I'd moved to L.A., and everyone's actors here and writers, they were like super emotional and super in touch with their feelings, and it seemed like every two weeks one of my friend just coming to me and, like, you hurt my feelings the other day, dude.

The good thing about L.A. is that there's always someone more famous 100 yards away from me.

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.

I guess it's a kind of a goal for any actor to be the lead of a movie. Not for ego reasons, but because it is creatively the biggest challenge.

I don't think that any scene [in Pineapple Express] is word for word how you'd find it in the script. Some of it was much more loose than others. The last scene with me, Danny [McBride] and James [Franko] in the diner - there was never even a script for that scene. Usually we write something, but for that scene we literally wrote nothing.

I mean, where I come from, 'communism' is not a terrible word.

After every single take, I laugh. It's my own awkwardness and discomfort about being an actor.