Judd Apatow Quotes

I feel like it's a golden age for television.

If the movie's not communicating, it's not working.

Sometimes a story idea will come to me, and suddenly I've figured out the whole thing, and I feel like I'm collaborating with something other than myself.

Nobody's going to like my next movie because they liked Trainwreck [2015]. It has to work on its own, and that keeps it really scary.

I remember the review from Michael Wilmington in Chicago, and Gene Siskel wrote really smart reviews where I thought, "Oh, they totally get what we're attempting to do."

I definitely learned to embrace the quiet moments onstage from Garry Shandling - relaxing and not fighting with the crowd, not raising your voice, not ever trying to win them over.

The hard part about getting much attention is that people start dissecting what you do.

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

You have to write a lot of scripts to get any scripts that are worth making.

If you make a bad movie about stand-up, then comedians will mock you for the rest of your life.

One of my fears is that I'm suddenly not going to be funny, but still think I am. That's like my nightmare that I can wake up in a cold sweat from.

I start thinking about the next movie before it's a success, so I can never have one moment of happiness or peace. I'm instantly thinking about the next one.

I literally cannot remember one joke.

I'm just trying to be truthful and collaborate with people who have interesting things to say.

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.

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

When the entire country was watching one show there was a major discussion happening; is it possible for that to happen in a 1 million channel universe?

I don't think because a story has humor in it means it's brief. For some reason, people think anything that's 30 minutes is a comedy, comedies can be longer or shorter, so can dramas.

I don't think it matters what the frequency is of me writing or directing a movie. It doesn't really matter to anybody else. I'm just trying to put good things out there.

I love the Lonely Island. I wish there was more Lonely Island movies.

I had a very specific type of terrible network experience where I was told that people like Seth Rogen and Jason Segel weren't leads, so it truly drove me mad. So to be trusted is all I value.

I start casting early in the writing process, so I can tailor the script to the gifts of the actors.

I often say that ... I'm just involved in comedy, so I can be around it.

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.

There are people that entertainment is something they do at the end of a long hard day at work, and they want to be entertained and have it over quickly. They're like, "Entertain me fast!"

Sometimes you need to get away for a few weeks just to figure out who you are again.

I still feel like a weird kid who is about to take a punch in the face. So, I think it's permanent.

There are people who like short movies, and I think they should just watch our movies on DVD because they can pause, go to the bathroom, eat dinner, and come back to it.

'Deadwood.' I could have watched that forever.

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.

[My] dream writers room: "'Taxi.' I need to write for someone named Judd."

You should look up some of the reviews. The New York Times review is so over-the-top funny. It's hysterical. You should dig it out.

I'm always talking to people. It's not that complicated. I just find somebody and say, "Do you have any ideas." If they do, we just start thinking things around.

It's so funny, all the similarities that we have [with David Copperfield] of being obsessed young people and finding a way to be around the people doing what we want to do.

Literally, my last call was with David Blaine, congratulating him on his show. I have a camaraderie with David.

I loved the idea that I could write a joke and someone else would have to take the risk of performing it.

There's something so scary about trying out new material and being completely comfortable jumping into the abyss with a comedic idea.

I think we all have a love/hate relationship with the media.

I used to tour a little bit with Jim Carrey and help him out on his first Showtime special.

The little details really connect for people in ways I never realized before.I think that's why some of the movies have done well, because people are relating to things that I'm willing to expose.

I have to make good things so good comedians want to talk to me.

It's funny when people debate about music, because they get so passionate about what they enjoy.

As a kid, I was obsessed with the Who. They were the most important band to me. Songs like "I'm One" helped me get through high school.

If you watch the arcs of so many comedians, at some point, they just become themselves.

When you make a movie, you just send it off into the world. You never actually live it with the crowd.

I have to go back to vinyl every once in awhile, even if my kids don't want to hear it. I'm much more likely to be listening to Wilco or the Avett Brothers.

Maybe you just get so attached to the music of your youth that you think it's better than what's coming out now.

It's funny, now there are so many bands that I can never remember any of their names. Maybe it's because I'm old.

I need to find people who I respect so I can respect them, and they'll like being respected so they'll respect me, and that's like a marriage.

Parents don't realize that when they teach you about the Holocaust too early, it ruins you for life.