I am very interested in the small decisions people make that do set you on a different road in your life. As much as we have influence over what kind of person we're going to become, there are little tests along the way.

I am very interested in the small decisions people make that do set you on a different road in your life. As much as we have influence over what kind of person we're going to become, there are little tests along the way.

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

I talked about the summer of 1985, when I worked at an amusement park on Long Island, the kind of place where someone would pull a knife on you if they wanted a better prize than you were giving them. You found a lot of used needles beside the cotton-candy cart at the end of the night. It was a pretty white-trash, scary place. It was one in a series of terrible jobs I've had, coming from not much money and having no particularly resourceful skills. And at one point one of my friends, a writer on the show, Jenny Konner, said, "You should write about that."

I don't really talk about this because it seems indulgent, but I lost my hair, I'm bald, I had alopecia in my teens. That was back in the late '80s, well before people shaved their heads. So it's probably one of the reasons why I have been obsessed with that age, because it's locked in time where I feel like I had this personal loss that so affected my vanity, and I don't really feel like I handled it well. I'm so much older now, so it's not a big deal, but when I think back at it, I can conjure up how I felt then.

I feel like I'm long overdue for a "one for me" movie, so I've got two low-budget indy personal things I'm working on.

Believe me, there is a ton of stuff we shot on Superbad that was unusable, because people were just riffing and riffing. It's just part of the Judd Apatow method, and part of the technique is to also be able to rewrite the movie again in the editing room.