clearly a tight unit <\/a>in lock-step \u2014 they\u2019ve been cooking up ideas together since they met at a Bar Mitzvah class when they were 12.<\/p>\n\n\tRogen: I was trying to write jokes.<\/p>\n
\n\tGoldberg: I was writing super-dark short stories.<\/p>\n
\n\tRogen: But kind of comedic short stories.<\/p>\n
\n\tGoldberg: To you.<\/p>\n
\n\tRogen: To me they were funny.<\/p>\n
\n\tGoldberg: They didn\u2019t get the joke at my school, but he got it.<\/p>\n
\n\tRogen: We both were people who wrote in our free time and then met another person who wrote in their free time. When you\u2019re 12 or 13, that\u2019s pretty weird.<\/p>\n
\n\tGoldberg: There was one other guy who wrote really emotional poetry, but we decided not to like him.<\/p>\n
\n\tRogen: Yeah. That would have been a real bummer.<\/p>\n
\n\tAlmost right after they met, they began writing the screenplay that would become the 2007 high school coming-of-age movie Superbad, with its two main characters named Seth and Evan. For Goldberg, getting Superbad made remains one of the most stand-out things that has ever happened to them.<\/p>\n
\n\tRogen says, \u201cHaving it be about our friends and about so much stuff that had actually happened to us, and for everyone we grew up with to get to see the movie and for them to know that they\u2019re sort of represented in it in some way, [was amazing]\u2026 I think from the beginning of our careers, we\u2019ve been writing about real things that have happened to us. And [The Studio] was one of those things where as soon as we thought of it, we instantly came up with 30 ideas for what could be episodes. Just by living, we\u2019re getting more material for more episodes.\u201d<\/p>\n
\t\t\t\t\t\t![\"The](\"https:\/\/deadline.com\/wp-content\/themes\/pmc-deadline-2019\/assets\/public\/lazyload-fallback.jpg\")
<\/p>\n
\t\t\t\t\tBryan Cranston <\/p>\n
\t\t\t\t\t\t\t\t\tMichael Buckner\/ Deadline<\/p>\n
\n\tBut, of course, truth is often stranger than fiction. Rogen points out that part of writing from real experience is to let go of needing people to believe that your story is true. \u201cVery early on we saw that just because something really happened, it doesn\u2019t mean it\u2019s believable. And just as something really happened, it doesn\u2019t mean that you can\u2019t individually tell everyone, \u2018But this really happened.\u2019\u201d<\/p>\n
\n\tCase in point: If he and Goldberg had told a story of two guys who make a movie that accidentally leads to Sony Pictures being hacked, allegedly by North Korea, the exposure of sensitive emails and major industry-wide fall-out, no one would believe them. And yet, that is exactly what happened when they made The Interview. Will they put that into The Studio? After all, everyone already thinks O\u2019Hara\u2019s character is based on former Sony co-chair (and friend to Rogen and Goldberg) Amy Pascal.<\/p>\n
\n\t\u201cHonestly, the Sony hack is a thing that we\u2019ve talked a lot about,\u201d Rogen says. \u201cBut we want the show to be about regular things in the industry. There\u2019s obviously been a temptation. It\u2019s like, \u2018Do we do a hack or something like that?\u2019 But it\u2019s so exceptional and out of the ordinary. It\u2019s something that literally only happened to us and nobody else. That\u2019s not the right idea. It\u2019s more like, \u2018Hmm test screenings, they\u2019re a pain in the ass, that\u2019d be a good episode.\u2019\u201d<\/p>\n
\n\tFor what it\u2019s worth, O\u2019Hara refutes that she was specifically told to play her role as a Pascal pastiche. \u201cI honestly did not study her,\u201d she says. \u201cThey know her very well. They\u2019re very close to her. She still mentors them. They always go to her for advice. So, it\u2019s written with love. No one ever told me, \u2018Look her up, do whatever.\u2019 I looked at pictures and stuff like that. And obviously my hair, though, she\u2019s not the only cool, curly-haired studio exec.\u201d<\/p>\n
\t\t\t\t\t\t<\/p>\n
\t\t\t\t\tFrom left: Ron Howard, Anthony Mackie, Chase Sui Wonders, Seth Rogen and Catherine O\u2019Hara in \u2018The Studio\u2019<\/p>\n
\t\t\t\t\t\t\t\t\tApple TV+<\/p>\n
\n\tSomething both Rogen and Goldberg are clear on is that The Studio is not a satire. \u201cThe thing people keep saying,\u201d Goldberg says, \u201cis, \u2018When you set out to make this satire\u2026\u2019 We didn\u2019t say the word \u2018satire\u2019 once.\u201d<\/p>\n
\n\tFor them, it\u2019s not a satire because it\u2019s real, and because they\u2019re not upending a solemn and serious business and making fun of it. Instead, they\u2019re just showing that world with all the seriousness experienced by the people inside of it.<\/p>\n
\n\tSays Rogen: \u201cTo me, a satire is when you take a serious thing and make it funny. I think if anything, our show is the opposite of a satire and that we\u2019re taking an inherently trivial thing and adding as much stakes to it as humanly possible. Veep, to me, is a satire, because that\u2019s taking a very serious thing and turning it silly. To me, this is the opposite thing: we\u2019re taking a silly thing and giving it life or death stakes for the people who are living it.\u201d<\/p>\n
\n\tBarinholtz has known Rogen and Goldberg for years. \u201cHow would I describe their particular brand of humor?\u201d he says. \u201cI think it\u2019s smart-stupid\u2026 I remember when I first saw Superbad, my head exploded. That spoke to me, it was an original voice, so funny and dirty in a way, without being gross or lame. I love their voices, their writing voices\u2026 Seth and I, whether it\u2019s in the Neighbors movies or the little TV things we\u2019ve done together, we\u2019re very good at both being dumb asses, but me being a little bit dumber.\u201d<\/p>\n
\n\tFranco, who also goes way back with them, all the way back to Superbad, says, \u201cThey\u2019re just doing what they want to do. They\u2019re not thinking about what they should be doing. They\u2019re just making stuff that makes them laugh.\u201d<\/p>\n
\t\t\t\t\t\t<\/p>\n
\t\t\t\t\tFrom left: Sarah Polley, Catherine O\u2019Hara and Seth Rogen in \u2018The Studio\u2019<\/p>\n
\t\t\t\t\t\t\t\t\tApple TV+<\/p>\n
\n\tRogen and Goldberg first began thinking about The Studio during the pandemic. \u201cWe talked about it for a long time,\u201d Goldberg says, \u201cbut one day he was just like, \u2018I can be the studio head.\u2019 That was where it all put together.\u201d<\/p>\n
\n\tThe idea was born out of a yearning for old-school purely funny comedy shows, Rogen says. \u201cI think we could just see that drama had a strong gravitational pull in some ways, and comedy movies were not in the same place that they had been in years past.\u201d<\/p>\n
\n\tGoldberg adds: \u201cIt was a general complaint that people were making en masse \u2014 like, \u2018Where are the funny shows? The shows that are just pure funny and a rollercoaster of laughter that no one dies in?\u201d<\/p>\n
\n\tPart of what also fed into making the show was their experience with the Sony hack and The Interview. Suddenly, they had been plunged into an unfamiliar world within the studio system.<\/p>\n
\n\t\u201cWhen The Interview happened, we were in very long meetings where we\u2019re really getting a peek under the hood of the real corporate pressures that these companies face,\u201d says Rogen. \u201cAnd I think that\u2019s largely shielded from the creatives and the filmmakers, as much as it can be. But we were in a position where it could not be shielded from us. And it was so intense that we really got to know the executives much more personally. We got to know Amy [Pascal] much better, and Doug Belgrad. The people who were running Sony at the time, we got to see sides of them that were much different from the sort of fronts that are presented to you. I think, in some ways, it made the studios seem much scarier and more cutthroat. We saw how self-preservational some people became, how scapegoating started to happen, rewriting history wholesale, lying to defend jobs.\u201d<\/p>\n
\n\t\u201cWe also saw that they weren\u2019t just like, \u2018F*ck your movies.\u2019\u201d Says Goldberg. \u201cSome of them were like, \u2018We need this balance.\u2019\u201d<\/p>\n
\n\tRogen adds, \u201cWe saw the humanity behind a lot of the executives and really saw the conflict at play between the people who really want to serve the creative goals of the movies, while balancing their corporate pressures.\u201d<\/p>\n
\t\t\t\t\t\t<\/p>\n
\t\t\t\t\tSeth Rogen and Zo\u00eb Kravitz in \u2018The Studio\u2019<\/p>\n
\t\t\t\t\t\t\t\t\tApple TV+<\/p>\n
\n\tRepresenting an extreme end of that corporate viewpoint in The Studio is Cranston\u2019s CEO Griffin Mill (a nod to Tim Robbins\u2019 character of the same name in Robert Altman\u2019s The Player). Cranston says he was instructed to play \u201ckind of a David Zaslav type\u201d but decided that wasn\u2019t as funny as making Griffin into a nod to Robert Evans, complete with a groovy \u201970s wardrobe, and that idea ended up in the show.<\/p>\n
\n\tWhen they shot the first episode with Cranston, Rogen and Goldberg also didn\u2019t mention that Griffin Mill would ultimately appear in his underwear, wasted in Vegas. But when he found out, Cranston didn\u2019t mind. He leaned right into it.<\/p>\n
\n\t\u201cI wanted a leopard thong,\u2019 he says. \u201cI wanted the girdle.\u201d He secretly arranged both with wardrobe. \u201cI said, \u2018Don\u2019t tell them what I\u2019m going to wear.\u2019 So, Seth and Evan did not know what I was going to look like until we\u2019re shooting it, and I\u2019m coming out of that bathroom\u2026 When you think about it, this man\u2019s 82 years old. He\u2019s had numerous facelifts. Of course he\u2019s going to have a girdle. Of course, he\u2019s going to do hair plugs and dye his hair. That\u2019s why, in the fountain scene, I said, \u2018I want to do a Rudy Giuliani. I want to have the hair dye start coming down my cheeks.\u2019\u201d<\/p>\n
\n\tKnowing they had this openness to collaboration and fun is part of why Cranston was all in. \u201cIt\u2019s a tribute to Seth and Evan that they create an environment where they welcome \u2014 not just tolerate or accept \u2014 an actor\u2019s point of view or an opinion, or an idea. They nurture it.\u201d<\/p>\n
\n\tWonders also felt really welcomed by their openness. \u201cThey never make you feel like an idiot for pitching something. There\u2019s that sense of play and silliness. I would say it\u2019s a very silly set and that there\u2019s totally something childlike about showing up to Seth and Evan\u2019s set. They really maintain a sense of wonderment and it\u2019s so collaborative.\u201d<\/p>\n
\t\t\t\t\t\t<\/p>\n
\t\t\t\t\tFrom left: Seth Rogen, Dave Franco and Zo\u00eb Kravitz in \u2018The Studio\u2019<\/p>\n
\t\t\t\t\t\t\t\t\tApple TV+<\/p>\n
\n\tAs a nascent writer and director herself, Wonders found herself deeply inspired. \u201cThe fact that Seth is able to do all these jobs and wear all these hats and be so present with all of us is a real testament for how to be on a set and how to run a set,\u201d she says. \u201cIt just couldn\u2019t be better vibes on this set. It\u2019s a total trickle-down power structure; it starts from the top, and Seth is like a total leveling force. Everyone feels on the same playing field. They\u2019re very encouraging to me, and they\u2019re always asking about my writing, pushing me along.\u201d<\/p>\n
\n\tFor Franco, jumping on board the showto play himself was a no-brainer. We first see him starring in a made-up Ron Howard movie, Alphabet City, and then out of his mind on drugs at CinemaCon in Vegas. \u201cI immediately said yes, without having read the scripts, because everything they make turns to gold,\u201d he says. \u201cPlus, I figured it would be the closest I would ever get to being in a Ron Howard film.\u201d<\/p>\n
\n\tFranco had so much fun he says he \u201cbegged\u201d to be brought back for the final two CinemaCon episodes in Vegas. He improvved a reference to his Now You See Me films \u2014 which was then embellished upon by Rogen and Goldberg. \u201cIt speaks to how nimble they are,\u201d Franco says. \u201cI love how they\u2019re not precious about anything and they\u2019re constantly rewriting, and it\u2019s always for the benefit of the show. For me, I think I\u2019m so happy to poke fun at myself in any way possible. And I just figured the more ridiculous we get, the better.\u201d<\/p>\n
\n\tFranco is joined on that Vegas trip by Zo\u00eb Kravitz, who accidentally eats way too much mushroom chocolate and has a full-on meltdown, even peeing her pants. But she said yes without even asking for details. \u201cHonestly, as soon as I heard Seth and Evan\u2019s names, I was like, \u2018Whatever they want.\u2019 I knew nothing about it,\u201d she says.<\/p>\n
\n\tPlaying a version of herself was actually weirdly familiar to her \u2014 it\u2019s a method she has long used to cope with fame. \u201cThere\u2019s this version of yourself that people see from the outside, and you have to remember that they don\u2019t know you, and that they\u2019re never talking about you,\u201d she says. \u201cThere\u2019s this kind of avatar of celebrity, where you\u2019re kind of this idea, and you show parts of yourself, and then the rest is projection. It\u2019s been really important for me to understand that, so that you don\u2019t take it personally.\u201d<\/p>\n
\t\t\t\t\t\t<\/p>\n
\t\t\t\t\tFrom left: Chase Sui Wonders, Ike Barinholtz, Bryan Cranston, Seth Rogen and Catherine O\u2019Hara in \u2018The Studio\u2019<\/p>\n
\t\t\t\t\t\t\t\t\tApple TV+<\/p>\n
\n\tHahn says when she signed on to the show, she trusted Rogen and Goldberg implicitly. \u201cBecause they\u2019re Canadians,\u201d she says, with a smile, but also, \u201cbecause they come at it with no bitterness. I think they\u2019re hilarious. The way any good satirist or comedian is, they\u2019re such good observers. They know the material they have is so good, fertile, and amazing. I\u2019m sure both of them have told you too, there\u2019s really nothing in this that they haven\u2019t experienced, and I think that\u2019s why the specificity of it is so hilarious, especially to people in our industry. You cannot fake it. It is so specific.\u201d<\/p>\n
\n\tShe was also drawn to the homage the show made to old Hollywood and all of its movie-making history. \u201cIronically, it\u2019s a television show, but I feel like it really captures that feeling of why we\u2019ve gotten into this in the first place, into this business\u2026 Like Patty says, \u2018When you make something good, it\u2019ll last for hundreds of years.\u2019 It really does feel like it has movie magic dust all over it. Like the shooting of it, the look of it, the way it\u2019s shot, the care it takes to show Los Angeles, and Hollywood in particular. And the homage to so many films, the respect \u2014 like, \u2018Hats off to an incredible legacy.\u2019 There\u2019s something very dear and wholesome about it, weirdly.\u201d<\/p>\n
\n\tO\u2019Hara notes this too. \u201cYou could tell they have a love of filmmaking,\u201d she says. \u201cBut it\u2019s not like they\u2019re trying to write a love letter; they just sincerely want to capture what used to be, I wouldn\u2019t say the norm, but what used to be true about the whole movie-going experience.\u201d<\/p>\n
\n\tShe also calls Rogen and Goldberg \u201ckind of freaky,\u201d because of their ability to have so much fun while working so hard. \u201cThey\u2019re so positive and fun and fun-loving, but really hard workers and really serious about the work. And they did so much research with everybody. They have stories for I don\u2019t know how many years of episodes.\u201d<\/p>\n
\t\t\t\t\t\t<\/p>\n
\t\t\t\t\tMartin Scorsese in \u2018The Studio\u2019<\/p>\n
\t\t\t\t\t\t\t\t\tApple TV+<\/p>\n
\n\tBut how did they persuade Martin Scorsese and Ron Howard to pitch in? As Rogen puts it, \u201cWe made This is the End 13 years ago, or something like that. So, I think that was all the favors we had.\u201d<\/p>\n
\n\t\u00a0\u201cWith Scorsese, he liked the script,\u201d Goldberg says. \u201cThat was why he did it, I think.\u201d<\/p>\n
\n\tMostly though, they realized that if you give people a chance to be genuinely funny, not just a stuck-on cameo, then that has wide appeal.<\/p>\n
\n\tRogen says, \u201cI remember explaining to [guest star] Quinta Brunson how the show was shot.\u201d Brunson is part of an episode where Sal keeps getting thanked at the Golden Globes, while Matt becomes increasingly upset at his own lack of recognition. \u201cI was like, \u2018You\u2019ll be small on the stage, but without your joke the whole episode doesn\u2019t work, and you are really an essential building block. She was like, \u2018Oh, I get that. The joke isn\u2019t just that I\u2019m there.\u2019\u201d<\/p>\n
\n\tIn an interview with Deadline on the day he was Emmy nominated for his guest role, Ron Howard explained why he said yes to the show. \u201cIt\u2019s so well written,\u201d he said. \u201cI know I do a lot of these cameos where I play myself, whether it\u2019s Arrested Development\u00a0or Only Murders in the Building. I said, \u2018Those are cameos, and I don\u2019t always really like myself in them when I see them.\u2019 I said, \u2018I don\u2019t want to be cameo good, I want to be actually good.\u2019 And so I said, \u2018Who\u2019s directing?\u2019 And they said, \u2018We are.\u2019 And I said, \u2018OK, crack the whip.\u2019\u201d<\/p>\n
\n\tBarinholtz marvels at the experience of being on set alongside Howard and Scorsese and having the opportunity just to chat to them. \u201cYou\u2019d turn to Ron Howard and be like, \u2018Ron, I need an American Graffiti story.\u2019 And he just, without hesitation, was like, \u2018Oh, OK. Well. I remember Paul Le Mat and Harrison Ford used to really bully me, and I was really scared of them. And I remember one night, I had gotten this new car, and they were in their hotel, and they were throwing glass bottles, breaking them, and they were getting closer and closer to my car, and I came out and I was like, \u2018Hey guys, how you doing? This is a new car. If you could just make sure the bottles don\u2019t hit it.\u2019 And Harrison Ford just throws a bottle at my feet and goes, \u2018Dance Opie!\u2019 [A reference to Howard\u2019s character Opie Taylor in The Andy Griffith Show]. Same thing with Marty too. I\u2019m just standing there with him, just me and him, just looking at each other, smiling, and then it\u2019s just like, \u2018So Marty, what\u2019s your favorite French New Wave movie?\u2019\u201d<\/p>\n
\t\t\t\t\t\t<\/p>\n
\t\t\t\t\tOlivia Wilde and Seth Rogen in \u2018The Studio\u2019<\/p>\n
\t\t\t\t\t\t\t\t\tApple TV+<\/p>\n
\n\tIf one big swing was going after those guest stars, another was shooting everything in long continuous shots \u2014 or \u2018oners\u2019 \u2014 something that was brand new to Rogen and Goldberg.<\/p>\n
\n\t\u201cOur whole upbringing in comedy is really based around doing a lot of improv,\u201d Rogen says, \u201cthen covering with seven cameras and then finding it in the edit basically. We were doing essentially the exact opposite of that. And so, it really was weighing on me heavily, I would say, for the first few weeks. And then, I got over it and started to be excited about it. But I was really nervous.\u201d<\/p>\n
\n\tGoldberg at times felt tempted to give up on it, such was the difficulty involved. \u201cI was, like, \u2018Straight-up, dude, I\u2019m going back to the other way\u2019 a few times, and I still like it, but it doesn\u2019t give you the rush.<\/p>\n
\n\t\u201cAs a performer, I greatly prefer it.\u201d Rogen says. \u201cThe energy associated with these long takes is hard to come back from.\u201d<\/p>\n
\n\tAs the camera moves through each scene in those long shots, we feel as though we are the camera, walking through the studio, through the party, into the screening room, meeting the stars. But the logistics of making these oners work \u201clike a Jazz orchestra\u201d Rogen says. It\u2019s so intense that they made a whole Season 1 episode about it, called \u201cThe Oner\u201d in which Matt visits Sarah Polley\u2019s set and keeps accidentally interrupting her oner, so they have to start the whole thing over just as they\u2019re losing the light.<\/p>\n
\t\t\t\t\t\t<\/p>\n
\t\t\t\t\tDave Franco in \u2018The Studio\u2019<\/p>\n
\t\t\t\t\t\t\t\t\tApple TV+<\/p>\n
\n\t\u201cIt\u2019s so complicated,\u201d Rogen says. \u201cIt takes so much work and so much planning\u2026 The phone has to hit the right time, the person has to enter the room at the right time, and if it\u2019s a half-second off, the whole thing doesn\u2019t work anymore. And so, trusting that everyone was really, really good at their jobs became a thing that really took the edge off the whole process.\u201d<\/p>\n
\n\tThe Vegas party scene was particularly tough, with so many moving parts. Goldberg recalls how \u201cone background extra drinking a glass of wine oddly f\u2013ked it all up. He kept smelling it, like \u2018this is a smell your wine\u2019 part.\u201d Rogen laughs. \u201cYeah, just like, dude, if you knew what this was f\u2013king with, you would not be doing that.\u201d<\/p>\n
\n\tCamera operator Mark Goellnicht became the MVP of the shoot. \u201cOur camera operator Mark was as essential to the process as me, or anybody. If he wasn\u2019t able to do what he did, it literally wouldn\u2019t have worked,\u201d says Rogen.<\/p>\n
\n\tSays Goldberg, \u201cBefore a big scene, I would ask everyone, \u2018Have you been to the washroom?\u2019\u201d He jokes that the only person allowed to interrupt the oner for a bathroom break was Goellnicht.<\/p>\n
\n\t\u201cMomentum was really important,\u201d Rogen says. \u201cYou start to get a muscle memory for the scenes, so the idea of having to stop for 25 minutes just as it\u2019s really working\u2026 the boom operator finally found out where you can hide, and it took him a few takes to figure it out, but he\u2019s got it now, and I was fumbling to put on the jacket, and this time the costume people have found a way to drape it over the chair\u2026\u201d<\/p>\n
\n\tO\u2019Hara says of the experience: \u201cWe\u2019re just staring at each other\u2019s eyeballs. Like, \u2018Don\u2019t blow it. Don\u2019t blow it. Don\u2019t blow it.\u2019 When you get to a good one and everyone feels good, it\u2019s really exhilarating.\u201d<\/p>\n
\t\t\t\t\t\t<\/p>\n
\t\t\t\t\tSeth Rogen <\/p>\n
\t\t\t\t\t\t\t\t\tMichael Buckner\/ Deadline<\/p>\n
\n\tDoing long takes where he had to show up in a drug-fueled mania proved hard on Franco. \u201cIf you would\u2019ve seen me in between takes,\u201d he says, \u201cI am hunched over gasping for air, trying to muster up the energy for the next take. We were all exhausted and a little bit delirious, and I definitely leaned into that energy and how I was really feeling lent itself well to what I was doing in these scenes. It almost feels like you\u2019re doing a play.\u201d<\/p>\n
\n\tFranco was so tired on the two-week Vegas shoot that he skipped the cast trip to the Sphere to see The Grateful Dead. \u201cThe irony is that I played a character who was on this cocktail of drugs, but over the weekend when everyone went to do acid at the Grateful Dead Show, I went home and stayed in bed with my two cats.\u201d<\/p>\n
\n\tMeanwhile, back at the Sphere, not everyone dropped acid, but Cranston did agree to a little something. \u201cEverything is pointing in the direction of, \u2018I think you need to microdose. Microdosing is appropriate now.\u2019 And it\u2019s like, \u2018I\u2019ve never done it. Catherine O\u2019Hara\u2019s never done it.\u2019 And we\u2019re like, \u2018Oh, no. We\u2019re afraid.\u2019 But it was a lot of fun. And Ike Barinholtz is going, \u2018I swear to you, it\u2019ll be OK.\u2019\u201d<\/p>\n
\t\t\t\t\t\t<\/p>\n
\t\t\t\t\tEvan Goldberg <\/p>\n
\t\t\t\t\t\t\t\t\tMichael Buckner\/ Deadline<\/p>\n
\n\tNow, as Rogen and Goldberg work on bagging more silver screen greats to guest in Season 2, I remind them they had once mentioned Daniel Day-Lewis.<\/p>\n
\n\t\u201cDo you know him?\u201d Goldberg says quickly, as in, can you help us get him?<\/p>\n
\n\tSays Rogen, \u201cWe\u2019ve approached the people\u2019s agents, and they were like, \u2018There\u2019s almost zero chance this person will do this.\u2019 And we\u2019re like, \u2018Almost zero? We\u2019ll take it.\u2019 We don\u2019t make it easy on ourselves, in that a lot of these episode ideas are really hard to change [because they\u2019re] based on the person. There\u2019s one this season where if one person says no, the whole episode has to be thrown in the garbage, unfortunately. So, we really set ourselves up. We are comfortable getting nos, but I\u2019d rather get a definitive no from the person than a hypothetical no from their agent. So often agents don\u2019t even want to bother the person with this.\u201d<\/p>\n
\n\tWe spitball about how they could engineer an \u2018accidental\u2019 run in with Daniel Day-Lewis. \u201cYes!\u201d Rogen laughs. \u201cLike, \u2018Daniel! What a coincidence!\u2019\u201d<\/p>\n
\n\tBut they they\u2019ve more than proven their concept with Season 1, surely booking those stars will be easier this time around? \u201cWell, statistically, they\u2019ll get a guest acting Emmy nomination if they say yes,\u201d he deadpans. He\u2019s right. The Emmy guest acting category is stacked <\/a>with The Studio\u2019s stars, with Scorsese, Howard, Cranston, Franco, Kravitz and Mackie all making the cut.<\/p>\n\n\tAs we wrap up the photo shoot, Rogen slings his suit jacket over his shoulder and prepares to drive himself home. Goldberg has already swapped his suit for shorts and sneakers. As they head out to the street, Goldberg turns back.<\/p>\n
\n\t\u201cIt is all true,\u201d he says.<\/p>\n
\n\tSeth Rogen, Evan Goldberg, Chase Sui Wonders, Bryan Cranston and Dave Franco shot exclusively by Michael Buckner for Deadline on location at Edge Studios in Los Angeles.<\/p>\n
\n\tChase Sui Wonders \u2014 Stylist: Thomas Carter Phillips at The Wall Group. Look: Sandy Liang | @sandyliang. Shoes: Jude | @judethebrand. Earrings: Melinda Maria | @melindamaria_jewelry. Rings: Rachel Katz Jewelry | @rachelkatzjewelry. Bryan Cranston \u2014 Stylist: Michael Fisher for The Wall Group. Stylist assistants: Molly MacIntosh and Christina Corso. Look: Loro Piana. <\/p>\n","protected":false},"excerpt":{"rendered":"2022, The London Hotel, West Hollywood. Seth Rogen and I are sitting at the bar, sipping water, waiting…\n","protected":false},"author":2,"featured_media":92458,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[54],"tags":[4311,62914,24423,39917,88,12797,62915,54421,12647,62916,12649,12798,92,21827],"class_list":["post-92457","post","type-post","status-publish","format-standard","has-post-thumbnail","category-tv","tag-bryan-cranston","tag-catherine-ohara","tag-chase-sui-wonders","tag-dave-franco","tag-entertainment","tag-evan-goldberg","tag-kathryn-hahn","tag-martin-scorsese","tag-ron-howard","tag-sarah-polley","tag-seth-rogen","tag-the-studio","tag-tv","tag-zoe-kravitz"],"_links":{"self":[{"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/posts\/92457","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/comments?post=92457"}],"version-history":[{"count":0,"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/posts\/92457\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/media\/92458"}],"wp:attachment":[{"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/media?parent=92457"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/categories?post=92457"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/tags?post=92457"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}