Amoeba Records at the Hollywood Boulevard is not the best place for someone from Seth Rogen’s visibility to buy without any problems. The hotel is only blocked by the Chinese theater, directly from Dr. Phils and Dr. Oz ‘stars on the fame path, and there may be only a few places that are worse.

But when Rogen was not interrupted by his admiring Bro fans who were legion, toe shoes and a small dicky shirt were worn; Another cried – however, Amoeba was a perfect place to dig hundreds of vinyl soundtracks. It was Tuesday before the Oscars, and we were there with Rogen’s long-standing creative partner Evan Goldberg to search records and talk about their latest creation: “The Studio”, an ambitious, prominent industry satire for Apple TV+, which was premiered on Wednesday.

Rogen had been commissioned by his wife to store more jazz – given the jazzy score and the improvisatory feeling of the new show, which was mainly shot in long single titles. But like Goldberg and Rogen, who have been friends since their youth, their taste in music was really due to their love Films.

So we were first among the soundtracks, where the highlights were a new edition of “The Three Amigos” – “One of my favorite films of all time”, and Rogen – and two copies of the soundtrack for “Soul Man”, the comedy of 1986 about a young white man, specifications, to get a Harvard scholarship holder. (Different times, as they say.)

“Age, yesterday I told some people at work about it!” Said Goldberg.

“It has A good soundtrack, ”dared Rogen.

Then as if I were talking to a ghost at the same time:

“Is it racist to buy it?”

“Is it racist to own that?”

In retrospect it was a layered moment: Goldberg and Rogen, who tested the borders of the mainstream comedy for decades not to do.

In comparison, these two men and their early brand of sweet but frenzied Stoner comedies had managed to develop and survive the vivals of time, taste and social attitude, even as not every wit-no career with them under their cohort.

In many ways, “The Studio”, in which Rogen plays the oppressed head of a fictional major studio, speaks for their development. They are no longer the young Canadian outsiders; They are powerful producers in the forties with the ability to make dreams themselves and break. You may not guess that the shorts and sneakers or your other big joint venture: a high-end-cannabis accessory company. (Rogen remains one of Hollywood’s most famous weed connoisseurs.)

Goldberg stared at the “Soul Man” soundtrack and took on a more determined tone.

“We should get it,” he said. “How much does it cost?”

“It’s just $ 4,” said Rogen. “We have to get The soundtrack “Soul Man”. “

Goldberg nodded. “Just as people ask:” What is it? “, He said.”Oh, I’ll tell you what that is (expedant) …“”

So the allegory of the soundtrack “Soul Man” was completed: purchase felt a little stupid, a little risky, but also funny. They grabbed it with glee.

Goldberg has it well. He can avoid a lot from the public obligations that are accompanied by Rogen. He openly appreciates freedom. Rogen recently led a podcast interview in which the host said: “I would be jealous if I was evano.” When Rogen led this in the record store, Goldberg said: “Then you need therapy, my friend.”

So far, the many (many) celebrities in “The Studio”, the most playing versions of themselves, have previously contributed to isolating it from a large part of the enthusiasm that also created this recent undertaking in connection with the series and staged all 10 episodes. (Peter Huyck, Alex Gregory and Frida Perez are also creators.) The premiere alone includes Steve Buscemi, Bryan Cranston, Paul Dano, Martin Scorsese and Charlize Theron. The main line -up includes Ike Barinholtz, Kathryn Hahn, Catherine O’Hara and Chase Sui Wunder.

“There are so many famous actors that nobody wants to talk to me, and it’s the best,” said Goldberg. “I am like the ninth person with whom people want to speak to” – a luxury because his fingerprints of his and roges have been among the most visible in the American film comedy for almost 20 years.

From a relative point of view, it was not long ago that Rogen and Goldberg Highschoolers in Vancouver, British Columbia, were that already work hard on the script based on their life would be the “super bath”.

Her career started quickly. At the age of 16, Rogen was occupied in an open audition for the NBC comedy “Freaks and Geeks” popular by the criticism. The show was canceled after a season, but Judd Apatow, an executive producer, liked Rogen and helped him to write, produce and act gigs while Goldberg in Canada remained for college.

Goldberg soon came to Rogen in Los Angeles, where they landed writing jobs in Sacha Baron Cohen’s “Da Ali G -Show”.

Apatow also liked Goldberg. “Always very nice and sweet”, as Apatow later described him by phone – “you know, shocked by what Hollywood was.” Under Apatow’s wings, the two friends took and produced jobs when Rogen improved his acting. At the same time, Apatow helped them develop “super bathroom”.

“She For years trying to find out how it works improve The script was looking for the script when looking for someone, “said Apatow.” They were relentless. “

Then everything seemed to happen at once. “Knocked Up” with Rogen (with Katherine Heigl) and the manager produced by him and Goldberg made his debut in June 2007 and achieved over 200 million dollars. “Super Bad” followed in August and was almost as much. It was just as important that the young Canadians were able to do “Superbad”, “just as they wanted to do it,” noted Apatow-June for 20-year-olds in a studio. “It is 100 percent what you imagined.”

Personally, Goldberg and Rogen are an entertaining couple – “different, but no opposites,” as David Gordon Green, who made her film “Ananapple Express”, later described her by phone. Goldberg Balder and slimmer is physically; Rogen is annoying and softer. Goldberg was reservable, Rogen better left out. However, they seemed to share a brain many times, constantly landed to riffing and often ended up on the same punch lines.

This harmony is one reason why journalists rarely want to write about their partnership, they said. “The problem is that we don’t hate ourselves,” said Goldberg. (Rogen: “Exactly.”) “We have no beef, so it is basically a little boring.” (Rogen: “Basically uninteresting.”)

Employees confirm that they present an unusually harmonious front on the set. There is little argument, no good-cop bath cop.

“I think you have a kind of telekinesis and you trust each other,” said Wunder, who plays a Cutthroat junior manager in “The Studio”. Barinholtz, who plays No. 2 of the studio, stopped it as follows: “They really make you laugh, which is really important.” He added: “That only makes us excited.”

Green, who himself worked with long -term friends (including Danny McBride, who was in “Ananas Express”), in Goldberg and recognized the properties that are necessary for the maintenance of a decades of creative partnership. He described situations in which he and Rogen would try to crack a scene, and Goldberg would just open softly with a post-it note, give them and go away.

“They know when they challenge each other and push each other,” said Green. “And when you withdraw and when to support each other.”

When we exchanged our new LPs to our cars, we came to a ragged group of boomers sitting on the sidewalk. At first glance, they seemed homeless; It turned out that they took up early for a Rick Springfield concert. You immediately clocked Rogen.

One of the men took Rogen for a selfie. Then he chased Rogen for a better selfie. Rogen was as gracious as a person for someone who had done this about 10 times that morning.

Goldberg withdrew for a quiet distance, apparently his standard position at such times: pleasantly replaced, slightly amused and visibly facilitated in order to be the mostly invisible partner.

It is not surprising, “the studio” It’s just as much a love letter as satire. Since Goldberg and Rogen in the mid -20s, they were mainly worked in the studio system, which was very nice for all pieces on the show.

A running gag in “The Studio” has Rogen’s character Matt, a committed cinephile that is struggling to make a film with Kool-Aid man without completely losing his soul. (How many of Matt’s fears reflect Rogen himself?

“The truth is that they would probably make a Kool AID film,” said Rogen later this week at the headquarters of her production company Point Gray Pictures. Inside, a framework of a “Simpsons” episode -episode Goldberg and Rogen: “Homer the whopper”). The toilets were referred to as “washrooms”. The conference room smelled of weeds.

“We thank God, we are in a position in which we don’t have to make the Kool-Aid film,” added Rogen. “But the funny thing about Studio executives is that they do it. And that’s something that was only entertaining.”

The hunger for the types of comedies Goldberg and Rogen in their youth fluctuated over time. You have thrived through adaptation. Exhibition A is Point Gray. The company’s portfolio is diverse and claims dozens of successful films and television programs, not all uncomplicated comedies. Many include other genres, such as the Amazon-Anti-Superhero series “The Boys”, the Hulu-Dodrama “Pam & Tommy” and the documents “Paul T. Goldman” Peacock True-Crime. In 2023 they made “Teenage Mutant Ninja Turtles: Mutant Mayhem”, their most important excursion to an existing franchise.

“Fifteen years ago we would have made a high school film with R-rating,” said Rogen. “And now the version of the high school film that we can currently make for theater is popular and people like” Ninja Turtles “.”

Such large -scale productions help you to continue to produce Indies, although both quickly found that they also love the big stuff. They are not snobs: they like comics; They like explosions. Like James Weaver, the President of Point Gray, noticed that even a film was as exaggerated as “This is the end”.

“Although it is an apocalypse film in which a demon comes with a huge penis in the third act,” he said that the film is “at the beginning of old friends and new friends”.

“The studio” repeats this point repeatedly, albeit with pointed self -confidence. “All films are art,” says Matt of a group of judgment doctors in an episode. “You cannot choose which films are art.”

The scene serves as a kind of thesis for the show and for the career of Goldberg and Rogen-Ins especially in view of the fact that Matt ended the trailer for a satirical zombie film in which the zombie infection of diarrhea is distributed.

“We decided to take part instead of complaining too much,” said Rogen about the big shifts that many crawl in Hollywood. “It is not a drag for us. It is exactly like: the industry changes and develops and you have to change and develop further.”