Judd Apatow Biography
Table of Contents
- 1 Judd Apatow Biography
- 2 Judd Apatow Age
- 3 Judd Apatow Family
- 4 Judd Apatow Wife| Judd Apatow Leslie Mann
- 5 Judd Apatow Kids | Judd Apatow Daughter
- 6 Judd Apatow Height
- 7 Judd Apatow Image
- 8 Judd Apatow Career
- 9 Judd Apatow Net Worth
- 10 Judd Apatow Book
- 11 Judd Apatow Love
- 12 Judd Apatow Crashing
- 13 Judd Apatow Video
- 14 Judd Apatow Twitter
- 15 Judd Apatow Interview
- 16 Popular Posts
Judd Apatow was born in Flushing, New York, United States. She is an American filmmaker and comedian. He is the founder of Apatow Productions, through which he produced and developed the television series Freaks and Geeks, Undeclared, Funny or Die Presents, Girls, Love, and Crashing and directed the films The 40-Year-Old Virgin (2005), Knocked Up (2007), Funny People (2009).
Judd Apatow Age
Judd Apatow was born on December 6, 1967, in Flushing, Queens, New York, U.S. He is 51 years old as of 2018.
Judd Apatow Family
Judd Apatow was born in Flushing, Queens, and raised in Syosset, New York, to Tamara “Tami” (née Shad), a record executive. He has two siblings, a sister Mia Apatow and brother Robert Apatow.
Judd Apatow Wife| Judd Apatow Leslie Mann
Judd Apatow is married to Leslie Mann since 9 June 1997. The two have two children.
Judd Apatow Kids | Judd Apatow Daughter
- Maude Apatow
- Iris Apatow
Judd Apatow Height
Judd Apatow stands at 1.78 m tall.
Judd Apatow Image
Judd Apatow Career
Apatow began performing stand-up comedy at age seventeen, during his senior year of high school. In the September 1985 issue of Laugh Factory Magazine, he is listed as an Associate Editor. After graduating from high school in 1985, he moved to Los Angeles and enrolled in the screenwriting program at University of Southern California. While at USC, he organized and hosted a number of on-campus “Comedy Night” events, featuring headliners such as Saturday Night Live performer Kevin Nealon. Apatow introduced the acts at these events with short standup routines of his own. He also began volunteering at (and later producing) benefit concerts for HBO’s Comic Relief and performing and seeing standup at the Improv in Hollywood. He dropped out of college during his second year and later moved into an apartment with comedian Adam Sandler, whom he met at the Improv. He competed in the Johnnie Walker Comedy Search in 1989 directed by Saturday Night Live short film producer Neal Marshad.
Shortly thereafter, Apatow was introduced by manager Jimmy Miller to Garry Shandling which resulted in Apatow being hired as a writer for the 1991 Grammy Awards that year, which Shandling hosted. He went on to co-produce comedy specials by Roseanne Arnold, Tom Arnold, and Jim Carrey. In 1992, Apatow appeared on HBO’s 15th Annual Young Comedians Special and shortly afterwards went on to co-create and executive produce The Ben Stiller Show for Fox. Apatow had met Stiller outside of an Elvis Costello concert in 1990, and they became friends. Despite critical acclaim and an Emmy Award for Apatow and the rest of the writing staff, Fox canceled the show in 1993.
Apatow went on to join HBO’s The Larry Sanders Show in 1993 as a writer and consulting producer, and he later served as a co-executive producer and director of an episode during the show’s final season in 1998. He credits Shandling as his mentor for influencing him to write comedy that is more character-driven. Apatow earned six Emmy nominations for his work on Larry Sanders. During this same time, he worked as a consulting producer and staff writer for the animated show The Critic, starring Jon Lovitz.
In 1995, Apatow co-wrote (with Steve Brill) the feature film Heavyweights. Around the same time, Apatow was hired to produce and do an uncredited re-write of the script for the movie The Cable Guy, which was released in 1996 to mixed reviews. It was during the pre-production of the film that Apatow met his future wife, actress Leslie Mann. Apatow did uncredited re-writes on two other Jim Carrey films: Liar, Liar and Bruce Almighty. His next script was titled Making Amends, which had Owen Wilson attached to star as a man in Alcoholics Anonymous who decides to apologize to everyone he has ever hurt. However, the film was never made. Apatow did uncredited rewrites of the Adam Sandler films Happy Gilmore and The Wedding Singer. He was also featured in four tracks on Sandler’s 1996 comedy album “What the Hell Happened to Me?”
Judd Apatow Net Worth
Judd Apatow has an estimated net worth of $90 million.
Judd Apatow Book
- Sick in the Head: Conversations About Life and Comedy 2015
- This Is 40: The Shooting Script 2013
- Funny People: The Shooting Script 2009
- Knocked Up: The Shooting Script 2006
Judd Apatow Love
Love is an American romantic comedy web television series created by Judd Apatow.
Judd Apatow Crashing
Crashing is an American comedy television series Judd Apatow being the executive producer.
Judd Apatow Video
Judd Apatow Twitter
Judd Apatow Interview
Published: Jul 28, 2018
When did you get involved in The Big Sick and what state did it come to you in?
I met Kumail when I was a guest on Pete Holmes podcast, which is called You Made It Weird. He would do a live podcast at the South By South West film festival in Austin. And I remember the day because it was the day that we first showed Girls publicly. That was, you know, six years ago. And then at some point we met, because he said he had some movie ideas, and he pitched me a couple of high concept comedies and then he said “and there’s this true story that happened to me and Emily when we first met” and then he told me the story of The Big Sick and I instantly thought that would make an amazing movie. I knew it would be a difficult movie to get exactly right because there’s so much high medical drama in it, we’d have to work really hard on figuring out what the balance was between comedy and drama. He and Emily started working on the draft and they worked on the script for like three years.
And are you developing the script with them in that time or do you let it sit with them and they come to you when it’s ready?
No, we talked about it. We sat in rooms for many, many hours, talking about how the structure might work. It was their first attempt at writing a screenplay of any kind. They’d write an outline, they’d come in, we’d talk about it, I’d give them notes, they’d write another outline. After months and months of that discussion, I said why don’t you try to start writing some pages, and then we would do notes until finally, they had a draft. Then they would do another draft and I would give notes, and then we would go back and forth, you know, every month, or a couple of months, for several years.
On this film, you have Kumail, who as you’ve said co-wrote the script and it’s partly based on his life, you have yourself, then you have the director Michael Showalter as well. Is it difficult to balance that many creative voices without complicating the filmmaking process?
Well, I think it is a delicate thing to do. But hopefully, that’s the one thing I do well, which is I’m able to challenge people and help teach them about screenwriting while not interfering with their vision and this idea that they’re passionate about. It’s a lot like being a record producer. I assume it’s similar to Rick Rubin going into the studio with Kanye West. You’re pushing somebody, you’re trying to indicate what’s working and what’s not working, but you’re also trying to stay out of the way. And you know that the whole thing could fall apart if you push any idea too hard.
You’re listening to them and you’re constantly saying ‘are you happy with this? Are we moving in a direction that you feel this is getting stronger?’ I never, ever force anyone to do anything that they are not super excited about. I certainly will argue and debate them and explain why I think certain directions might be helpful.
Is there a process of, because you’re a big name in comedy, is there a process of making them comfortable in responding to you? Because if you told me to do something, I’d look at your record and I’d probably do it.
Well, some people are very comfortable collaborating and some people are not. There are people that I’ve started screenplays with and they hand me a draft and I say here’s what I think might help it and they never talk to me again.
That’s happened more than a few times. Some people want to engage and other people have a lot of problem with that. And I have total respect for both types of people. Kumail and I and Emily and Michael happen to be very much in sync about the style of comedic filmmaking that we enjoy. In a lot of ways, you could say the tone is like Barry Levinson’s movie Diner. I always go to that film, I always think about the movie Say Anything by Cameron Crowe as a tonal touchstone.
We also like each other, we have a great time and we respect each other. I think that these relationships are a disaster when people don’t respect each other. And also if people don’t have good communication skills, because I’m very aware that if I’m telling somebody that something’s not working I have to do it in a very loving, respectful way or they’ll want to punch me in the face.
Is there a degree to which your name and your presence would protect a film from outside interference, too?
It depends on the project. I think that I do get a certain amount of trust from studios and investors because they know that I have some sense of what I’m doing and they’ve seen enough of my work to know what I’m trying to do. Every project is different and it has different challenges but I think the people paying for movie think ‘Well, Judd’s gonna make sure nothing goes off the rails’.
You have an amazing cast in this film. In particular, I was surprised by how much I enjoyed Ray Romano. How did he come to be involved in this film? I know you’ve worked with him previously.
In 1992 I was on the HBO Young Comedians Special with Ray, that was when we were both starting out. I’ve known him for a long time. He was in a movie I made called Funny People and had a really funny sequence with Eminem.
I’ve always been a giant fan of his acting, I think that Everybody Loves Raymond is one of the greatest sitcoms of all time.
When we were trying to figure out who should play the parents we went on a dry erase board and we wrote down the name of every man who could play the father and every woman who could play the mother and then we just started drawing lines from one person to the other person and just trying to imagine certain couples.
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