Happy Sad Confused - Ben Stiller & Seth Rogen

Episode Date: August 21, 2025

Two comedy giants. One memorable night! Ben Stiller and Seth Rogen join Josh for a very special taping of HAPPY SAD CONFUSED to discuss SEVERANCE, THE STUDIO, the creative process, and so much more. Check out the ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Happy Sad Confused patreon here⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠! We've got discount codes to live events, merch, early access, exclusive episodes, video versions of the podcast, and more! Learn more about your ad choices. Visit megaphone.fm/adchoices

When you're with Amex Platinum, you get access to exclusive dining experiences and an annual travel credit. So the best tapas in town might be in a new town altogether. That's the powerful backing of Amex. Terms and conditions apply. Learn more at Amex.ca. The twisted tale of Amanda Knox is an eight-episode episode Hulu original limited series that blends gripping pacing with emotional complexity, offering a dramatized look as it revisits the wrongful conviction of Amanda Knox for the tragic murder of Meredith Kircher and the relentless media storm that followed. The twisted tale of Amanda Knox is now streaming only on Disney Plus.

better chance of Vin Diesel being in the studio or you being in a Fast and Furious movie. Oh, God. I think, wow, I would prefer to be in a Fast and Furious movie. I don't know. Take that as you will. I just, that to me is a big opportunity. Prepare your ears, humans. Happy, sad, confused begins now. Hey, guys, I'm Josh, and this is Happy, Say, Confused. Today on the show. show, two absolute icons of comedy, amazing creatives, Seth Rogan, Ben Stiller, together at a live event we taped in Los Angeles. This is an awesome one. Hey, guys, welcome to another edition of Happy, Say I Confused.

I am back in New York, quick whirlwind trip, literally 24-hour trip to L.A. to do this really special event. Still riding high off of it, and I think you guys are going to really dig this for those that couldn't be there in person. This is now for the world to enjoy Seth Rogen, Ben Stiller talking Severance, the studio, and so much more. Before we get to that, quick reminder, as always, our Patreon, check it out. Early access, discount codes, merch, autographed posters, all sorts of cool stuff. Patreon.com slash happy, say, confused. Supporting us over there helps us make more stuff over here.

Like this amazing event, look at that segue. So this was our third Los Angeles live event. to this year, we're upping it. You know, we're starting to make these a little bit more frequent. I don't think I'll ever do them, like, super on the regular, but when the right opportunity comes, the right timing happens, and it all lines up. I love doing these in L.A.

The Fine Arts Theater has been our home so far, and this was our third sellout in a row. And it was a really cool one. This is a really special one. So Seth Rogen, Ben Stiller, are, of course, the creative forces behind, the two juggernauts that are the studio and Severance they are dominating the Emmys the Emmy conversation this year severance has the most nominations of any

show 27 nominations it's going to take home a bunch of things I'm sure as well it should as should the studio which I'm of course obsessed with to 23 Emmy nominations including I mean you know the likes of Scorsese Dave Franco, Zoe Cravitz, Ron Howard, all these amazing supporting performances, not to mention the leads like Seth and Mike Barenholz and et cetera. It's such a fantastic satire and look at the Hollywood system.

So anyway, like to get these two, you know, get one of these guys on stage, of course, is a treat. To get them together, amazing. Once in a lifetime opportunity. They've never done something like this, truly. And this was a great chat. We talk about the many kind of similarities in their careers, overlaps, people they've worked with.

As you would expect, this is a very funny, very light conversation. These are two of the funniest men on the planet. So this is going to be a really entertaining chat for you to listen or watch, I believe. A couple notes, really only one note. You'll hear, I think you'll hear a beeping occasionally. Luckily, again, these guys are very smart and funny, so we were all able to kind of like riff and integrated into the course of the conversation. I didn't realize what it was at the time. I actually thought it was like a fire alarm or something.

Of course, duh, it was just like an amber alert thing, not just. That's a concern. Let's be real. That is a concern. But it wasn't anything that was life-threatening for all of us. And it kind of pops up here and there throughout the show. So luckily, again, when you have Seth and Ben on stage. You can have fun with moments like that.

My thanks to Seth and Ben, to everybody at Apple, to the 400 folks that packed into that theater to make it an amazing sellout and hugely energetic and fun event to the entire team that helped make it possible on my end. We'll do more of these, I promise. And let's get right to it, because I've got the exclusive guys.

No one else has this. enjoy a really special night in Los Angeles with Seth Rogan and Ben Stiller. Enjoy. Hi, everybody. How's it going? I'm Josh Harowitz and welcome to a live event for happy, sad, confused. Thank you guys for coming out tonight.

Welcome to the Fine Arts Theater in Beverly Hills. Thank you so much for making this night so special. You guys sold out this event in record time. This is our third live, happy, Say, Confused in Los Angeles. You guys make it so special. So thank you again for coming. coming out.

Yes. I know why you sold it out so quickly because we have not one but two amazing icons coming on the stage in just a moment. Look, they are both comedy giants. They both can do it all. They can do comedy. They can do drama. They are writers, directors, performers.

They have contributed so much to television and film the last few decades. And most recently, obviously have created, helped create two of our, two of my favorite shows. on television right now. Ben Stiller, of course, as if you didn't know, his executive producer has directed a bunch of the episodes, of course, for Severance,

the creative force alongside Dan Erickson of this amazing show. It has 27 Emmy nominations, guys, the most of any show this year. Well deserved. And Mr. Seth Rogen, performer, writer, director,

co-creator of the studio, this love letter to Hollywood, this amazing satire, 23 Emmy nominations, the most of any freshman comedy ever full stop. So 50 nominations combined tonight. Pretty good, pretty good. Without any further ado, I'm going to bring them out on stage,

we're going to have a fun little conversation. You're ready for this? Should we do it? We're here, we're here, right? Please give a warm welcome first to Mr. Seth Rogen, everybody. Come on up, Seth! There we are years, and then we have the one in the way, Mr. Ben Stiller in the house. Ben, come on out.

Oh, I didn't do that. I was so rude, Seth. I know I didn't do that. Hi, guys. Hey, how's it going? It's good to see you both. Congratulations on everything. Thank you.

I know what the audience is thinking. Look at this diversity on stage. I know. It doesn't get more Jewish. Yeah. There could be like a man dovening up here with us, and it would not be more Jewish than it currently is right now. Let's open the law firm.

Yeah, exactly. Brogan Harwood-Stiller. Should we do like a 23 and me right now to see if we are? There's no way we're not related. You don't even have to. I regret fucking both of you earlier now. Okay, so we have a lot to talk about. You guys, look, you have.

a lot of similarities in your careers but surprisingly not a ton of overlap is there is there a meat cute origin story for when you guys met do you remember when you first met each other yeah because it was on the set of it was on freaks and geeks yeah so you were eight I was I was I was 16 16 sorry and you were 32 exactly and I remember I was like I remember that Because I asked you how old you were. Seriously? Yeah.

Oh, my God. And you was sort of like embarrassment said 32. And I think my reaction was like, whoa. You're almost dead. We got a 32-year-old on set. I've been old for a long time. Yeah, I know. That was it.

And it was crazy. Because I remember Judd saying, like, there's this really funny kid. And he's really good. And he's writing stuff. and he's great and he's kind of doing his own thing and it was so exciting for us

like something about Mary had come out a couple years earlier which like to me was maybe the most like mind-shattering comedy I ever saw and I really think there is like my life watching movies

before seeing the nuttack in the zipper and my life watching movies after seeing the nut sack of the zipper you're welcome yes you're well please and meet the parents

had like literally just come out like right before we shot it So for us, it was like an unbelievable thrill. And now I look older than you. So I somehow passed you. We all catch up with each other. Yeah, exactly. All Jews even out.

There's no getting away from it. I mean, you do share some interesting similarities. You both clearly had a drive very early on, respectively. You were making home movies right from the start. You clearly had a passion for this. You were doing stand-up by the age of 13, right? And you were also making movies, too. I was making home movies with my camcorder, yeah.

With Evan, who I still work with. Upgraded the equipment slightly. But, I mean, where did that drive come from for both of you? I mean, it seems like you had a very, like, assertitude very early on. Was it just from digesting, like, just absorbing comedy and film early on, or what? It's a good question. I mean, I don't, do we know, do we really know where it all comes from? You know what I mean?

Right. Like your desire to do something? It just was there. Maybe it was being around it because my parents were in show business and were, I was fat, yes, Jerry Siller and Ann Mera. That was incredible to be in that family because it was, that was so exciting what they were doing to me and my sister that it was what they were doing, not to us. But like, we were going, whoa. We're going down a dark path. No, no.

But what they were doing, what we were watching them do on stage, and that was so much more exciting and interesting than school or anything like that. And I think I was drawn to that. And then where that, you know, how you have that drive inside, I think it's desire to, you know, do it because you have the, I don't know, though. Where does it come from? I mean, you had a, your parents were, with all due respect, not Anne Mira,

and Jerry Stiller. No. But they were big movie fans. I grew up watching a ton of movies. I honestly think that was a big part of it. They really loved comedy and were big fans of Bill Murray and Saturday Live and SCTV and Harold Ramos and Martin Short. And they really like inundated me with a lot of comedy from a young age.

And a lot of movies. They would take me to movies that I was far too young to be seeing at a very young age. and they were incredibly encouraging of me. Like a lot of, I look, you know, it's funny because I always joke, I have a partner, Evan, who I met in bar mitzvah class, and we started writing together, and his parents were always like outwardly discouraging

of us writing together, and I love to bring it up because they're still around, and I want them to feel the pain. Whereas my parents were incredibly encouraging. My mother, I told my mother I wanted to do stand-up when I was 13, and she drove me to, comedy clubs like every week and she was incredibly supportive and I think that was like a huge thing is

it was just like something I loved and they really helped me do it yeah it's also interesting because both of you from pretty early on were not just acting you you were creating right like you were a writer on freak syngeeks at a very young age you had I was right on undeclared which was right but I was 18 so I was still pretty young very young you had the ben stiller's show so like from then on you were kind of captaining your own respective ships. Yeah, I mean, a lot of it was out of necessity for me because nobody else was hiring me. So I would like make my own stuff.

You know, I'd go and audition. I wasn't really, I don't think I was great at auditioning or even maybe at acting at that point, honestly. You know, I was nervous and whatever. But do my, so I'd go do my own stuff where I felt comfortable with my friends and pursued that and, yeah, explored that. And kind of the directing part of it was part of it,

because I was directing the stuff I was doing, too, which I enjoyed. And it was always sort of connected. But in my mind, it wasn't always connected because I always loved making movies as a kid. That was really how I saw myself was being a director. Oh, no. Always a fun noise to hear in a Q&A. Exactly. Always the thing I look forward to.

Is it bad? Just tell if it just pivot's bad. How bad is it? As long as it's not. not COVID again. Yeah, exactly. I think that means we're doing a great job. Exactly.

Whatever that sound is. It's the comedy alert. You're too funny. B. Other similarities, let's see. You both worked with Barbara Streisand. That's right. We did.

It's sand. Not Zand. She will be the first to correct you. Liquorish pizza taught me that. Yes. Right, right. Yeah, she played both of our mothers. That's right.

In movies. Again, very Jewish stuff going on up here. The statistical. I feel like Evan should be up here on this panel. Yes, exactly, circumcising someone. Wait, did you direct a lot of the Ben Stiller show? Yeah. Oh, see, I don't know if anyone's seen that show.

No, no, but I didn't direct all of them. But it's also, yeah, there's like Michael Gordon. And commit so hard to the various genres that it is. Yes, that was the fun thing for. me was like I would like we would do take off on you know like Cape Fear yeah exactly it looks like Cape Fear and we like we're like making a little mini Cape Fear and that was the fun part and then it being funny was also kind of important too I knew but I was more into like oh we're actually making well it was Kate Munster it came my monster

Eddie Munster with Eddie Munster it's so good my favorite one is the Woody Allen Husbands of Wives one where it's Frankenstein and you do a Sydney Pollock impression Which is a true thing of beauty. And it's one of those things where you're like, how do you even impersonate Sidney Pollock? I know. You do it. And clearly appealing to the broadest possible audience

because everybody loves a good Sydney Pollock impression out there. I do. We do. There was a big fight we had in the writers room about who was going to play Woody Allen in that. And Andy Dick won. Andy Dick did a very good job. Did people want to do it or not want to do it?

At the time he wanted to. Do we think it's more intimidating? Comedy alert again. We're killing. I think we said Andy Dick too many times. You say him a third time. He comes up like Beetlejuice. By the way, one of the funniest human beings

ever. Wherever you are, Andy, you are... Wherever you are. Once my parents were locked in a small room with him at an after party for one of our premieres. And it was really... It was a weird scene in there. I was like, where are my parents? and I opened a small room

and it was them with Andy Dick who was just like monologuing at them. Oh my God. More points of similarity. Both have been directed by the great Steven Spielberg. More intimidating to be directed as a child, a young man, a young, not child. I was like 20.

Yeah, a young man or a man of stature like you were just a few years ago. Both were intimidating for... It's intimidating either way, I would imagine. Yes, intimidating and incredible. We were actually talking about this the other night as like exciting. And because you're working with your hero,

because I feel like he was. Of course, yeah. And it's also intimidating and scary, but then he's such an open guy on set. You can ask him, once you start to get a little comfortably, you'll ask him questions, and he'll give you all the fun answers that you want. I would imagine that experience informed.

Oh, God. No more Stephen Spielberg told. Spielberg alarm. It's the Jewish alert. Yeah. It means there are too many Jews on the stage. Too many birds. Goldbergs, Spielberg. Jew.

Jew. Jew. Were both of you bar mitzvah? I was never bar mitzvah. Nice way to change the subject. Yes, I was. Okay, cool. What? What? What was it?

You were bar mitzvah. You were bar mitzvah as well. I was Bar Mitzvah, yeah. I met Evan in Bar Mitzvitzvah class, my writing part. Oh, that's right. You were saying that. Yeah, of course. During the Volvo Fall Experience event, discover exceptional offers and thoughtful design that leaves plenty of room for autumn adventures. And see for yourself how Volvo's legendary safety brings peace of mind to every crisp morning commute. This September, Lisa 2026 X-E-90 plug-in hybrid from $599 bi-weekly at 3.99% during the Volvo Fall Experience event. Condition supply, visit your local Volvo retailer or go to explorevolvo.com. Hit pause on whatever you're listening to and hit play on your next adventure.

This fall get double points on every qualified stay. Life's the trip. Make the most of it at Best Western. Visit BestWestern.com for complete terms and conditions. Did Empire of Sun must have informed Tropic Thunder a bit? It actually did, for sure. I mean, at that time, there were so many war movies being made. It was the era of, like, platoon, at Hamburger Hill.

And every actor of my age at that time was auditioning for all those movies. And going off to the boot camps to do the, you know, the actor boot camp for the movie where they act like soldiers for two weeks. this guy named Dale Dye would train them and then they go make the movie and so I thought it would be funny to make a movie about actors who really take themselves seriously

and at first I wanted to do it about actors who went and did the boot camp and made a movie and then came back and felt like nobody cared like the actual Vietnam veterans yeah it was a funny idea but in reality it was like oh that's not really

that funny. But I do want to make fun of how actors take themselves seriously in those situations. So that's how the idea for the movie evolved. Amazing. All right, let's talk a little bit about your current amazing show, Severance in the studio, as I said, 50 combined Emmy nominations. At this point in your careers, when you're proud of something you feel confidence, I would imagine, like you've made something that you feel proud of. Do you expect people to receive it well? Do you, like, when you release it out into the world, what is your default emotion anticipation?

I don't. You don't, yeah. I dream about it and think maybe, that would be cool. And hope. But honestly, you know, you've done this enough. Like, you just never know. And you can put your awe into something that you think is great.

And it just sort of like, whatever. So, I mean, it just happens that way. So it's hard, for me, it's hard not to be attached to wanting people to like it. But I do not expect it at all, no. You must, it must boggle your mind. Let's first on severance. The way it has been embraced,

the way it is like it's a Reddit rabbit hole for so many people. It's become an obsession for fans, just as I presume it's an obsession for you. What's it like for you to see folks, I don't know, absorb it in that way? It's crazy because I've been with it for, since Dan brought the script to us,

the pilot like eight years ago or something like that or more maybe like we started working on it about six years ago developing and started shooting it the first season five years ago so it's been my full-time job for the last five years and I've loved it has been amazing but the first like two years was just like I'm just doing this and nobody knows about it or you know we don't know what people are going to like it or not and then and we had all these episodes and you know the the whole mythology of the show and the terminology and all that we amongst ourselves knew it And then when I first heard, like, people saying, like, In-I and Audi in the world, it was so weird.

It was like, oh, my God, they're saying the things that Dan made up in his script, and everybody's, like, into it. It's like, it was so, that was so exciting. I can't imagine, though, even, like, look, obviously your name on it helps get something made, but it's still a pretty out-there concept. I mean, like, when you and Dan are going out to Apple or whoever, like, is it, are you saying, like, it's the office meets the prisoner? Like, what is the shorthand?

Like, what are you... I mean, it's, you know, he had this amazing pilot and the tone of it was so clear that I think people got that. Apple got it. By the way, I don't think anybody else got it. As many projects, like Escape it to Annamore, the only people who bought it were Showtime when we went out to pitch. We pitched it to everybody.

So that happens all the time. Same thing with Apple on this. They were the only ones who wanted severance. So they really saw it. And thank goodness they saw it. And the pitch, you know, was kind of like, yeah, it's weird, but it's also kind of of funny and you know but I think it was on the page what he wrote was what it was about for for you Seth I mean I remember I got a chance to see some early episodes and I talked

to you about it I mean like you knew people like me like you know nerds of the industry were going to love this thing but I would imagine you must have had some concern like is it too inside baseball isn't going to resonate on a broader level I was honestly also very concerned the people in the industry would not we really wanted it to ring true to people in the industry and and we wanted it to pass like our own you know kind of bullshit detectors as far as like is this the type of thing that happens in Hollywood does it feel like it's kind of cutting to the core of certain things that you feel as though you know as people who work here like are kind of funny or tragic or or interesting things in the and and so that was actually really

my fear was that people in the industry would watch it and and think we we misrepresented what it is that we do and that so many people like have dedicated their their lives to that was a real fear was like oh we we've just worked so hard to sort of kind of explore our experience of this place and it would be such a bummer if the other people who worked here didn't think that we were like kind of capturing it in an interesting way so that was actually real fears I knew a lot of people I knew we're going to watch it which is not something I feel about how a lot of stuff I do a lot of stuff I do it's funny

when you do something like this it makes you realize how few of your friends watch most things you do where were you last on yeah exactly yeah because I was like oh this is what it's like

when my friends watch a thing they all talk to you about it I'm supposed to like everything I've made in the last six years it's like nobody talks about it that much and so I knew people

of the industry were probably going to watch it and so I was actually very nervous that I was like oh like I'm sort of really exposing myself to the people I look up to the most, and to the people I most desperately want to impress, much like my character. And so that was really my fear was

like, oh, I assume if you're someone I like and respect, you'll probably check out this show if you heard it's about the industry. And if you hate it, that will be humiliating to me. So I felt that a lot. Yeah. Or put on your producer, creator, director hat, and I'd love to hear your perspective on each others shows. I'm like, what's impressive for you knowing what you know about how the sausage is made, about how the other has made their show? I have not seen the studio.

I should have said that up top. I'm sorry. Wow. But I've heard incredible. You haven't seen anything I've done since that episode of Freaks and Geeks. Exactly. But your friends told me it was amazing. I'm telling you, it's funny listening to you say that because I have watched it. I consumed it.

Yeah, I think it's so good. And what you're, I mean, everything you're saying there, like, first of all, the fear totally unfounded because it so captures the reality. What I think is amazing about the show is that it both captures the craziness. Let me say that. It captures the reality of the business. All that is so real in that show. Yet it's incredibly heightened, too, and right, and just like over the top, too.

But the more over the top, it is the more it actually is underscoring how real. ridiculous the reality of Hollywood is because it is so real. Because all of those conversations that are happening all the time, it's like one of the most accurate representations of Hollywood ever. And I know it's like this kind of fun, frothy thing too, but it really goes to the heart of it. And then the boldness of the filmmaking and the willingness to say, hey, we're going to make a choice and have a style to shoot it

in a way that is a huge commitment, but ends up, I think, really just being incredible because it's singular and unique. And it also captures, whenever you do a shot that goes on, and there's been a lot of WONRs in the last few years, I know. But, which is, you know, by the way, it's a great thing, a wonder. But, like, when you keep a shot going for a long time, there's no way for the tension not to build up

because it's just going and going and going and the best ones, usually for me are the ones you don't notice or a oneer for the first, like, five or seven or ten minutes. And this show is like that because you know they're all Wonders, but yet you forget their Wonders, too, because you're just watching what's going on. So I think that that filmmaking level is just very high

and I think he's just incredible. It's great. That was great. It's exciting to watch. Thank you. That's so nice. What a lovely, what a lovely thing. A treat, right?

When you turn on TV and he's like, oh, my God. That's so nice. Have you seen Severance? I've not seen Severance. I actually started it that stopped. A little slow. I watched the first three episodes. Wasn't for me.

Appreciate the honesty. I love severance. I mean, a lot. I mean, what I've expressed to bend, honestly, like,

drunkenly at parties over the last several years was, like, to me, like, sort of precise, clean comedy,

like, that is highly specific and highly composed and highly curated and its style and it's, timing and it's staging to me is something that like so many people try to do and and and and it removes the actual like life and comedy from the thing and what to me is so impressive about

the show is that it is all those things it's like precise and composed and beautiful and color coded and and you know in the blocking and the staging and the sets and all of that and the rhythm of the shots and the timing of the editing is so dialed in and specific and normally that makes a thing feel less alive and less funny I find but I honestly think like not since like like things like Dr. Strangelove have there been like a combination of like precision and comedy that actually like functions very very well like this show does and to me that is like it's so it's I've tried to do it and failed like I've I've I've seen seeing how hard it is like and so to me it's like the whole thing the fact that it is as specific

and again sort of like precise and like you know and almost like sterile at times but in a beautiful way as it is the fact that it's still alive and comedic is is so it's like impossible to do that no one else no one else has done that i think in like 50 years or something so it's like it's like Jacques, you know, it's things like that that are like, they're like impossible to do. Like, very few people can do it. So, to me, it's really impressive. It's, yes. Thank you.

Thank you. You've heard me say that you several times also. Now it's on the record, though. Now it means. I would just put a caveat to that, which is the freedom, you're talking about the comedy of it. And, like, the thing I do feel like I'm sort of, it's sort of cheating comedy-wise is because it's not a comedy. so any comedy that you get when you're making something

it's not a comedy is bonus you're breaking the tension you're yeah you're not the expectation from the audience is not make me laugh they're like what is this and then you can throw in laugh so it's I think it's harder

honestly to do what you're doing on the studio execution wise it's as hard or whatever any of this because you're actually having to deliver a comedy too and do something that has style and all that stuff

but what strikes me about both of yours and kind of like a reverse is as you say like, you know, yours is, like, ostensibly, you know, existential, very serious in these, but has this real, like, absurdist quality to it. And yours is kind of this flip side, where it's this broad comedy at times that has real dramatic heft and, like, real, you know, characters that are, that we connect with. So you're both kind of, like, finding a way to tackle both.

Yeah. I mean, I think what's interesting in the studios, you're also doing satire, right, and commentary, but then you're also having characters that you have to invest in also and have a dramatic arc, but you're also trying to comment on all of that too, and also coming from this place of love of the movies

and not becoming a cynical thing that's just like, you know, trashing everything. So that's the other thing. And I'm trying to fall down in every episode. Which is always enjoyable. That's the drinking game, yeah. It's funny. I mean, obviously the studio tackles kind of this theme of like

art versus commerce, and I'm thinking your directing work, I mean, reality bites is about that in many ways as well. I mean, is that, that's something that I would imagine, has that been something that's been kind of tough to negotiate throughout your careers? You seemingly both have really marched to your

own drummer and made stuff that's personal and that you find funny, but you have to also think commerce sometimes, too. Yeah, I mean, you're just living your life and figuring out what you want and what's important to you and what those creative decisions are and where you're at at that point in your life.

And so that's been a constant part of the journey and, you know, trying to figure it out. Yeah, I'm not as like, I think on the show, my character's like heavily conflicted by it because he could get fired, you know, by the powers that be, should he not make money? And I am generally not in that position. So it's much easier for me to err on the side of art, you know?

But it is something that is, I'd say, like, the most stressed out moments in my job have probably been when I feel that exact, you know, that inflection point, you know. It's also interesting, I mean, it feels like in some ways, look, as we well know, television is in this amazing age where these kinds of shows get these kind of amazing budgets and you're able to kind of like achieve greatness. And you've obviously had such great work in film. And in some ways, like, you know, coming off of, I know, something like the interview or Zoolander too, you've both talked very frankly about those being kind of pivot points in some ways.

for both of you. Yes, the interview for me was when I realized why try anymore? He cracked the code. They did it. But in some ways, did receptions to those

inform going to TV and trying something different? No, for me, it wasn't about going to TV. It was just about, like, that was a point for me where I was like stepping back and going, okay, why am I doing this? When I go through a failure?

You know, that doesn't feel great. Like, it really made me ask questions of myself. Like, why am I doing this? What's important to me? And that was great to have that clarity. It was, you know, kind of not a fun time, but there's also a lot of other stuff going on my life. But what I came out was like, oh, I really want to make sure I'm just doing things that I want

to do in the moment that are going to make me, you know, happy. It's something I want to see that I want to watch. And that's really how I was then able to kind of like make. decisions on things after that. For me, it was a little bit clearer. And for you, Seth. Not that I didn't want to watch Zoolander, too. It was just like, yeah.

It was just, no, I didn't know, because I, but not really. Because, like, I honestly, like, I think directing and acting for me was what I really got some clarity on there, which was like, I didn't want to have to stare at myself when I was editing a movie because I love it. Thank you. Thank you. But I just didn't want to have to keep on directing myself. Do you not like directing yourself?

I stopped doing it after. Oh, wow. I haven't done it, yeah. I guess you did it. And been very, very happy because I like to do it just to be able to do one thing at a time. It's so much more enjoyable to do that for me. So, yeah, no, I get that. Do you direct actors the way you like to be directed?

Like, what's your... I, you know, I don't even understand how, like, to explain what directing is. Because it's such a... Different for every person you're directing. Yeah, it's a different thing. For me, it's... I think of being reactive. It's just being reactive to what you're seeing

and to figuring out a way to, you know, communicate with whoever you're working with to get to a place that you, you know, are clearer on what it is you want it to be. And with an actor, you have to see what they're doing and go from there. And I am just nothing but more impressed with the skill of acting,

the craft of acting than watching the actors on Severance, watching them do what they do because I'm so grateful every second that I'm not having to be in front of the camera trying to do that because it's hard and also grateful to be an audience to see what they're doing and then to be able to encourage and like maybe you know send them in one direction or the other but also sometimes not do anything so it's kind of just reacting to what you're seeing and and being in the moment with it also must be thrilling to see like you know prior to severance I did not know Tremel's work or Brith's work and now to see folks like this

acknowledged. Yeah, it's so great. And they're, you know, there's such good actors, and they've been been good for a long time. I think it's really interesting how, like, sometimes it's a role that an actor finds. I'd worked with Brit years ago on a TV show, and she was so funny and so good. And Jay Barrichelle had worked with her on something also, and it's so funny, because it wasn't until several, I was always like, why is she not more famous? Like, why she not more, like, appreciated? And then, yeah, it takes the right thing sometimes. I mean, I think that's the thing. It's just, like, Sometimes it's just the marriage of the actor and the role and the moment in time or the show.

And it's been really fun to watch Tremel's, you know, incredible rise. He's so talented and he's such a great actor to work with and he takes the work so serious. He's not Jewish. He's not Jewish. So. Tillman. Tillman.

So before Severance, we didn't know. We didn't know, a lot of us didn't know Tremel was such a tremendous actor. Before the studio, we had no idea that Martin Scorsese was such a talented actor. Actually, we did. He's good, he's in taxi dry. He pops up in some...

Oh, he's great, actually. In Dreams, the Kersaw movie? That's right. As Vincent Van Gogh. Do you get a fruit basket after the nomination? His first acting nomination for an Emmy. Oh, no, nothing. What?

I don't expect a fruit basket for Martin Scorsese. Are you kidding me? I owe that man a lot. That guy, speaking that guy fucking truckloads of fruit. Like, he really gave us a gift. At the end of his shooting day,

I said to him, I was like, I genuinely feel like you gave me a huge gift that I, in no way, deserved from you that you in no way had to give me. And I genuinely feel that way. So I don't expect anything from Martin Scorsese beyond what he's given me. I would imagine, like, getting through that day,

you can now probably direct any human being and not have a panic attack. If you can get through directing Martin Scorsese, it's going to be okay. It was probably one of the scary, yeah, more intimidating things to do. Yeah, I didn't sleep much that night. And then I was driving to work that morning

and my mom called and I said, I'm about to have to direct Barnes-Corsese and she said, oh my God, that must be terrible. What if he doesn't like that? what you tell him I was like yeah that's that's what I'm worried about you should be

that must be scary we shoot the whole show with one camera and it's one take and that it was like it was like the first week of shooting basically and so we were still sort of figuring out the process on our feet a little bit and so that day

I was I was honestly so worried I would show up on set and he would be like, where's the second camera? That I hired a second camera crew. And we were shooting at the Roosevelt Hotel. And I just literally told them, like, you're going to be sitting in this hotel room. If that phone rings, come to the room we're shooting in,

act like you were supposed to be here this whole time. And it is so stupid in retrospect because, like, instead what happened is he showed up on set and instantly had, I literally never met him before he showed up on the scene. of our TV show. We didn't talk to him once. We sent the script

and we heard back from his manager. He loves it. He'll be there. We were like, okay. Part of him he was like, he's not gonna fucking be there. Did you, were you like worried he'd know his lines?

Because of the oneers? I worried he wouldn't know his line. Yeah, I was worried about all that. I would worry he would just be like, you shoot comedy with two cameras. That was like my main fear. He was just gonna like reject the whole premise of your show.

This is what we were. were doing. That was my real fear. And so he showed up on set and me and Evan, you know, we go to him and we're like, just so you know, we kind of have this thing we're trying to do where we do every scene in one shot with one camera. And he's like, oh yeah, it's like, French, do wave. You know, they never cut. They hated editing. They often had one camera and no access to an editor. So they would shoot entire scenes and what they were like, okay, you get what we're talking about. You're Martin Scorsese. We don't have to explain anything to you. You get all of this. He's like, yeah, I get it, I get it. And then he just fucking did it. It was amazing. And it was so funny. And I couldn't believe it.

It was incredible. And those men got paid to sit in the hotel room all day. Everybody wins. It was the actual camera crew from, I was like, can we get the people who worked on killers of a flower moon? So, like, if I'm at the doghouse, I bring out, like, familiar faces. Like, eh? So it was them.

They were just sitting in a room all day, yep. Are there, look, Ben, you've directed some amazing people. You've acted with some amazing people. I mean, it's one thing to, like, you know, direct Tom Cruise as less grossman. But it's another to, like, even before then, like, act with him as his stunt double and do Tom Cruise's laugh six inches from Tom Cruise's face. Yeah, yeah. Is that scary?

That was, I'm trying to remember. It was a long time ago. like 26 years ago. I remember. We all remember. I'm trying to remember what I remember. Yeah, no, it was, I love that little piece. It was so weird.

We didn't really know each other. I'd met him once before. And yeah, I showed up. I was actually on my honeymoon. And we came back a couple of days early to do it. Because we were on this island. It was raining off the coast of Australia. And we were, anyway, we're still married.

It's okay. But yeah, so we left early to do. It's like, yeah, this sounds like fun to do this thing with Tom Cruise. And we just started, yeah, John Wu was there. And it was, I remember just like we were sitting in the chairs and, yeah, just kind of like we just, it was just like it was happening in the moment

and then he was laughing and I started laughing. Then he started laughing more. And then I started laughing more. And, you know, he was totally open to it. He was open to it. Yeah. Amazing. You also did a great bit where you pitched Titanic 2 to James Cameron.

Yes. Yeah, yeah, with Vince. You and Vince Vaughn. Of course. That was more scary. Honestly, I was going to say, like, there's no director scarier than James Cameron, I think. The most intimidating, for sure. Very tall, too.

Ever been up for a James Cameron movie? When's the last time either of you had to audition? It's probably been a long time for you guys. Do you remember it? I mean, thankfully, yeah, because I would not get most of the roles. that I played if I had to audition for them because I'm not great at auditioning. I'm trying to remember.

I mean, I screen tested for a movie once. Yeah. That I didn't get it. I feel like you self-censored halfway through that story. I was thinking like, oh, do I want to see this clip to none? But yeah, no, like a movie that I didn't get with like a famous director and, yeah. Well, now we can figure out what it is from that.

But when was the last thing you audition for? I auditioned for the Steve Jobs movie I auditioned for. By the way, I think that's great. By the way, if someone said, you auditioned for this movie tomorrow with Chris Nolan, I'd be like, okay, yeah, I'll do it. Oh, I was thrilled to audition. It took the pressure off me.

I was like, they know what I'm capable of. If they don't like it, this is Danny Boyle's fucking ball. Like, not. Yeah, like, let's get it all out on the table. Yeah, yeah, yeah. I think it's like you have to have like it's it's like the fear and all that like that's important and like the willingness to do it is because you want to, you know, be a part of this thing if it's right. If an audition can really be sort of like figuring out does this feel right for us? Oh yeah. And I've had a few times over the years where we've been making comedic films and asked big actors to come in. Because we're also like you should see if you like how we do this. Like you might just get here and be like, oh, I don't want to like stand here and fucking make. make shit up all day like that you might hate this process you know what i mean and so i've actually been amazed at what great actors are are happy to come in and and do that because they understand like

it's not just us seeing if we like them it's them seeing if they like us yeah and as a director i i'm so appreciate it when an actor any actor comes in oh yeah because it just helps so much to be able to visualize what it's and also to be able to talk to them and maybe you do it a couple times and you see how that feels and just the interaction in person, by the way, because that's the other thing. Like, you know, now it's all over, you know, self-tapes and zooms, and it's really, really hard. I miss those days when, you know, people come into the room. I'm here for BetRivers Online Casino and Sportsbook with poker icon Phil Helmew. Thanks to Bet Rivers, I'm also a slots icon.

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You're in front of your mirror with your Starbucks coffee. Be confident. Assertive. Remember eye contact, but also remember to blink. Smile, but not too much, that's weird. What if you aren't any good at your job? What if they demo out you instead? Okay, don't be silly, you're smart, you're driven,

you're going to be late if you keep talking to the mirror. This promotion is yours. Go get them. Starbucks, it's never just coffee. Do either of you, I mean, obviously the reception to both of these shows is phenomenal. Does it make you want to read reviews again? I know you stopped reading reviews a long time ago. You told me once.

Yeah, because you know what the reviews are. You know what I mean? Somebody's going to, like, when you wake up in the morning, you get the text, fuck the New York Times. I'm like, all right. Fuck them because they like this so much. I know what the New York Times review with. And it just, it's impossible not to know.

And the good ones for me, it's like, it's never, oh, no, you didn't quite get it, you know, and then you have to, it's really you do, it's hard. I mean, it's hard. Sometimes somebody says, hey, read a thing that somebody said or wrote, like, I will do that sometimes. But no, I do not wish to delve in. I do engage with people on Twitter about the show, and that's more fun for me. But it's less like a specific sort of like a someone who's like a critic or something like that. It's more like just people back and forth.

Do you have a favorite fan theory, obsessive thing that you, a detail that you didn't even intend to be a detail in severance? I don't. I mean, I think it's so interesting how much people have found within it. I think it's really fun to see how people discover and notice things that we did do intentionally. But then there's so many things that are not intentional that people see. But then kind of makes sense, too, which is really cool. Maybe we did do that. Exactly.

Maybe we're like, we're really good, man. No, it's like interesting. You just see, like, oh, you can find these parallels, and that's really cool. But I just appreciate when people see the things that we're like we've been working on. And backtracking, your relationship with criticism, is it helpful at all for you to read what critics think of what you do or not really? It depends on the thing. If it's good, it helps my ego intensely. And if it's bad, it damages it a lot.

That makes sense. Ask a stupid question. I wish. I mean, yeah, I like to know the consensus. I like to know, as me and my friends say, live by the tomato, die by the tomato. But I think... Exactly. Who needs to read reviews seriously

when you haven't rotten tomatoes? It's like, that's the unfortunate thing. Give me the red one. Just please give me the red one. I know. Just want the red one. Don't want to be green. Don't want the green one's so like, like there's something so aggressive about it,

I feel like. It could just be a red one with like a frowny face on it or something like that. A paler red one. The green splat is a lot. But yeah, I like to, but I don't really delve in. I like to know the consensus. And every once in a while, someone else will be like,

this one's really nice. Maybe you should read this one. Or like Ben said, one will be like, maybe don't read the Atlantic today. And I was like, I never do. The good news is there's going to be more of both of your respective shows. You're both, I think, working on the next seasons, respectively. So, Ben, I know you've talked about, look, I mean, strikes, COVID, et cetera,

kind of slowed the process of getting the second season out there. Is the intent, I mean, is there a timeline for the next season? What's your goal? My goal is to stretch it out as long as humanly possible. You want to grow old with these characters. It could be like to see how long we can wear. till the audience might have forgotten about the show. That's, no, I mean, it's so, yeah, trying, trying.

Could you do the next two seasons back to back? Just get more bang for our buck. I like that idea. I like that idea. Look, we're, you know, all things are on the table. Okay. Anything is possible. No.

No, it's just, yeah, no, no, those are things we're thinking about. And I swear to you, we're working as hard as we can. I swear. I am aware of... Leave him alone, Josh. Trying. I get it. We're here for you.

We'll wait. We're good. Thank you. You've unfortunately set the bar very high for yourself in terms of cameos, in terms of these celebrities. When you get Scorsese, et cetera, what, where are you at in terms of... Because I know these are very... It's not a slot any celebrity into a script kind of thing.

writing to particular people. Yeah. So what has that process been like this season in terms of like meeting the bar you set in season one? Oh, it's quite hard, Josh. I thought it maybe would be much easier now. I don't think it is, honestly.

Might be harder than it was the first season. I think the promise of our show, hypothetically, was more alluring than our real show maybe. But no, like, it is very nice in that we have had a lot of people who are fans of the show and coming to us. and saying that they would be willing to be a part of it, which is great, but

the truth is, yeah, like, the way we write the episodes is, like, we sort of come up with, like, a very specific joke that very few people could actually do, you know, and, like, with Martin's Corsese, was like, it needs to be a director, who you believe would be making a $250 million Jones Town movie,

who you believe is someone I would be bending over backwards to work with, you know, who you believe would kind of have casting approval and would maybe want, like, an unconventional, choice as the lead, like, and there's really not many people who fit that bill. Like, you don't necessarily buy Spielberg, would make a Jonestown movie, for example. Like, it's like a pretty small amount of people that would do that. And you have to believe they would call it Kool-Aid.

And so it's quite hard. And in this season, yes, we are writing it right now, and the exact same thing is happening. We're like, I mean, I'm currently working on an episode where if one person says, no, we have to throw away the entire episode idea and start from scratch and write. an entirely new episode, which is not the smartest way to make a television show, if I'm being very honest, but it's the only

thing we know how to do at this point. So, you know, they're only like 35 pages, you just... Is there a better chance of Vin Diesel being in the studio, or you being in a Fast and Furious movie? Oh, God, I think, wow, I would prefer to be in a Fast and Furious movie.

I don't know. Take that as you will. I just, that to me, is a big opportunity. I want both to happen, okay? I'm greedy, though. Not hugely exclusive. No, of course. Then, you know, we talked about kind of like pivoting to Danamora

and directing and severance in recent years. But, you know, you're acting more. You're about to start production on the new Fokker's film. Yes, Focker-in-law. Yeah. All right. Yeah, we start on Monday. Is, uh...

Yeah. So the gang's all back. and you will the gang the the the the um there's there's jack burns and dina burns but the my fawker parents at this point aren't back but they're but there's a new my son I have a son I don't know I can't I can't I can say anything well we can say what can I mean it's what can I say that Skylar is in it oh Skylar Jizondo is in it playing my son and we can say Ariana Grande is in it yes As Ariana Grande and Robert De Niro broken bread yet?

Yes, we have all broken bread. Yeah, we've been, we broke. Breaking bread a lot. We're breaking it. We're breaking all sorts of things. We're having fun. Yeah, no, she's amazing, and yeah, the movie's called Falker-in-law. And I don't know how much else I should say it.

It's happening. Yeah, but no, very excited about it. And it's been a long time. And, you know, any chance to work with Robert De Niro is all I will take. Yeah. And the reports of the film comedy being dead are not true. Well, I mean, I hope, you know, I'm excited. This is a theatrical release.

I feel like we need more theatrical comedies out there. Naked Gun did well, so we got that. Yeah, I just heard, you know, I heard Jonah Hill is doing them. Jonah's ringing a movie with Whig? Yeah, like a big comedy. You know, I'm all for it. So, yeah, hopefully this will be one of those. A couple random things for you guys.

What's the wine from your career that you hear most out in the streets? generally. Is there one that just recurs over and over again? I don't really have one. Really? No, people just want to smoke weed with me. Yeah. Do you have rules about that? Do you like, what's your... I usually don't. And like, like... If it seems like it'll really be special for the person,

sometimes I will. They just come up to you like on the street? Yeah, I've had moments where I'm like, this is a big moment for this person at least I could do is take a couple hits with them that's awesome

that's awesome you don't get that no I get fucker a lot yo fucker which I sometimes respond to but only for a very special person who I want to make it

it's a strange thing to hear a Starbucks just out of nowhere from across the way yeah yeah But I think that should start to die down after the next movie. Yeah, no, I mean, I don't know. Yeah, I get that. There's some Zoolander stuff.

Well, you know, yeah. Every once in a while. That's got to be a daily thing. You don't get Zoolander every day? That's not a daily occurrence? I do get a lot of requests for blue steel. Right. It's similar to his request to smoke.

Exactly. I can do it for special people. I'm pretty easy on blue steel. If somebody like says, hey, do a picture or do a blue steel, I will shoot. What if 400 people ask for blue steel in an audience? Yeah, of course.

Of course. Wait, right now? We're here. Okay. You ready? This might be Magnum. Thank you. Thank you. He still got it.

He's got it. Now I'm going to smoke weed with everybody. I'll smoke with you. Come on, let's do it. Everybody wind up 400 people with Seth. Take COVID tests. Oh my gosh. Okay, we're going to end with this.

We're going to do the happy second, fuse profoundly random questions, as if my questions happen. I haven't been random enough already. Are you gentlemen, dogs or cat people? Dog. Dog, big time. Big time. And I like cats, too.

Okay. But you're anti-cat. I'm not anti. I'm like, you know, I'm not going to fuck with your cat if you have one. I don't like it. I'm not going to necessarily try to form a bond with it. Yeah. Okay.

It's good to know. Okay. What do you collect? Do either of you collect anything? Props from Star Trek, the original Star Trek. Really? Oh, yeah. Oh, that's awesome.

What's the prize possession? You got a Gornhead? What do you got? I have the Gornhead. I have Kirk's tunic from the enemy within episode. Do you have a dribble? I don't have a tribble. I don't have two pairs of Spock's ears.

So four ears, all in all, too. Yes. And one donated to me directly by Leonard Nimoy, which is my prize possession. Yeah, that's, and I have one of the intercoms from the underprose. Yeah, just got that, yeah. Are these all in like one room that you go to every night and kind of like... I do have them in a display case.

Yeah, I do. I mean, there's... Yeah, it's incredible. Yeah. The design of that stuff's amazing. What do you collect, Seth? What do I collect? I have a lot of, like, I collect a lot of ceramics.

I do pottery and so I collect pottery as well. And, yeah, you don't have to clap for... Clap for pottery. That was so weird. Yeah, great. No, I think it was they like your pottery. Oh, thank you. I thought you were laughing.

It wasn't that you do pottery. They appreciate your actual pot. I apologize. These are 400 artisans in the house. Weird. I saw this ladies, we're like, are we clapping for a pottery color? Is that what's happening? But, yeah, so I trade with other ceramics, people who do pottery, things like that.

Yeah, I have a pretty big ceramics. And thank you for appreciating it. Do either of you have a favorite video game of all time? Oh, that's a time. Maybe like, I mean, I probably spent the most time playing Golden Eye, which is a Nintendo 64 game. Donkey Kong. Hey, great. I am Donkey Kong.

Oh, you are? Oh, my God. I am Donkey Kong. Oh, shit. This must be big for you. Ben, are you okay? Oh, my God. Can I get high with you?

Must be freaking out. Oh my God. This is the Dakota Johnson Memorial question. She asked me this once. Would you rather have a mouthful of bees or one bee in your butt? Ooh. I'd go with the butt bee.

Okay. Ben's giving the serious thought. But. But, but, yeah. Budbee. but yeah uh what's the wallpaper on your phone oh it's a picture i took in newfoundland a couple years ago nice it's sort of like a generic i literally think it's like a rug i saw once and i took the picture of it like and like the design of it and so it's that it's some rug i couldn't for a million

dollars tell you where where i saw it you take a picture of the rug i took a picture of the rug you're like that's cool my phone background yeah it's been that for like 10 years or something like that Did you actually want to buy the rug? I don't know. I didn't look into it beyond that. Was it in a rug store? I don't know. I think it was maybe in like a hotel or something like that.

Okay, yeah. Maybe like a hotel lobby. And were you taking it to be wallpaper? I want it to be my phone wallpaper. Okay. Not because, oh, I want a rug like that. No, I was like, that'll look good as the background of my phone. I don't need it as a rug.

For the next 10 years. I think we're good on rug content, guys. Thank you, though. I was curious. Last actor, either of you were mistaken for. Do you ever get mistaken? Adam Sandler. Really?

That's anti-Semitic. 100%. That's purely anti-Semitic. Adam and I get this all the time. It's just a running thing that people, I will videotape somebody who comes and me, oh my God, Adam Sandler, I love you so much. I'll go on and on. And I usually don't correct them, and I say thank you.

And then I just send the video to Adam. And he'll do the same thing with me, too. Seth, do you ever get mistaken for anybody? I get mistaken for Jonah quite a bit. and I'm sure he I Zach Galfinakis sometimes I've had people be like really mad that I'm like I'm not

in the hangover and they're like you're in the fucking hangover I swear to you don't know how to tell you this I'm not in the hangover I wish I wasn't I would be happy to be in the hangover I'm not in it yeah also when I correct people and I tell them I'm not Adam Sandler like yeah yeah whatever

because I don't think they think I'm Adam Sandley just see me and they're saying Adam Sam You don't know what I mean? Jufei say yeah it's not Well, where's just like, it's not like, all of a sudden, like, they're like, oh, I didn't mean you. Do you know what I mean? Yeah, they don't care.

They know you're someone. Where's that beep again? Where's the Jew beep? Disprove that theory. Worst noted director has ever given you. Oh, I remember asking a director to do another take. We'd done two takes and like, say, hey, can we do another take? And he said, why?

I was like, oh, just, I don't know, maybe it might be good. I was so dispirited by it. I was just like, oh, forget it. Never mind. You know what, you're right. No reason. Anything jump out of you? Yeah.

I remember when we were, and I was, we were young, Judd Apatatow, we both know. If he didn't like what we were improvising sometimes, he would just yell boo from the other room. Oh, that's sweet. So you'd be in the middle of a riff, like me and Jonah, Jason Siegel, we'd think it was really funny,

and then you just hear, boo! He doesn't like that riff. Very subtle. Try a new riff. By the way, just, I had some to say this. This is the guy who thought of McLevin.

That's so insane. To me, that's like, I was thinking about this the other night, that's like one of the most iconic movie scenes and moments, right? And it lives on. And when he was like 16, he came up with him. He's the guy who came up with him. He was 16.

We actually wrote that joke when we were like 13 years. 13. 13. Which is so crazy. It's really weird. You would think that when you're 13, there's going to be something in a movie that when you're growing up that people are going to remember forever.

No, yeah. You never think that's going to happen. Last minute, rapid fire. Actor who always makes you happy. First one that comes to mind. Happy? Yeah. You see them on screen. You're happy. Al Pacino. Adam Sandler is one of the guy.

I like watching it. Movie that makes you sad. Oh, I mean, Ben Stiller. I'm sorry. Thank you. I get them confused. But you meant me, really. Sorry.

Movie, that makes you sad. That makes me sad. Oh, my God. I hate these kind of speed round things. You answer yours first. Any dog dead movie. No dog dead movies. What's a big dog?

Even the first John Wick is very sad. Yeah, yeah. He kills those people, but it's still sad. Yeah, yeah, yeah. Are you a Pixar sad person? Are you terms of endearment? I'm giving you a suggestion. Oh, yeah.

Terms of endearment. That's a good one. Yeah, great. I'll think of it in about two hours. and I'll let everybody know. We'll be back here. And finally, a food that makes you confused. You don't get it.

Why do people eat that? Whoa. I know. I mean, I could avocado, eggs. Oh. Whoa. And that's when Ben Stiller lost the audience. Sorry that I don't understand why people eat chicken embryo.

I'm so weird. I'm with you, egg people. I'm an egg person. By the way, I don't mind eggs in stuff. I just don't want to eat the actual. I'll eat an egg. I'll eat a fucking egg. I'll eat an egg with you on the street

as we smoked weed together. You don't want to eat an egg while you're smoking weed. Honestly, it is, it is gross. Right. We can end there. That's a good place to end, I think. What do you think, guys?

It epitomizes my outlook online. Yeah. As if I need to remind you guys, Severance the studio, it doesn't get better than that on television. on Apple TV Plus. Give it up for these two amazing creatives. Ben Stiller, Seth Rogan.

Thanks for coming out, guys. And so ends another edition of happy, sad, confused. Remember to review, rate, and subscribe to this show on iTunes or wherever you get your podcasts. I'm a big podcast person. I'm Daisy Ridley, and I definitely wasn't pushing to do this by Josh. Hey, Michael. Hey, Tom.

You want to tell him? Or you want me to tell him? No, no, no. I got this. People out there. People lean in. Get close. Get close.

Listen. Here's the deal. We have big news. We got monumental news. We got snack-tacular news. After a brief hiatus, my good friend, Michael Ian Black, and I are coming back. My good friend, Tom Kavanaugh, and I are coming back to do it. what we do best. What we were put on this earth

to do. To pick a snack. To eat a snack. And to rate a snack. Mentifically? Emotionally? Spiritually. Mates is back. Mike and Tom eat snacks. Is back. A podcast for anyone with a mouth. With a mouth. Available wherever you get your podcasts.