. And

21:16

hated that experience so much that he was like,

21:18

absolutely not. This is not for me. And

21:20

he went back. It kind of was like, this

21:22

is about the level of fame that I'm comfortable

21:24

doing. And so

21:26

then his character comes in and like, I think there's

21:28

a lot of it that's like very true to his

21:31

experience. In a way that I kind of get annoyed

21:33

at, I'm like, everybody who comes to LA and starts

21:35

hating on LA, just like, stop it. We're wonderful. You

21:37

don't need to hate on us. We're like marvelous. But

21:39

I think there is a lot of him in there. And

21:41

then also from what I've read,

21:44

it wasn't even until after the movie was done

21:46

that Evan Goldberg kind of had this realization of,

21:48

oh, there's a lot of me in this movie

21:50

too. You know, because like he also

21:53

was the friend who stayed behind in Canada for a

21:55

bit and he would come and visit Seth and they

21:57

had this special bond. But then Seth had all of

21:59

these new. friends and he wasn't sure he

22:01

liked Seth's new friends either. So I think

22:03

like he kind of merged some of his

22:05

own tension towards like working

22:07

his way into the friend group, deciding

22:10

how much even wanted to be in this friend group. And

22:12

I think also Seth really felt that position of being

22:14

like stuck in the middle of having like old friends

22:17

and new friends, which is also incredibly relatable. Will

22:19

I even know anybody there? You know James

22:21

Franco. James Franco doesn't even know my name.

22:23

Jonah Hill will be there. Can't stand him.

22:25

He can't stand me. He's like the nicest

22:27

guy in the world. He likes you so

22:29

much. He specifically talks about how he likes

22:31

you out of nowhere. He just said, you

22:33

know what? Jason inspiration. There's no way he

22:35

said that also just cast and him. And

22:38

I think that this core element, you know,

22:40

feeling like you're an outsider is what

22:42

makes this film so relatable. And

22:45

I also think, you know, Seth

22:48

and Evan are, I'm such

22:50

fans of both of them. They're incredibly

22:52

smart. Yeah. Everything they produce is so

22:54

good. They have like really good taste. I

22:57

have worked with them a bunch on a bunch

22:59

of different things and I'm always

23:03

kind of blown away by the level of detail

23:05

and care that they put into things. I think

23:07

that there's this theory

23:10

and I've been asked this a million

23:12

times, but it's like, Hey, what were

23:14

you smoking when you were on set

23:16

there? You know, and, and look, obviously

23:20

Seth smokes weed, Evan smokes

23:22

weed. That's a given, but

23:24

it's also not like, I think it

23:27

it's like, Oh, it's lazy. We came up with it

23:29

in a, like, Oh yeah. The only, only because we're

23:31

high, we were able to come up with that. It's

23:33

the dumbest thing. It's like, no, no, we worked hard

23:35

on this. We want to make this good. Just cause

23:37

it's funny and weird. Doesn't mean that it was like,

23:39

Oh man, I'm so fucking wasted. Like Mr. Show that

23:42

they asked that all the time. They asked us with

23:44

human giant all the time too. It's,

23:46

they are incredibly passionate about capturing genre.

23:48

And I think you see that with

23:51

boys. Um, the boys, um,

23:53

when we shot black Monday for showtime,

23:55

the way that they shot that we

23:57

had the DP for moonlight on that. It

24:00

just elevates. They're not shooting

24:03

like flat comedy, like the action

24:06

in this, the creatures

24:08

in this. It looks

24:10

really good. It does look really good.

24:12

I play this game with my boyfriend all the time. We're

24:14

like, when we start watching any new

24:16

thing, we do it especially with movies, but we

24:18

also do it with TV shows. You know how

24:20

you can tell in 30 seconds, maybe two minutes

24:23

max, if something's gonna be good? Do you know

24:25

that feeling? Yeah. We're like, oh no,

24:27

I'm in quality hands. I'm in competent hands. Or, oh, I don't

24:29

trust the hands who are making this product at all. Like

24:32

you can sense that. And I always wonder what exactly it

24:35

is in like a movie where you feel immediately whether or

24:37

not you're gonna give yourself to it or not. And

24:39

their stuff, there's something in the way they put it together.

24:41

And like how much detail

24:44

seems to be spent on like the costumes,

24:46

the settings. Like you just know that you

24:48

can trust what they make. They're good

24:50

directors. And I think that oftentimes

24:53

we're not used to that

24:57

kind of balance. You

24:59

know, I think that a lot of

25:01

indie comedy that has gotten popular over

25:04

the last decade or longer has

25:06

looked like, right? And they're still making like

25:08

movies that look great. And not only

25:10

are they doing that, they're also playing into

25:13

how to get the most out

25:15

of their actors. I

25:18

may be talking out of school, but I think I can tell this story.

25:21

One of the cool things that they did on this set

25:23

was they had their trailers,

25:25

but they created this room that

25:28

was like an amazing rec room. And they

25:31

asked everybody like, what do you want in

25:33

this rec room? And like for Craig Robinson,

25:35

it was a pool table. I think for

25:37

Jay Bareshell, it was video

25:39

games. It was a place

25:42

where they could actually hang and not

25:44

go back to their trailer in between

25:47

takes. But they created

25:49

it for these guys. And

25:53

that camaraderie, even though they

25:55

are friends, but that kind

25:57

of, there's something about this movie. that

26:00

feels incredibly organic. Like it

26:02

just kind of rolls into

26:04

the film. Like it doesn't feel

26:06

like we're doing a scene. It just feels like

26:08

we're living with these characters and there's

26:11

a smoothness to this

26:13

movie. And rewatching it that I was

26:15

like, oh wow, that might

26:17

be the trick to an ensemble because it just

26:19

feels alive. I don't know. Like I know that

26:22

there's a lot of different factors in there. Yes, they all

26:24

are friends, but I just love that idea that they were

26:26

keeping everybody close to set,

26:28

keeping everybody like aware. And that also

26:30

allowed them, by keeping people close to

26:32

set, to shoot faster and quicker. It's

26:35

a movie that's only $30 million. I

26:37

think that's a sweet spot for all great

26:39

comedies. Like make it cheap and

26:41

go. And just, you know, and so I think because they didn't

26:44

have to wait for people to come out of their trailer, they

26:46

were also able to shoot a lot more stuff. I

26:48

mean, it makes sense. And it feels like if you're going

26:50

to do that, this would be the kind of film to

26:52

do that because everybody's going to look a little bit like

26:55

casual and rumpled anyways. Like if they're just sort

26:57

of like playing video games and they roll out

27:00

onto set with their shirt a little wrinkled, it

27:02

feels like it makes sense because they're living in

27:04

the apocalypse. It's not like I have to come

27:06

out and my suit has to be nicely ironed

27:08

or anything like that. But

27:10

what I think is sort of funny is, this

27:12

kind of comes up to me, what I consider

27:15

to be a pivot point of Seth Rogen as

27:17

he's transitioning from being thought

27:19

of in the culture as the

27:21

overgrown goofball to like, oh, I'm about ready

27:23

to be taken slightly more serious. He's setting

27:25

on the path of becoming a person who

27:27

like has a good part in a Spielberg

27:29

movie, you know? And because I really admire,

27:31

I'd really admire pretty much all of his

27:33

work. And like being

27:36

in that liminal state, I think is really interesting

27:38

here because I like kind of watching him, I

27:40

feel like work through where he

27:42

wants to be in Hollywood. I mean, the movie opens

27:44

up with the disc that everybody's always throwing at him

27:46

at this time, that he always just shows up in

27:48

movies and plays the same guy. There we go.

27:50

How's it going, man? Yeah, good. So you

27:53

like always played like the same guy in

27:55

every movie. Something like real acting,

27:57

man. Okay, thank you. Give me something. Give me

27:59

like. Don't laugh, man. Give me

28:01

the Seth Rogen laugh. Seth Rogen,

28:03

everybody. You know, that's such an

28:05

interesting dig, because... sometimes

28:09

that's thrown out at people.

28:12

Like, it's a bad thing. But you're also...

28:14

You want to see these people. That's what

28:16

you're trying to see. I'm

28:18

always saying, like, I see a Denzel Washington movie.

28:21

And I'm like, that's a

28:23

Denzel Washington movie. That's a Tom Cruise movie.

28:25

That's a... You know, Julia

28:27

Roberts movie. Like, these are... You

28:30

know what you're getting. And there's a

28:32

certain safety to giant

28:34

movie stars doing... Not

28:37

like, it's not about not acting. They're acting. But

28:39

it's like, it's... It's

28:41

a subtle difference. I know it's, like, hard to

28:43

kind of break down, but it's like, they are...

28:46

Unless they're transforming themselves. You know, it's like, it's

28:48

not every actor is gonna do Daniel Day-Lewis, nor

28:51

do I think we want that. I

28:53

think we want to see... Who

28:56

we want to see. It's like, you know, I was reading this

28:58

whole story about why Twisters did good

29:00

at the box office. And the

29:02

cinema score was a very high cinema score. And

29:05

it was like, well, why did you want to buy a ticket? And

29:08

the number one reason was Glen Powell. Really?

29:10

Oh, that's interesting. Not tornadoes. Not

29:13

tornadoes. But I think that that's because

29:15

Glen Powell was in Top Gun. And

29:18

they're like, oh, I like that guy. Oh, I

29:20

like this other movie, Anyone But You. I

29:22

want to see a Glen Powell movie. There's something about it. It's

29:24

like, yeah, you're gonna see a Glen Powell movie. That's who you're

29:26

see... That's who you're gonna see. Oh my God. If

29:28

that is true, that makes me so happy. Because, like,

29:30

we haven't had a movie star who can, like, drive

29:32

box office in a very long time. Look,

29:35

if he's following the Tom Cruise model,

29:37

which it seems like he is... I think Tom Cruise

29:40

has, like, selected him. I

29:42

think Tom Cruise, like, picked him out. The

29:44

way that, like, Paul Newman picked out Tom Cruise, I

29:46

think Tom Cruise is now, I am paying this forward. And

29:49

I think that, you know, maybe there needs to be more of

29:51

a mentorship in Hollywood. Like, I think

29:53

that that's a fine thing. Anyway, I

29:55

do love The Open because you actually start to feel what it's

29:57

like to be these guys. And I think that's a good thing.

30:00

I think with comedy, like

30:02

podcasting, we are connected to

30:04

them even more. We want them, we like them. We're

30:06

on their page. And I feel like that

30:08

opening is just a really funny thing because I also

30:11

love that someone was like, do the laugh and he

30:13

does it. And conversely, I was watching

30:15

this interview with Eddie Murphy talking

30:18

about Axel Foley, the new Beverly Hills

30:20

Cop film. And they're like, oh,

30:22

you don't laugh the same way anymore. And he was like,

30:24

no, because I started to see

30:26

people do impressions of me. And

30:30

I was like, oh, I don't wanna be that. I

30:32

wanna just be the laugh. So I changed my laugh.

30:35

And you can actually see Eddie Murphy like

30:38

running away from the thing

30:40

that made Eddie Murphy, Eddie Murphy, he was like,

30:42

I hated people doing impressions of me. Cause they

30:44

would just do that, or they just do the

30:46

donkey voice. And it's like, I think

30:48

it's a sign of love and affection. And

30:51

it's what we like. It's like, we

30:53

want that. And it's so weird. I

30:56

loved Axel Foley. Thought

30:58

it was a lot of fun, but it is weird

31:00

that he has changed himself to

31:03

not be pigeonholed. But that's

31:05

some of the reason why we love

31:07

them in the first place. Well, it's tricky,

31:10

right? I mean, cause I think

31:12

to kind of your point about like Seth, like

31:14

if Seth Rogen tends to have a through line,

31:17

it's that his characters are

31:19

really likable, really funny. They

31:22

might sort of try their best, but they're not perfect. Like

31:24

here where he draws like the burnt straw and he's supposed

31:26

to go out and like across the street to get supplies.

31:28

And he's just like, I'm not going to do it. Like

31:30

you kind of expect them to do things that

31:33

disappoint you occasionally, but

31:35

like they're just, they kind of radiate like a

31:37

charming goodness in the way that Jimmy Stewart did.

31:39

You know, where you're like, yeah, I want to

31:42

see a Seth Rogen character on screen. But then

31:44

also even within this movie, like some of the

31:46

other actors are wrestling with how they feel about

31:48

being typecast. Like one moment that really

31:50

stood out to me is like, you know, kind

31:52

of wandering through the party and you have

31:54

Jason Segal kind of make you fun of his

31:57

character in How I Met Your Mother. And I'm

31:59

lucky. It's the same thing a

32:01

lot though. It's like my TV wife opens the fridge

32:03

and it's like, what happened to the birthday

32:05

cake? And I come out with like

32:07

a little frosting, like what birthday

32:09

cake? Cause you ate the cake. That's

32:12

right. Cause you ate the cake. It's my birthday.

32:17

That's why y'all number one, cause of that.

32:19

That is an exact thing you said in an interview

32:21

to GQ a couple of years before that. And he

32:23

got in so much trouble. People were like, how dare

32:26

you not appreciate being in this show. Right, right,

32:28

right. In that same interview, he made a joke about

32:30

like, I think that this series should end with like

32:32

them opening the window and it's a post-apocalyptic wasteland outside.

32:34

Cause he was under contract for three more seasons. And

32:36

I think he was feeling really frustrated by that. And

32:39

I think it's funny that he was like, I got

32:41

in trouble and I'm going to do it again

32:43

in this movie, you know? Cause it's, it is

32:45

hard. I can imagine to be like stuck doing

32:47

a TV character for that long. Constance Woo

32:49

experienced that a lot. Remember like when Fresh

32:51

Off The Boat was picked up

32:54

for another season, she like wrote on

32:56

Twitter, like, oh no. That's right.

32:58

I remember that. People were picked. They still kind

33:00

of are. I feel like there's like this real thing that

33:03

she does not deserve to be famous because

33:05

of things like that. I think that that's

33:07

why there's a lot of backlash when comedians stop

33:11

doing comedy and just want to be viewed as

33:13

serious. Cause it's like, the reason why we were

33:15

in is because we

33:18

like you doing this thing. You know, and I think

33:20

Robin Williams actually is the one who played that probably

33:22

the best. And I think you find

33:24

a lot of other actors do doing that good mix. George

33:26

Clooney, I think did a good mix of that as well.

33:28

Like I could do an indie, I could do a big

33:30

one back and forth, that one for me, one for them

33:33

kind of mentality. That's true. But that is

33:35

so is true that that is exactly what a lot of

33:37

these people are kind of going through in here. You know,

33:39

like Jonah Hill. I think I really

33:41

liked the characterization of Jonah Hill in this

33:43

movie. Because in the original script

33:45

that I read, he's just such a grouch and

33:47

so mean and so negative. He's

33:49

a lot more like the way they wrote his character in

33:51

super bad, just sort of like snarky a lot of the

33:53

time. And I think he was when it

33:56

was like, I don't really dig this. It's a little dull

33:58

to do me this way. So they'd be like. Playing

34:00

him as this like phony nice

34:02

guy who like takes things also

34:04

too far is a little bit

34:06

full of himself. Doesn't

34:08

quite come out, like people don't quite come out and like yell at

34:10

him for being full of himself, but like even in the way that

34:12

he says like fatalities when he's letting Danny

34:14

know what happens and saying he was like pass

34:16

out and miss the whole thing. Some

34:19

really messed up stuff happened and there

34:21

were a lot of fatalities. Oh really?

34:24

You're putting your serious voice on Jonah? Okay,

34:26

tell me about these fatalities. Dude, Seagull's

34:28

dead, Krumholz is dead, Michael Cera's dead.

34:30

Yeah, so Michael Cera's gone. It's not

34:32

a total loss, huh? Jesus,

34:35

Michael Cera's dead. I love

34:37

the way he delivers the word fatalities. Like

34:39

to me that is just absolute comedy finesse.

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any other offer or combo meal. I

36:02

think that Jonah, it's interesting because

36:05

Jonah is playing a version of himself. And like

36:07

I alluded to early on, then

36:09

he revealed himself to kind of be that

36:13

version of himself. Right? Cause

36:15

it's kind of affected

36:18

and dickish like,

36:20

eh, there's that, you know. And I think that that caused a

36:22

little bit of a rift in the entire friend group. Cause

36:25

it was like, he viewed this movie as being dumb,

36:27

even though it was successful. Right. And I shouldn't have

36:29

done it as beneath me. Um, I

36:31

think that, you know, people change attitudes change. I've

36:34

hung out with Jonah since this. And

36:37

I think that he's also changed. You know, these are

36:39

people who are also growing up and trying different things.

36:41

Yeah. I mean, this is like 10 years old. Yeah. It's

36:43

interesting that he was playing a version of himself

36:46

really well, but then it actually was

36:48

even playing a version of himself or just playing slightly heightened.

36:51

Well, yeah. I mean, I think that that was also

36:53

like Jay Barish's experience too. Cause I think he really

36:55

thought this movie was going to suck. His idea was

36:58

that he thought it was going to be a very

37:00

long MTV award skit. And he said he was just

37:02

like crabby. That was his word for it the whole

37:04

time that he made the movie that yes, like he

37:06

and Jonah like legit didn't get along that he thinks

37:08

it shows up on screen. And he even had kind

37:10

of like, I think some qualms

37:13

about how they did it. It's interesting. Cause I

37:16

was just writing about Eyes Wide Shut, you know,

37:18

and how that movie was for Tom Cruise and

37:20

Nicole Kidman, Stanley

37:22

Kubrick trying to put them through like a really unhealthy

37:24

version of therapy. You know, the kid was like, it's

37:26

crazy. Cause we were talking about all these dark things

37:28

to each other, but then Stanley never held our hand

37:31

and let us ask like, how do you feel about

37:33

this? So it was like the, the painful part of

37:35

therapy, but not the healing part of therapy. And

37:37

like, when I read Jay Barish's description of

37:39

making this movie, it sounded exactly like that. You

37:42

know, like he said, you know,

37:44

quote, it was this weird thing

37:46

of mining personal stuff, but not

37:48

for catharsis, just for comedy, just

37:50

in the most common commoditized capitalist

37:52

way of life. We're going to dig up real personal stuff,

37:54

but nobody is going to go home and feeling better about

37:57

it. We're just going to turn it into a product. And

37:59

the way he. about it sounds also

38:01

more Gen X than I thought he was. He sounds so

38:03

Gen X when he says like turning it into a product.

38:06

But it did also seem like he didn't find

38:08

it fun. He thought it was like inside baseball.

38:10

But then when he finally saw the movie and

38:13

he realized he was laughing at Jonah, that he

38:15

never found anything Jonah did on set funny, but

38:17

he thought it was funny in the movie. He

38:19

finally realized it was a good film. That's

38:22

really interesting. I wonder

38:24

if, you know, the

38:27

only people to make this movie are Seth

38:29

and Evan, right? And oddly, probably

38:32

Evan to be the person the most removed from

38:34

it, to be watching while because Seth

38:36

is pretty much in every scene, you know, to

38:38

be able to kind of

38:40

tell his story. And I'm thinking about this

38:43

now more and more. Evan

38:45

and Jay have a very interesting point of

38:48

view that I think is

38:50

incredibly well represented, you know, about

38:52

just even if they are heightened

38:54

versions of them, how you would tell your friends about

38:56

the people that you meet that are a little bit

38:58

bizarre. And you know, it's weird because like

39:01

this was adapted from a short film that

39:03

Jay and Seth actually made like all the way

39:05

back in 2007. Yeah, we should

39:07

play a clip of it because it's weird. Like they

39:09

made this short right after they finished knocked up. It's

39:11

like this two person, one room basically short where they're

39:14

living in squalor. It picks up with like

39:16

this apocalypse already happening and it's just hostile

39:18

and like dirty and kind

39:21

of gritty looking and orange and they're fighting

39:23

and it's angry. And it

39:25

sounds in this one more like it's a zombie apocalypse.

39:27

At least that's what I kind of imagined. There

39:30

are more cigarettes. You want

39:32

a cigarette? Yeah, right here. The

39:34

one thing we stock up on cigarettes. We yell

39:36

at me for buying smokes before we came here

39:38

when you're smoking them too. You made me addicted

39:40

to cigarettes. Oh

39:42

no. How are you going to live through

39:44

that? You know what's really helpful in situations

39:46

like this? A terrible sarcastic

39:49

tone. But yeah, like

39:51

that film feels so dark when I watch it. I

39:54

like that they expanded it into a lighter, bigger

39:56

version. I like that it stayed on their mind.

39:58

Like Seth Rogen told the about how

40:00

he and Evan Goldberg had to take a meeting

40:02

with Steven Spielberg in 2012, so probably

40:05

around the time they were writing this. And

40:07

they met with Steven Spielberg, and then randomly George

40:09

Lucas also showed up. And George Lucas started telling

40:11

them that he really deeply believed that the world

40:13

was about to end. His theory

40:15

was that everything west of the San

40:17

Andreas Fault was just going to immediately

40:19

fall into the ocean. Goldberg claims

40:22

that they had this back and forth where he was like, do you really

40:24

think this is going to happen? And George Lucas

40:26

said, I know it's going to happen. And they're like,

40:28

well, how? And George Lucas just goes, it's science

40:30

and I know science. Can't

40:32

argue with George Lucas. I

40:35

didn't really think about the religious element

40:38

in like a deeper level until I started

40:40

going back and like listening to interviews with

40:42

Evan and Seth talking about it. Like there's

40:44

a really good interview they did with Fresh

40:46

Air where they're talking about where this film

40:48

kind of comes from with their own experience

40:50

growing up being Jewish in Canada. So why

40:52

did you decide to choose that as your

40:54

end of the world to choose the Rapture

40:56

and the Book of Revelation as the jumping

40:58

off point? Well, as

41:01

two young Jewish gentlemen, exactly.

41:03

We always thought it was really funny. Evan, I try

41:06

to hide that I'm Jewish. We always found it funny

41:08

that people genuinely think we're going

41:12

to hell. Yeah, we had a friend in high school

41:14

actually who was like really into Christian stuff. And he

41:16

was a good friend of ours. And he went to

41:18

like Christian day camp and stuff and got like kind

41:20

of more into these like Christian kind of youth groups.

41:22

And he never treated us poorly. He was never unkind

41:25

to us. No, he was super cool to us. But

41:27

one day it came up conversationally, kind

41:29

of we're talking about heaven and hell and all

41:31

that stuff. And then we were like, do you think we're

41:33

going to hell? And he was like, yeah, I do unfortunately.

41:35

Yeah. He was like, I'm super bummed about it, but you're

41:37

going to hell. It's like it sucks, but you guys are

41:40

probably going to go to hell. And

41:42

it was kind of just always like a

41:44

funny concept to us. Oh, wow. Right?

41:46

Isn't that fascinating? But like it adds kind of

41:48

this extra element, you know, to when like Seth

41:50

is in that scene being like who knew there

41:52

was a God. I haven't led my life

41:55

as though there's a God this whole time. Who saw

41:57

that coming that there's actually a God? I'd say. 95%

42:00

of the planet. I mean, I have

42:02

to admit here, like I grew up

42:05

in a family that was so religious

42:07

that when I was 13 years old,

42:09

my dad took me to Greece, to

42:11

the island of Popmos, to the cave

42:14

where John wrote Revelation. Like I've been

42:16

to the weird cave where this guy

42:18

like holed up and wrote about

42:20

the world ending. It's real gloomy in there. You

42:22

can kind of like understand why this guy was

42:24

in a super bad mood. I don't

42:27

know if that's normal or not. I don't know how much other people

42:29

go out thinking about the apocalypse. I think

42:31

that there is something innately scary or

42:34

scarier about damnation

42:37

by a god-like

42:40

power. Because, right,

42:42

a nuclear weapon goes off. Well, you know, it's

42:44

going to get everybody. But there's something in this

42:46

movie that I think comes up that

42:48

is important about, are you a good person?

42:51

And the way this movie sets everybody up

42:53

is like, are they a good person? Are

42:55

they worthy of being saved? And

42:58

that to me is the,

43:00

he sees you when you're sleeping kind of,

43:04

you know, god part of the story that I think

43:06

makes all these things a lot more terrifying. Because, you

43:08

know, it's like, you will be

43:11

judged. Judgment is really, I

43:13

think, a fascinating

43:15

motivator. And then you see like, I love that

43:17

scene in the film when they're just like trying

43:19

to be nice to each other. Because they figured

43:21

if they say nice things, they'll get to go

43:23

to heaven. You know, I

43:25

think we all do that thing. And, you know, I think

43:28

Michael Schur did that so great with

43:30

the good place. You could never get to the good

43:32

place, right? It was like the idea

43:34

like it's almost impossible to get there because, you

43:36

know, what you needed to do. And that idea is

43:41

a real fear-based motivator to be

43:44

good to a lot of people. Yeah,

43:46

I mean, what would be more impactful? Like

43:48

the fear of being eaten by

43:50

a gigantic demon with all these crazy serpents on

43:52

his back? Or the promise

43:54

that if you can make it to heaven, there's

43:57

the Backstreet Boys and Cocker Spaniels with

43:59

halos. and you can also have just like anything

44:02

you want. To that point, that

44:04

wasn't even supposed to be in the movie, the scene in

44:06

Heaven. They're going to end it just at the rapture where

44:09

they get sucked up. But the audience is

44:11

like, no, no, we want to see Heaven.

44:13

And then they came in and shot that,

44:15

which is interesting because we want to see

44:17

them be saved. Even in the movie, that's

44:19

a comedy, right? We we aren't just happy

44:21

with them being sucked up. I think it's

44:23

the reason why there are

44:25

a lot of religious fanatics

44:28

who simply act

44:31

in the way that they believe that if

44:33

they don't, they will be

44:35

punished. You can't do this. I'm protecting

44:37

this. I'm standing in front of this

44:39

because I think we find

44:42

this a lot where it's sort of like

44:44

we care so much about

44:46

something because it feels right. But we're also

44:48

not looking at another right thing

44:50

to do. Right. You know, it's you know,

44:52

we want to we want to stop people

44:54

from having abortions, but we don't want to

44:56

put money into taking care of

44:58

the kids when they're out. Right.

45:00

You know, like that's a common thing. You

45:02

know, it's like, well, where is the money

45:05

in the childcare, even in the foster care

45:07

system, even in, you know, education, right? All

45:09

these things that we are, no, but I'm

45:11

here for the child, but I won't. I

45:13

don't want my money going to public television

45:15

and in schooling. And, you know,

45:17

it's all these things that get like it,

45:19

this false equivalency. You

45:22

know, are we living a God like life? But

45:24

there are certain things that are viewed as, well,

45:26

that's what God would want. But it

45:29

doesn't actually carry through in

45:31

the way that most people live their lives. I

45:34

mean, I do think it's funny that this movie

45:36

gets in layers

45:39

of religiosity in the

45:41

lightest way where like, I feel like

45:43

a religious scholar could write like their

45:45

PhD thesis just on the moment when

45:47

James Franco claims he's going to sacrifice

45:49

himself, starts to get sucked up to

45:51

heaven. And then like, yes, as

45:53

he's being pulled out, his last words are

45:55

stuck, my bleep. And then he gets like

45:57

kicked back down. I mean, that in itself

45:59

just. like you could untangle a

46:01

whole world of religious thought and

46:04

behavior. I 100% agree. And

46:06

this is why like, I think I sometimes have a

46:08

hard time talking about comedies on

46:10

the show, because, you know, I think

46:12

on some level, comedy just

46:14

works, right? And you like it, you don't

46:17

like it. And if you think it's

46:19

funny and I don't, I don't think that you're

46:21

wrong. I can often talk about why things don't

46:23

work for me personally, but I also don't wanna,

46:25

you know, I don't wanna yuck anybody else's yum,

46:27

but the best tenet of standup comedy in my

46:29

mind is when

46:32

they bring something to your attention

46:35

that you never really thought

46:37

about, but yet we live with it. It's like, oh, you saw

46:39

this one side of something that I

46:42

deal with every single day, but you looked at

46:44

it over here, you turned it on its side.

46:46

That's what I also think Seth

46:49

and Evan have a great track record of

46:51

doing as well. Like doing

46:53

something that could just be lazy, could just

46:56

be boring, could

46:58

just be actually successful and

47:00

stupid, but they turn it one

47:02

more time and you get these moments throughout this

47:05

film where yes,

47:07

this movie goes super dark. Yes, this movie

47:09

goes super hard. This movie

47:11

makes jokes all over the place. It

47:13

also gives you that moment. Like that's

47:16

a very cool moment that is incredibly

47:18

funny, but it's also subverting

47:20

what you think is gonna happen. You know, I,

47:22

even the fact that like Seth doesn't get to

47:25

go to heaven at the end and he kind

47:27

of grabs on, you know, it's like, it's not

47:29

that easy. I like all those like subtle turns.

47:32

Yeah, and I like how they kind of angle it

47:35

so that the joke is pretty

47:37

much relentlessly always on them, you

47:39

know, on everybody on the screen for

47:41

being idiots, for not having tool kits,

47:44

for having, you know, a lifestyle where

47:46

like these are the supplies they're going

47:48

into the apocalypse with. 12 bottles of

47:50

water, 56 beers, two vodkas,

47:52

four whiskey, six bottles of

47:54

wine, tequila, Nutella, cheese, pizza,

47:56

eggs, bananas, apples, bacon, steaks,

47:58

pancake mix. CT crunch, milk, ketchup,

48:01

a milky way, half ounce sour diesel,

48:03

three and a half grams Grandmaster Kush,

48:05

one ounce of shrooms, 15 pills of

48:07

ecstasy, a porno mag, a baseball bat,

48:09

and the video camera from the movie

48:11

27 Hours. 127 Hours. 127

48:16

Hours and a functioning revolver from

48:20

the movie Flyboys. I mean, for even, I

48:22

would say thinking that Milky Ways are delicious

48:24

candy bars when we have really tried to

48:26

prove on this podcast that Milky Ways are

48:28

trash, despite people like Quentin Tarantino disagreeing. A

48:30

hundred percent, yes. I still stand by that

48:32

even in the apocalypse, I would rather not

48:35

eat a Milky Way. Don't see

48:37

the point. Just end it,

48:39

it's fine. To me, the only joke

48:41

that I don't love in this movie is

48:43

when they make fun of Lindsay Lohan, because I'm like, oh man,

48:45

she's not even in this movie. No

48:47

need to kick on Lindsay Lohan. She's

48:50

not participating. Leave her

48:52

be. But other than that, as long as

48:54

they're making fun of each other on screen, I'm completely

48:56

for it. Well, I think it's that idea of not

48:58

punching down. No one likes a bully. And

49:01

I think unfortunately, we get into

49:03

these moments where people just become

49:05

punchlines. And that's, and Lindsay

49:07

Lohan is that, and it's probably what you'd say, oh, that's

49:09

a cheap joke. Yeah, I feel like in 2014, it

49:12

was almost a little too old to be

49:14

doing a Lindsay Lohan joke. Right, and that's

49:16

probably maybe the issue about being improvised too.

49:18

You get maybe, I'm sure there's a ton

49:20

of stuff that was cut out too. But

49:23

all of that said, I really think

49:25

the MVP of this movie is, and

49:28

I will go to bat for this. I will face

49:30

down a giant demon for this. I think Danny McBride

49:32

is incredible in this movie. I do too. I think

49:34

he's very funny in this, but why? Why? Because

49:37

I think he just really goes for it. I mean, I think

49:39

he goes bigger. He goes

49:42

hateable. Like the number of times in

49:44

this movie where I just want to

49:46

scream at him for like wasting everybody's

49:48

water, for like being the

49:50

screen face of evil, for not

49:52

finding really anything redeeming about himself

49:55

in the guise of being Danny McBride at

49:57

all. He just absolutely goes for it. And like his

49:59

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