Five years after writer/director Judd Apatow introduced us to Pete and Debbie in “Knocked Up,” Paul Rudd and Leslie Mann reprise their roles as a husband and wife both approaching a milestone meltdown in “This Is 40,” an unfiltered, comedic look inside the life of an American family. In his fourth directorial outing, Apatow captures what it takes for one family to flourish in the middle of a lifetime together. Through his unblinking lens, we follow one couple’s three-week navigation of sex and romance, career triumphs and financial hardships, aging parents and maturing children. The comedy opens in theaters on December 21st and also features Albert Brooks, John Lithgow and Megan Fox.
At the recent press day, Apatow, Mann, Rudd, Brooks and Fox discussed the film’s honest and entertaining portrayal of the challenges and rewards of marriage and parenthood in the modern age. They talked about the toughest aspects of turning 40, their collaborative process, what was behind the film’s inside jokes about “Lost” and JJ Abrams, what music they’re listening to for the holidays and their favorite TV shows. Apatow also revealed what it was like guest editing the first-ever comedy edition of Vanity Fair.
Q: For all of you who are over 40, and those who are not, what was the toughest thing personally about turning 40 and how did you overcome it?
Judd Apatow: I overcame it by making two movies with the number 40 in the title. I claim that I haven’t had a nervous breakdown from turning 40. That was more 30, but the evidence of the two movies seemed to prove I’m full of it.
Leslie Mann: I think he’s lying. What have I done? I think every day is different. Some days I feel fine and other days I feel like crying all day. I have lunches with my girlfriends who just turned 40, and at some of those lunches, we’re crying and screaming about our husbands saying we want to leave them and run away. And then, other days, other lunches, we’re fine and love our husbands and happy with our lives. I’m not sure.
Apatow: I’m not going to let you go out to lunch anymore.
Mann: I don’t know. I don’t have any of the answers. Do you?
Q: I’ll tell you about 50.
Mann: Really? Does it get better?
Mann: That’s what people say. I keep asking women who are a little bit older, “When is this going to pass?” and they’re like, “It doesn’t pass. It just gets worse.”
Q: It’s okay up until 50.
Mann: Oh really.
Q: So really enjoy the next 10 years.
Paul Rudd: God, this is depressing!
Apatow: Love is more depressing than the end of “Les Mis.”
Q: Anybody else?
Albert Brooks: Well I have a different secret. When I was very young, I started to make friends with much, much older people. So, when I was 20, my friends were 50, and I never really went through 40, because I would watch them die and I’d always feel younger. So you make friends with older people and you always feel young no matter what. On my fortieth birthday, I was in hospice with a 92-year-old buddy… That’s a lie. (Laughter)
Rudd: Tuesdays with Albert. I remember as a kid my dad always told me that getting older beats the alternative, although now my father actually is the alternative. I don’t know how or what he would say.
Brooks: The alternative being…?
Rudd: Oh, he’s dead. He’s completely dead. There you go. Think about that for a second. That just livened everything up, didn’t it?
Brooks: You should have seen the press conference for “Amour.”
Megan Fox: I married a husband who is 13 years older so I’ll always be a trophy wife for him.
Brooks: That’s true.
Q: It’s Christmas time. What are you guys listening to and singing in the car?
Mann: I listen to the same four songs over and over again.
Apatow: There’s that new Jimmy Fallon/Mariah Carey music video. We thought that was pretty good.
Mann: We like to listen to Elvis Christmas.
Apatow: Destiny’s Child Christmas album. I don’t know if you guys remember it. Not as good as one would have hoped, I have to say.
Mann: And the Charlie Brown Christmas. That’s the one we have running.
Brooks: I listen to songs by older people.
Rudd: I’ve been listening to a lot of Rodriguez.
Brooks: Oh yeah, that was a great movie.
Rudd: I saw “Searching for Sugar Man” which is my favorite movie of the year. That guy blew me away. I’ve been listening to his music a lot.
Fox: Is that Christmas music?
Rudd: It is to me. There is a song where he does talk about somebody getting fired two weeks before Christmas, so I guess that counts.
Fox: I like Michael Buble’s Christmas album. I know that’s cheesy, but…
Mann: Is that good?
Fox: Yeah. Smooth crooner, and the baby likes him, too.
Q: I don’t know if you’ve seen the movie, “Hitchcock,” this year and the whole husband-wife relationship there.
Apatow: It’s very similar. (Laughter) Very similar. I did watch it with Iris the other night. Iris is 10. We had to cover her eyes during the Ed Gein sequences. (to Mann) Was that a bad piece of parenting?
Apatow: (laughs) Leslie wasn’t home. I tried to show her “Psycho.” I’m like, “I don’t want you to see the bad part. I just want you to get the feel for it.” And then the second it started, she’s like, “What are you doing?!”
Brooks: This is funny. If you’re in the Academy, you get screeners. It’s the nicest thing about being in the Academy. I have kids, too, like 14 and 12-1/2. You try to keep them from going to the actual movies when they go to the movie theater, but then you let them watch screeners. So we all gathered around and watched “Flight.”
Apatow: (laughs) Oh Jesus!
Brooks: It prompted a discussion of cocaine I never wanted to have for a year. “What is that?” “That’s I think what pilots do. That’s a pilot-type aspirin.” You talk about covering the …
Apatow: That’s pretty graphic, “Flight.”
Brooks: It was pretty graphic. It wasn’t the flight part.
Apatow: No, the opening.
Brooks: Right. “What’s in the mini-bar?” Oh God!
Q: Judd, how much did you know from a woman’s perspective about turning 40. Is that where you came in, Leslie? Did you guys bounce ideas off each other?
Apatow: You know, we talk about the movie for years together and that’s where a lot of the scene ideas come from. It’s a little bit of a coded conversation where we’re really debating our own problems with each other. So Leslie can complain about Pete but not about me. So I’ll say, “Don’t you think we should have a scene where we can really point out how controlling Debbie is?” And then, she’ll say, “Well but maybe there should be a moment where Pete admits he knows he’s a dick.” And then, we go back and forth like that subtly talking to each other for a long time. And then, at the end, it mutates into this other thing, which is a weird combo of me and Paul’s worst traits into one monster husband that Debbie has to deal with.
Mann: I agree. That’s how it works. Did I have anything to add to that? Yeah. It’s like what I would fantasize about saying to Judd, like Debbie can say these things to Pete, but Leslie can’t really say these things to Judd. So it’s fun to be able to. Also, it’s fun yelling at the mother, at Melissa McCarthy. I wouldn’t ever do that, but that’s what I fantasize about doing. You know I would love to do that, so it’s fun to have this character to live through.
Q: Megan, you fit into this family so well. Were you nervous about that or did it just come naturally?
Fox: Was I nervous about coming to set with a close knit group of people? No, because from the first audition that I went in for, it was Judd, Leslie and Paul. I went in with my sides and we did that once, I think, and then Judd was like, “Okay, so Paul, you come into the store and you guys have an awkward conversation.” And so then, we had to do all of this improv which I’m not familiar with at all. I was so scared shitless then, but I got over it after that point. Except there’s that one day on set where we did the scene in the car after the club, and that was one of those days – I don’t know if you’ve ever had one of these days – where I memorized the wrong scene so I didn’t know my dialogue. I was so scared that I didn’t know it that I started doing all these crazy things in the scene which I think maybe worked.
Mann: It worked.
Fox: I was so scared that day.
Apatow: That’s funny. That was 3 in the morning.
Fox: Yeah, it was easily. It turned out well.
Q: Judd, I enjoyed the references to “Lost.” I was wondering if there was some inside joke or rivalry between you and JJ Abrams?
Apatow: No. Our daughter watched “Lost” in about six weeks and was crying a lot and very emotional. We thought, “Are we bad parents for allowing this?” But we’re too lazy to keep up with her to know what the next episode is, like if it’s inappropriate, so we just let it happen. And we realized there was some bad parenting happening. It was out of control. I thought I really don’t know what to do here, but it probably makes for a good couple of jokes in the movie. That’s what I usually do when I should make a strong parenting decision. I kind of let it play out to see if a joke results from it. It’s probably not a good idea. But JJ read the script and came to previews, and I made sure to show everybody the footage and how we were doing it to make sure that he was happy. But he is a geek who has ruined our lives.
Q: Mr. Brooks, in your scenes with John Lithgow, were you guys improvising a lot?
Brooks: I think in rehearsal we got a chance to add and improvise a bit. That’s sort of the way it works. The idea that you get there, and at the actual moment, you’re making it up is sort of a fallacy. You get a script and then you have time to throw that to the wind and see what comes back, and then you can set things you really like. So it’s that period. A lot of the things were set in the rehearsal period.
Apatow: I watched the dailies recently, and Albert came up with the best lines on the fly, which is the fun part of loosening it up at the end after getting it scripted and then starting to play. We knew we wanted Albert’s character to be excited by how much money John makes. And so, I was watching the dailies and the wording is my favorite wording of a joke in the movie, which is, “So every time I don’t see a hunchback, you make money.” As it loosens up, the wording starts changing.
Brooks: Did I make that up?
Apatow: You did. Yes.
Brooks: Yes is the answer.
Apatow: Only the best jokes. Albert would actually email me jokes the night before which would top many of my jokes. So I was very happy about that.
Q: Was Lithgow compatible with your comic sensibilities or looking for more of the dramatic opportunities?
Brooks: No, no, no. He played the guy he was supposed to play, which was a stick in the mud. I think when it was really funny what he really wanted to do was laugh, but once you get settled into your character, that’s how you react. And that guy would never be friends with Larry. They’d never be friends, so it was more like he had to act as if I was an annoyance. He always wanted to laugh, but he doesn’t, because he’s in the union.
Q: How difficult is it to keep a straight face and not to break character? What was the hardest scene?
Mann: Melissa McCarthy was the hardest one.
Rudd: Yeah, that was. That was really…
Mann: That was impossible. That was the weirdest thing. I’ve never experienced that. Maybe like one time I crack up and then I can hold it together from then on. But, with her, it was hours. We could not keep a straight face and finally we just gave up. Judd said that he was using more than one camera so we could just laugh because we couldn’t keep a straight face and the crew were all laughing. I mean, it was ridiculous. She’s just the funniest person.
Q: I had a set visit the next day with her husband and I asked him about the outtakes because I had seen the movie the night before, and he said that she would come home at night and go, “I think I’ve gone too far.”
Mann: Oh really? Because she said she wanted to split me open like Karen Carpenter? She was so great.
Rudd: I’ve seen people on tears before but that was something otherworldly. People were leaving the room. The crew had to leave. It was impossible. And she just kept her composure through all of it.
Mann: Yeah. She does it great.
Q: Was it her own stuff or were you throwing the jokes at her?
Apatow: It was a couple of rehearsals. Our executive producer Paula Pell is from Saturday Night Live and she’s been there for 16 years. She’s one of the funniest people ever. She had a couple of really funny ones. “You look like the bank commercial couple” was hers. So it was a combination. But what happens in scenes like that is we know the scenes should be 4 minutes, but by the end of it the script is about 8 minutes. We can kind of tell how we could compress it but we’re not sure yet, so we just let it be a big scene. Melissa is maybe one of the best improvisers there. I’ve never seen anything like that other than Chris Farley. If he looked you in the eye, like if you had to do anything with him, you would bust up. There’s just a madness for certain people that you can’t… It’s hard to look into. You just stare at their foreheads.
Mann: That didn’t work either.
Q: Megan, are you enjoying motherhood and have you gotten any mothering advice from anyone on set like Leslie?
Fox: Well I wasn’t a mother yet when I was on set but I love it. It’s my favorite thing that I’ve done so far so I’m happy with it.
Q: Did you pick up parenting tips watching them with their kids?
Fox: Their kids are so well adjusted. I mean, you’re so self-deprecating about how you raise them, but they’re the best kids and they both have really awesome personalities, especially Iris. She’s just a hysterical little girl. I think she’s super funny. And then, Maude’s a genius. They’re just good kids, which is rare for kids that were raised in this industry, for sure. (to Apatow and Mann) You did a good job whatever you’ve been doing.
Mann: Thank you, Megan.
Q: What was it like guest editing the first ever comedy edition of Vanity Fair?
Apatow: It’s something that you mentioned in a meeting. I brought a lot of the movie around New York to try to get people interested in writing about it. I said I knew that a friend of mine had done something like that with another magazine, so I just tossed it out there not thinking they would let me do it. And then, they really let me do it and it was a crazy amount of work for about a half a year. I think it was one of those things where I could have done very little and they wouldn’t have minded, and then I just got really anal and drove everybody crazy over there. But it was fun. It was great to talk to Albert for that Q & A. It’s fun to read Q & A’s like that when people know each other well because they’ll go a little deeper. And working with Paul and Megan and Leslie on the cover was really fun. I got them to do an interview with Nichols and May. It’s fun when you have an idea like, “Maybe we can get Nichols and May to do an interview. They haven’t done an interview in 50 years.” And then, they accomplish it. That was exciting.
Mann: And you got Steve Martin.
Apatow: And Steve Martin. I got to take a picture with Steve Martin which was a career highlight. And Mark Seliger, the photographer, is brilliant. If I came up with a funny idea for a photo, just how he would realize it was pretty remarkable. People seemed to like it, too. I heard it got more page views on the Freaks and Geeks article than any article in the history of Vanity Fair’s website, so that’s fun.
Q: Iris and Maude were so great together, how are they not only as actors but playing versions of themselves and their sister relationship?
Mann: Maude’s really open about that, about period stuff.
Apatow: Oh, there’s so much period talk at the house.
Mann: She does not care at all. It’s the weirdest thing.
Apatow: It’s not an era of kids who are shy about it for some reason.
Mann: Which is great. With them also, it’s fun that, for Maude we don’t allow her to curse at home. I know she does at school so it was fun for her to be able to do that at work, which I didn’t think was a great idea, but Judd thinks it’s funny. So that’s fun for her, but then she gets home from work and tries to say the F word or whatever, and we have to shut her down.
Apatow: (to Brooks) Do you let your kids curse? When your kids curse, do you stop them?
Brooks: We don’t curse that much. I’m from another school of comedy.
Mann: Do you think they do it at school? How old are your kids again?
Brooks: My son’s 14, my daughter will be 13 next March. They don’t curse a lot. They hear a lot because everything they watch on YouTube is cursing unfortunately, but we don’t do it in the house. I think if they hear it in the house, they do it but we’re just not a big f*** household. We don’t say those words a lot.
Mann: Do you monitor her Twitter and Facebook?
Brooks: My wife, there’s no Facebook accounts for the kids.
Mann: Right, but if Maude if she’s on Twitter.
Brooks: Oh, I thought you meant me. I don’t monitor Maude.
Mann: She doesn’t talk like that. Never, she never talks like that. It’s just when they’re with groups of kids, sometimes I’ll overhear them cursing, but I do that, too.
Apatow: They use it against me now. They’re like, “Well, everybody curses in ‘Superbad.’” She’s finally using it as revenge against me. I knew it would happen one day, like, “You make your whole living off of cursing. How can you not like cursing?”
Q: It’s brave to call a film “This is 40” in Hollywood now. Do you feel your audience is growing up along with your movies so they’re at an age when they’d face these issues?
Apatow: We’re about to find out. We don’t know.
Brooks: But “This is 40” is only the title for a few theaters. “This is 18” is in a lot of theaters.
Rudd: I say we call it “Zero Dark Thirty.”
Brooks: “Zero Dark 40”! This is “Zero Dark 40.” It’s a five-hour movie.
Q: Paul, you’re working very prolifically. Have you had moments like your character where you’re really struggling with your career?
Rudd: Oh, sure. Everything’s a struggle. Everything’s relative, too, so I still feel like I’m struggling in many aspects. I’m not worried about paying my rent next month if that’s what you’re asking, but in about two months, we’ll see.
Q: What are some of the worst jobs you’ve had?
Rudd: One of the worst was I glazed hams, which I did for about half a year. It doesn’t get worse. I was trying to get money to go to acting school. I was in college and I got a job. This was in Kansas City before I moved to go to this theater school.
Apatow: What do you get paid an hour to do that?
Rudd: You get paid in ham. I got paid about $4 or $5 an hour. I got paid a little bit more than the minimum wage. It was an all-day affair. I’d unload a truck at about five in the morning. Oh, this is a boring process. The ham was wrapped in Cryovac. I’d undo it, I’d have to cut it, put it on a metal spit. There was a propane torch that hung down from the ceiling, and I had wrist guards to protect myself, and I would go back and forth between heating the ham and then using a sugar sifter.
Brooks: God, you mean those pigs aren’t raised glazed?
Rudd: They’re not raised glazed. There’s another step involved.
Brooks: I didn’t know that.
Rudd: Yeah, there’s human involvement. That was one of the worst. I’ve had several bad jobs.
Q: When Judd has you put your legs over your head and face the camera, how do you prepare for that? Only a mirror blocks the point of entry/exit.
Apatow: Depending on your taste.
Rudd: Provision there.
Q: Is there anything he’s ever asked you to do that you said no way?
Rudd: Somebody asked me that and I’m sure there has been.
Mann: You wouldn’t take off your shirt on the toilet.
Apatow: Oh that’s right. The poster, when he’s on the toilet in the poster, we asked him he would do it also without his shirt. That’s the only time you’ve ever drawn the line.
Rudd: Here’s the thing. I’m not excited about any of it. I thought it would be funny, but it’s embarrassing and horrifying, but in the context of the movie and I think what we’re all trying to go for is some kind of reality and also if it’s funny, there’s certainly no room for vanity. So I was laughing as I was doing it, as I was dying on the inside.
Fox: What were you wearing in that scene?
Rudd: I think you can see. Was I wearing like a little sock?
Apatow: A little cover-up. There was a band aid there.
Mann: A little nude undies.
Fox: Was it like a full panty or was it like a thong? It was like a thong?
Rudd: Whatever it was, it was horrifying, and if you’re asking, that means you’ve completely blanked it out.
Mann: I think I did.
Rudd: I’m sure you did. I did. I think the only way you can prepare for something like that, for both of us, would be like a bottle of gin.
Q: Same question for you, Leslie. Is there anything you say you can’t do or are you game?
Mann: I’m pretty much game for anything.
Apatow: She pushes for the ones. The ones you think I made her do, she thought of usually. If you were trying to get across the mystery disappearing in a relationship and people being totally open in a way that after many years gets disgusting and not sexy, there was just one day where we’re like we probably need two examples. So one was, “Will you look at this?” and the other one was being on the iPad in the bathroom.
Mann: And the farting in bed.
Apatow: That was a Paul improvisation. He studied acting after the ham thing and he learned you just go with the moment.
Rudd: I also remember how hard, like with that whole hemorrhoid thing, sitting in that room as we were improvising stuff beforehand when you guys were writing about how funny that…
Brooks: By the way, also you don’t want to discover a horrible thing during a scene, like a nurse comes over and says, “We need to talk to you.” That’s not the place to discover that you’re terminal. “It was a funny scene, but come here. Look at this. Come to the monitor.”
Apatow: We actually found something. With the Hi-def, you can see all sorts of things.
Rudd: Why are they gathering around video village?
Brooks: The good news is we found it and we need to go to Cedars. I ask for scenes like that because it kills two birds with one stone. Why should I get a colonoscopy if I can have one in the movie?
Rudd: What was that thing Michael Caine says? Every time I need a haircut, I just take a movie.
Q: Paul, can you relate to Pete’s frustration with life being married with kids?
Rudd: Oh yeah, yeah. Obviously, the situations are different, but there are certain aspects of marriage, parenthood, all of that stuff that seems relatable. We’ve just spent years talking about all of this stuff and we’ve gotten together, my wife and Leslie and Judd. We’ve had many dinners, we’ve talked about it, and we did this going back to “Knocked Up” too, so there are aspects to the character that are very, very much a part of me.
Q: Also, thinking about turning 40, how do you look back on the earlier films that stood the test of time like “Clueless” which kids may be watching today for the first time?
Fox: Oh my God, you were in “Clueless,” that’s crazy.
Rudd: Megan was two. It’s nice to be in anything that anybody sees or likes, and if it’s something that has lasted, “Clueless,” people do still mention it to me. So it’s great. I’m proud and happy that I was in it still.
Apatow: My kids watch “Clueless,” but they’re very thrown by you as the heartthrob in “Clueless.”
Rudd: I would imagine so. Me too.
Apatow: It’s like your dad being the heartthrob, so they’re as disgusted as if it was me. They’re like, “Paul? What? Oh, I’m confused.”
Rudd: They watched it the first time and thought I was Dan Hedaya.
Q: How do you feel watching yourselves in the gritty realism of this film?
Mann: I like that. I like that tone in a movie. I like the more uncomfortable the better, the more truthful the better. I love, love, one of my favorite movies of all time is “Broadcast News” and him sitting there sweating while he’s trying to read the news is the greatest thing ever. It’s so heartbreaking. Are you wincing?
Brooks: No, no, no.
Mann: But it’s so uncomfortable to watch yet it’s so funny. It’s just the perfect combination of everything and that’s my dream. To see something like that is fun, to act and to watch.
Q: Leslie, were there any uncomfortable moments for you while you were making this film?
Mann: The only thing that made me feel uncomfortable in this movie is that scene with Iris where I’m laying in bed with her because it felt a little too invasive. I don’t know why because I can do anything else, but that for some reason felt a little like it was crossing some boundary, just because everyone was sitting there watching me with my little girl doing what I do with my little girl. I didn’t like that, but anything else goes. I’m fine with anything else.
Q: Paul, what about you? How do you feel about watching yourself?
Rudd: Well, shooting it I don’t feel too uncomfortable because of that thing that I was saying, which is if the character is the part, and it’s like I think differently when it’s all done. It’s like oh wow, that was a little much maybe, but I think I land somewhere in the middle. I don’t have that thing where it’s like oh, I can’t watch myself, and I think I can be critical in good ways, but I don’t do it all that often once the thing is done. I’ve seen this. I’m excited to see it again because I’ve really only seen it one time, so you just kind of see it all as a film. It’s always surreal I think though the first couple times.
Q: What is everybody on the panel watching on TV?
Brooks: Oh, you’re going to get me started here on a stupid topic. I watch “Homeland,” but the last few, I’m having trouble. Are you watching this show?
Apatow: We haven’t seen “Homeland.” We’re behind on so many good shows. We have many years of catching up to do.
Brooks: The last few…
Fox: Don’t spoil it.
Brooks: No, no, I don’t want to spoil it, but there’s just some things they need to fix. That’s a very good show.
Apatow: You would’ve tortured people differently.
Brooks: No, it’s not that, it’s just you can’t keep talking on cell phones without people listening. Everything’s done over a cell phone, all the key information, and it’s the CIA. It bothers me. But I think the acting’s great on that show and I watch that on Sunday. And then, I never got into “The Wire” when it was on.
Apatow: That’s the best.
Brooks: And then, I got into it and I watched three years of it in two days, so much so that it was like eating too much. I can’t watch the remainder of it because I’ve watched so much of it, but I was glued. I just kept watching episode after episode, claiming I was exercising but I wasn’t. I was eating and sitting. And anything news oriented.
Apatow: I used to watch “The Wire” as a gift to myself when I got a lot of writing done that day. So if I did my writing, I’d watch two episodes of “The Wire.” And then season four, oh my gosh, it’s all about kids, and it was so awesome that I had to watch all the DVD extras to see that they were actually actors because it was giving me nightmares. I felt so bad for the kids.
Mann: I like to watch “Psychic Kids.” Have you guys ever watched that? It’s so good. Or “Psychic Detectives?”
Fox: My dad’s in an episode.
Apatow: Your dad’s a psychic?
Fox: No, he’s in an episode of “Psychic Detectives.”
Mann: What did he do?
Fox: He does like recreation or whatever.
Apatow: Oh, he played the recreator?
Fox: He re-enacted.
Apatow: Which murder?
Fox: I haven’t seen the episode.
Mann: It’s so good.
Fox: I think he’s a psychic’s husband because he had to make out with some lady. Is that weird, having to watch your wife make out with other people?
Apatow: I don’t mind it because I know Paul and Leslie don’t really like it. If I sensed that they liked it, it would make me uncomfortable. Every once in a while I could tell Leslie likes it and that makes me sick, and so then we do less takes. But with Paul, I see it makes him uncomfortable, I think, or they’re faking it really well.
Rudd: By the way, the things you watch are the things that I watch, literally.
Brooks: Yeah, I’ve gotten addicted to NFL for the last two years. I was never like a giant football [fan] but the last two to three years, I don’t know what happened. Either it’s changed or I’ve changed, but I can’t get enough football.
Q: What’s happening with “Anchorman 2”?
Apatow: It’s like “Empire Strikes Back.” It’s top secret.
Q: Albert is one of the most famous players of anchormen of all time. Might there be a cameo?
Brooks: Oh, let’s not negotiate here.
Apatow: Everything goes so fast around the internet and stuff that by the time it comes out, it doesn’t come out for a year. Paul will be naked for a fair amount of it.
Rudd: That’s news to me.
Apatow: I wish I could give it away though because it would be fun to just tell you the funny scenes. Paul has the funniest scene ever in movie history in it. Actually, he truly has a scene that is so funny.
Rudd: That remains to be seen.
Apatow: Unless you screw it up.
Rudd: That’s what I mean.
Apatow: That’s a lot of pressure, that’s a lot of pressure.