Writer, Sarah Marshall, Judd Appetito discussed on The Q&A with Jeff Goldsmith

Automatic TRANSCRIPT

It was a grudge match with Stallone deniro both of which who had been in boxing movies in their own, right? And you you were co writing on it. What was your biggest lesson from from that feature film experience? Well, that wasn't my first that wasn't my technical. When I my first feature experience was this movie forgetting, Sarah Marshall, I worked as a as a. Producer. I mean as a credited writer, I worked as a producer slash writer on a whole bunch of movies before net, but I was always credited as a producer, right? And and then grudge back I didn't work on. I mean, I did work on it. But like, you know, whereas on the other movies, I was on set and was Syria. See we're doing like punch-up type stuff. I did a couple of draft. You know, it turned out that movie turned out, really good. And I was a really good experience. I didn't when I did that job. I didn't think they were ever gonna make it, you know, because they were like the premise of that movie is to. Boxers in their sixties who like used to be, you know, arch enemies arch rivals, you know, have a rematch in their sixties like thirty years later. And I did I just I did it as a job. It was really like the I like the people I was working with it was I didn't think it was made. Because I was like there's only like four actors who could be in this movie. And so our Stallone can't play another boxer. Then rocky, you You know, know, and and like. like, you know, Robert deniro, I I just I just, but they ended up literally getting Silvester Stallone Robert deniro to do it. So yes, I was that was just going back for a second. What kind of writing did you do on Sarah Marshall, lake and other movies? Would you just kind of add to the jokes like no type things because I mean, obviously WGN credits are very difficult to right? You didn't end up credit on any of those. I didn't. But but I I was a writer of record on those movies. Just basically what happened is I went to work on this show undeclared with Judd appetito before he was jut appetito and that wasn't like the early two thousands. And as that as Judd started move into movies, basically started to take the TV model and how we were making TV shows and move and bring it to movies. So very writer driven writer writers running sets, basically. So the director of Sarah Marshall. Did you know it worked on get him to the Greek with him? I worked on movie called five year engagement, you know, but all those movies of that era, super bad, right? All of them were made in this way. Where there were writers, you know. So I basically started on forgetting Sarah Marshall, you know, maybe five months before shooting and was there everyday of production and kind of worked with director and Jason Segel as a as an onset creative supervisor kind of and creative producer, essentially. So you know, and that was a big Judd innovation. I guess, you know, you, and you know, and the community that I worked with that this show undeclared which lasted for eighteen episodes and some people remember, but you know, it's to be I wish they had more than eighteen episodes. Generous it was a Colt show. But a lot of people from that show like ended up taking over comedy, you know. Yeah. So, you know, so that like I was saying that that very writer driven, you know, it's a whole approach to making movies into making comedies that has to do with. Among many other things that has to do with with writers being in positions of of authority, and it's their job and as producers, and it's your job to kind of try to end -ticipant all the problems, you might have input in edit and try to solve all the problems while you're shooting. You know, you were to Lord Miller on twenty one jump street. And what was what was something?.

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