All my friends are talented enough to get nominated for awards. I just am always surprised when things and people I like are also liked by things like the Oscars.

When it came to, like, appropriate behavior towards one another, it was - I was well-versed.

People don't usually wanna kill me for one of my movies until after they've paid 12 bucks for it.

I've never really had a real job. When I was young doing stand-up, I'd get 50 bucks a week here or 100 bucks a week there. You know, sometimes for headlining one of the rooms, or MC-ing, or something like that. So yeah, I've never had like a normal job.

I'm not entirely comfortable saying I'm an actor, because it seems like a very weird, almost dorky thing to say you are. I laugh after every take just out of the discomfort I feel that I'm even on film. It's an awkward thing for me to be doing. Once we get going, it's always fine, and as we're shooting, I'm never thinking about it. I'd say that all my time in front of the camera is equally uncomfortable for me.

We were really fortunate to work [on Pineapple Express] with a studio that was really supportive of these guys. It was before Superbad and Knocked Up had even come out, but everyone just felt really great about them and the energy surrounding Seth [Rogen] and Evan [Goldberg] and Judd [Apatow] - all of these guys - and the idea of getting Franco back into comedy as well.

We originally actually wrote Franco's part [in the Pineapple Express] for me and the part I ultimately played just for someone else in general. Then when we got Franco involved we thought it was a good idea to switch the roles. I think it worked really well.