Brian Eno records and music got me through. It made me feel like there were other people out there who had the same questions and fears and unhappiness. Particularly those kinds of artists who were writing songs about exactly those things.

When I was a TV director working on Judd Apatow's show Undeclared. I was surrounded by so many young people. People like Seth Rogen, who was 9 years old or something. It was just a ridiculous amount of talented young people. I started to think I'd like to see a young-love movie, but not one done in that glossy, Hollywood, high-concept manner we've become accustomed to. One that was, for lack of a better way of putting it, a little more ambiguous, '70s-style, where everyone was flawed, middle-class characters.

Brian Eno records and music became a huge obsession of mine in college, in a way that a pop song can provide solace. I don't know if it's shallow or silly, but it meant so much to me.

I was naïve when I was young, I was sheltered. I had illusions about who I was going to be, delusions, and a little bit of pretentiousness. And I thought, "I'll write the guy like that. It'll allow me to make fun of everyone else if I make fun of myself."

I'm really glad to have made a movie that way on Superbad, because I learned a lot about what can be done and what the limitations are.

We didn't want to make it a parody of Don Draper[in Keeping Up With the Joneses] but we did arrive on this idea that there's a side of Jon Hamm that opens up that would like him to stop living as a professional liar.

[Gal Gadot] is really intense and scary and also incredibly warm and sweet.