A Quote by Seth Rogen

Making [Pineapple Express] was a blast. I'd kind of gotten to the point professionally where I was pretty emotionally exhausted from making dramatic films. — © Seth Rogen
Making [Pineapple Express] was a blast. I'd kind of gotten to the point professionally where I was pretty emotionally exhausted from making dramatic films.
Basically, we [me and Evan Goldberg] started thinking about making a movie that was kind of a weed movie and action movie and had a real kind of friendship story to it, then that would be our favorite movie [Pineapple Express] ever.
If I can't connect emotionally with the music I'm making, there's no point making it in the first place.
The difference between this film [Your highness] and Pineapple Express was pretty much in the logistics of the technical ambition of the movie, and the size and scope of the movie. Pineapple Express was a great success, and that was something that we wanted to capitalize on, but we wanted this movie to be bigger, more adventuresome, bring a bigger audience to the movie, and challenge ourselves to do something new.
I feel like I've gotten to the point where when I get tired of making art I can make a smooth transition into making music and vice versa. There is always something to do.
Well, I'm really interested in the idea of making genre films, but movies have a much more personal undercurrent to them and that look beautiful, and that's sort of the films I'm kind of interested in making.
What strikes me is that 'XIII' looks like a movie. The shot making is movie-like, which is kind of fun - the kind of playful action movie shot making is pretty, is pretty good. What's also great about this game is its style and interesting story-line.
Films have been my only passion in life. I have always been proud of making films and will continue taking pride in all my films. I have never made a movie I have not believed in. However, though I love all my films, one tends to get attached to films that do well. But I do not have any regrets about making films that did not really do well at the box office.
Then we started looking at story and what was making sense and what wasn't making sense, emotionally and thematically the intention that we had a year earlier when they were working on the script, did all that come across? It's all kind of generic things, but it's fascinating and it's weird - I haven't made that many films, but it's weird that every time you think you learn from your mistakes on your last film you have a slew of new mistakes and things that you learn.
Making music has gotten easier; selling it has gotten harder. Making music has been democratized, but the market is in the hands of fascists.
The biggest challenge [making Pineapple Express] was that we had a comedy budget. We really got excited the more we got into the development of it about blowing stuff up and having shoot outs. That stuff costs money.
I think, to go to the bottom of it all, that the films I have made and my kind of film-making is a hybrid type of film-making - in that it isn't American, it isn't Italian.
The best thing about making films is the time spent making them. When I see works that I've made, I always think what a great time I had making them. The films remind me of that time.
Producing is making films without having to work sometimes. It's still making films, but it's a different job.
I have fun making films. I love making films. It's the only thing I know how to do. And I do it well.
Director Omprakash Rao, who is known for making action films, has proved that he is equally good and adept at making comedy films as he is himself a comedian.
I made a lot of short films before making a feature film. Actually, I learnt film-making by making short films.
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