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.

I lived on Thompson Street in SoHo for 13 years and I watched it go from a little Italian neighborhood to the Mall Of America. Then the obvious fact that it's pre-Internet, pre-cell phone. Everyone I think thinks their youth is a more innocent time. I just don't know.

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."

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'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.

My first love will always be movies.

I was running the risk in Adventureland, even though we stayed close to the script, because I wanted it to be not a schematic movie. For better or worse, it's not a wish-fulfillment movie. It's got a kind of happy ending, but it's not like I forgot to put on the "Ten years later," and they've got four kids and a dog. Those guys are not together today. It always was leading up to the moment of "Oh, I have my first girlfriend." Credits.