Judd Apatow Quotes

In my beginnings, those nos were ever-present-even today, those nos are ever-present-and it's the workaround. I always found a workaround for people who turned their back to me. It's a way of being persistent that makes them take notice.

There are only so many hilarious actors so when they cross-pollinate, people assume it's always the same actors and directors.

I think it's fun to have people see everything at once, and then I think certain shows are very well-suited to being on every week and being spread out over months.

I like when people are very passionate about what they want to write about. Even if it's silly, you can be very passionate about it.

If you develop 10 things, and you can get two or three made, that's a very high ration.

I don't think there's really observational magic.

I've had movies bomb with terrible reviews, I've had movies make a lot of money with terrible reviews, I've had movies get good reviews and make money. And I like it best when the movies do well and the reviewers like them.

I was in the recording studio when Pink was recording for a part of the gay rights anthem. It was just amazing to watch her perform. She's just such an incredible singer. She so funny, and so smart, yet she's doing it for this silly, silly song.

Don't be a jerk. Try to love everyone. Give more than you take. And do it despite the fact that you only really like about seven out of 500 people.

Every day I live by only one rule, be a good guy.

My first writing jobs were writing Tom Arnold specials for HBO, so I love working there.

It would be so irresponsible not to speak up. I don't know what I would do in my home and in my life if I didn't rant a little bit and as thoughtfully as I can with some humor.

If everyone is mature, there is no comedy.

A lot of times, it's easy to trim the movie 'cause you just start losing things that you thought would be there just for amusement's sake that actually are not funny. My favorite part of the process is seeing it with an audience. I do about eight previews to see how things are working.

If you work on network TV, they want to pick your casts, dictate your story and how your show works. It just becomes creativity by committee, which is never good.

I'm always surprised when you do something very different that people don't get behind you more, because you're always told, "Take chances! Stretch!" And when you do it, sometimes people get really supportive and excited, but sometimes people go at you because you've tossed out the formula.

I test the movies a lot, and if the audience says they love the movie, we know we're on the right track. And if they tell me they hate it, I try to figure out what I've done wrong. But every time out, the audience wants me to go deeper, they want to know more about the characters, and they don't want these movies to be shallow. So they really urge me to tell them a complicated story, and then when I do so, they're thrilled

Some people are probably saner. They're good performers, and they go about their day. I just get obsessive about it.

All my cuts are always about three hours, at the start, mainly because any scene in the movie that's 90 seconds, I probably shot a five-minute version of. If you just extrapolate that through the whole movie, I have a very long version of every scene, usually because, if there's one funny joke, I'll shoot five because I don't know if the one I like is going to work. I'll get back-ups because my biggest fear is to be in previews, testing the movie, and a joke doesn't work, but I have no way to fix it because I have no other line.

It's what I always dreamed of: that you can make TV and everyone would get out of your way and you follow your vision without watering it down.