Seth Rogen Quotes

It's much like writing a screenplay with someone else and that's how we view it, I think.

The living together is very important in a way. It's important for writing. It wouldn't be important if we were like just getting other people's numbers together, we'd just have to meet at rehearsals, but writing is something almost completely different.

Co-writing is a very unnatural feeling. It's like wanting to document a feeling that you have and then trying to get someone else to describe it for you.

I write by myself initially. That's the way I've always written, just working on pure thought by myself. Then I bring it to the table with whoever I'm collaborating with.

I love writing. I think writing and directing go hand in hand.

It's sort of one ongoing process where writing ends and directing starts.

I find that with any good run on a show with good writers, they put something on paper, and you put something back on film, and that affects what they put on the paper the next time.

I believe the better I can write on my own, the better I can be of service in a co-write. The big thing with a co-write is trust, and it's not so much what you get the first time you sit down with that writer. It's the relationship that you build that you're in. So you can trust throwing out all your ideas and how strong you think they might be.

That first writing session, what Dan Hill calls a creative blind date, is always a real challenge, and you bring that back to your partner when you return to writing with them.

Writing with a partner is, in some ways, an easy but odd process. Two people come into a room and look to each other for motivation. One might not be in the right mood at any given moment. And somehow, you begin; somehow, out of your exchange of thoughts, something engages both of you, and the process of collaboration begins.

For 'Hey Monday,' there were songs that I co-wrote with songwriters or producers, but our last EP, the whole band did everything together. I've had a lot of experience with co-writes, which is basically what I'm doing now. I am writing things on my own, but I really believe co-writing makes you a better writer.

Making '1600 Penn' was really fun, and I learned a lot.

I love co-writing. That whole process is a challenge in that good writers are pushing you.

I rarely write by myself.

There are two things John and I always do when we're going to sit down and write a song. First of all we sit down. Then we think about writing a song.

I love working with actors. I love visual things. I always intended to be a writer who directs and a director who writes.

I tend to write, either myself, or I sometimes write with a co-writer, my friend that lives up the road. It's usually a relatively solitary thing, but I do like coming up with ideas.

Every morning for, I don't know how long, I came over to Alison's [McGhee] house and we sat in her office and wrote the stories "out loud" together. We yelled at each other and made each other laugh. It was a lot of fun.

I don't know if I want to record together again. I go off and on it... In the old days, when we needed an album, Paul and I got together and produced enough songs for it. Nowadays, there's three of us writing prolifically and trying to fit it all into one album.

The directing process is often a continuation of the writing. This is just a different skill-set.

In making movies, time is so short-because it is so expensive-that we tend to neglect the place from which the best ideas come, namely that part of ourselves that dreams. The unconscious is our best collaborator.

I much prefer writing an original movie with the screen in mind to transferring a play to the screen.

You're not just writing in a vacuum, and then handing it over to someone else to shoot. You're writing, and then getting feedback from the actor and hearing their voice and how they play things.

With Mel [Brooks], only one time and that was later on during "Young Frankenstein" - never with Zero [Mostel] and never with Mel except I was writing every day, and then Mel would come to the house and read what I'd written. And then he'd say, yeah, yeah, yeah, OK, yeah, OK. But we need a villain or we need whatever it was.

Sometimes directors feel a script needs something, but they're not sure what it is, so they show it to a friend; if the friend is a writer, he ends up kicking around with that script for a while.