Seth Rogen is the Boss Now
Picture the scene.
想象一下场景。
We're in Hollywood.
我们在好莱坞。
The early aughts.
早期的事情。
The Spider-Man and Harry Potter franchises are massive and growing, while the MCU is still but a twinkle in Stan Lee’s eye.
《蜘蛛侠》和《哈利·波特》系列的规模庞大且不断增长，而漫威宇宙在斯坦·李的眼中仍然只是一闪而过。
Lohans and Kutchers roam the earth, bigger than life.
罗汉斯和库奇在地球上漫游，比生命更伟大。
And in a conference room at a major movie studio, a young executive is giving notes on a screenplay.
在一家大型电影制片厂的会议室里，一位年轻的高管正在对剧本做笔记。
The writers are a couple of Canadian kids, barely out of their teens.
编剧是一对刚满十几岁的加拿大孩子。
The more recognizable one is Seth Rogen, who’d gotten his start a few years earlier on some NBC show that critics loved and nobody else remembers.
较知名的一位是塞斯·罗根 (Seth Rogen)，他几年前在 NBC 的某个节目中开始了自己的职业生涯，受到评论家的喜爱，但无人记得。
He and his childhood best friend, Evan Goldberg, have collaborated on the script.
他和儿时最好的朋友埃文·戈德堡合作编写了剧本。
And it’s got potential!
而且它有潜力！
It’s quirky, yes.
这很奇怪，是的。
Offbeat?
另类？
Absolutely.
绝对地。
But it’s definitely promising.
但这绝对是有希望的。
The executive’s job is to help mold these fresh new voices and their novice screenplay into something sellable.
高管的工作就是帮助将这些新鲜的声音和他们的新手剧本塑造成可销售的东西。
To sand down the edges.
打磨边缘。
To help transform the story into something that might spawn a franchise.
帮助将故事转变为可能产生特许经营权的东西。
But won’t all that sanding and transforming only smother what’s exciting about the script in the first place?
但所有这些打磨和改造难道不会只会扼杀剧本最初令人兴奋的部分吗？
In the middle of the meeting, the executive offers a confession.
在会议进行到一半时，这位高管进行了坦白。
“I got into this job because I love the movies,” he tells young Seth and Evan, “and now I feel like it’s my job to ruin them.”
“我从事这份工作是因为我喜欢电影，”他告诉年轻的塞思和埃文，“现在我觉得我的工作就是毁掉它们。”
It was a formative moment for the aspiring filmmakers that has both helped shape the trajectory of their careers and, more recently, served to inspire their latest high-profile project.
对于有抱负的电影制作人来说，这是一个形成的时刻，不仅帮助塑造了他们的职业轨迹，而且最近还激发了他们最新的备受瞩目的项目。
“That was said to us in a meeting twenty years ago,” says Rogen, “by the schmuck who was dealing with us on some bad script that never went anywhere, and we just never forgot it.”
“这是二十年前在一次会议上对我们说的，”罗根说，“那个笨蛋当时正在和我们打交道，写一些糟糕的剧本，但这些剧本从来没有成功过，我们永远不会忘记它。”
Today that unnamed schmuck is a very high-up executive at an unnamed major movie studio.
如今，那个不知名的笨蛋是一家不知名的大型电影制片厂的高级管理人员。
And Rogen is starring in—and writing, and producing, and directing—a look behind the scenes of a movie industry teetering on the edge of disaster.
罗根正在主演、编剧、制作和导演，讲述了一个在灾难边缘摇摇欲坠的电影业的幕后故事。
In the new Apple TV+ series The Studio , Rogen plays Matt Remick, an executive who gets promoted to be the head of the fictional Continental Studios just as the movie business is at its most risk-averse and IP-obsessed.
在新的 Apple TV+ 系列剧集《工作室》中，罗根饰演马特·雷米克 (Matt Remick)，一名高管，在电影行业最厌恶风险和最痴迷于知识产权的时期，他被提升为虚构的大陆制片厂 (Continental Studios) 的负责人。
Remick is in over his head, flustered, conflicted, desperate to be liked, and desperate not to further ruin his industry—the one he got into because he loves movies.
雷米克陷入了困境，心慌意乱、矛盾，渴望被人喜欢，又不顾一切地不想进一步毁掉他的行业——他因为热爱电影而进入这个行业。
He’s terrified, and he’s the boss.
他很害怕，他是老板。
Rogen, by contrast, is just the boss.
相比之下，罗根只是老板。
He’s one of the hardest-working people in show business, and one of the happiest.
他是演艺界最勤奋的人之一，也是最快乐的人之一。
In a world that seems to be starving for positive male role models, we have one right here.
在一个似乎渴望积极的男性榜样的世界里，我们这里就有一个。
“In the first years we saw him,” says his Studio costar Ike Barinholtz , who plays a lower-level executive desperate for power, “he was the fun, crazy, party guy of the mid-2000s.
“我们看到他的第一年，”他的工作室搭档艾克·巴林霍尔茨（Ike Barinholtz）饰演一位渴望权力的低层高管，他说，“他是 2000 年代中期有趣、疯狂、喜欢聚会的人。
Now he’s aged into a perfect example of how you can be a massively successful man and not be a huge prick.”
现在，他已经成为了一个完美的例子，告诉你如何成为一个非常成功的人，而不是成为一个大混蛋。”
This article appeared in the October/November 2024 issue of Esquire
本文发表于《Esquire》2024 年 10 月/11 月号
Kathryn Hahn, who steals scenes in The Studio as a marketing executive with an extremely foul mouth, echoes Barinholtz but puts her own spin on her praise for Rogen.
凯瑟琳·哈恩 (Kathryn Hahn) 在《演播室》中饰演一名营销主管，嘴巴极其粗俗，她的镜头与巴林霍尔茨相呼应，但也表达了她对罗根的赞扬。
“I wish I could meet his mom and just hug her,” she says.
“我希望能见到他的妈妈并拥抱她，”她说。
“People have a perception of him because he does these hard comedies, and he loves weed, and he’s taken on roles that reflect a certain slice of boyhood.
“人们对他的看法是因为他拍了这些硬喜剧，他喜欢大麻，而且他所扮演的角色反映了童年的某些部分。
When I had my first conversation with him, I came away like: Oh, he’s just a good egg.
当我第一次和他谈话时，我的感受是：哦，他只是一个好鸡蛋。
His goodness leaks all over the place.” She pauses a beat.
他的善良无处不在。”她停顿了一下。
“That sounds disgusting.”
“这听起来很恶心。”
Rogen has been famous since he was seventeen, very famous since he was twenty-five, happily married since he was twenty-nine, and stoned for most of it.
罗根从十七岁起就出名了，从二十五岁起就非常出名，从二十九岁起就幸福地结婚了，并且大部分时间都喝醉了。
Through the production company he runs with Goldberg, Point Grey Pictures, he’s got about a half dozen television shows currently on the air and a couple films on the way.
通过他与戈德堡经营的制作公司 Point Grey Pictures，他目前正在播出大约六部电视节目，还有几部电影正在制作中。
Now forty-two, he also has a thriving weed and weed-paraphernalia business, zero children, and a laugh that you can hear in your head now that I’ve brought it up.
现在他已经四十二岁了，他的大麻和大麻用具生意也很兴隆，没有孩子，而且既然我提起了这件事，你就能在脑海中听到他的笑声。
I meet Rogen at Point Grey’s Sunset Boulevard headquarters.
我在格雷角日落大道总部见到了罗根。
For as laid-back and gregarious as we all know him to be, he’s not super enthusiastic about a long interview.
尽管我们都知道他是个悠闲而合群的人，但他对长时间的采访并不那么热衷。
“I’ve not done one of these in years and years and years,” he says with a laugh—with the laugh—“and I’m always, like, I feel bad for the person doing it.
“我已经很多年没有做过这样的事了，”他笑着说道，“而且我总是为做这件事的人感到难过。
I don’t have any new insights or anything all that interesting to say, but I like talking about my work.”
我没有任何新的见解或任何有趣的事情可说，但我喜欢谈论我的工作。”
Fortunately, there’s a ton of work for him to talk about.
幸运的是，他有很多工作要做。
Point Grey has four comics-based series running on Amazon Prime Video alone: The Boys , its spin-offs Gen V and Diabolical , and Robert Kirkman’s Invincible .
仅在 Amazon Prime Video 上，Point Grey 就有四部漫画剧集：《男孩》、其衍生作品《第五代》和《恶魔》，以及罗伯特·柯克曼的《无敌》。
His company is producing season 2 of the Apple TV+ comedy Platonic, on which Rogen costars with Rose Byrne.
他的公司正在制作 Apple TV+ 喜剧《柏拉图》第二季，罗根与罗丝·拜恩在该剧中联合主演。
Hulu’s Pam & Tommy got Rogen a Best Supporting Actor Emmy nomination.
Hulu 的《帕姆和汤米》为罗根赢得了艾美奖最佳男配角提名。
The Peacock true-crime-esque documentary-ish Paul T.
孔雀真实犯罪式纪录片式保罗·T.
Goldman continues to be a word-of-mouth oddity.
高盛仍然是一个口碑怪异的公司。
And then there is Sausage Party: FoodTopia , the sequel series to the 2016 movie in which groceries fuck.
还有《香肠派对：FoodTopia》，这是 2016 年电影《杂货操》的续集。
But for all this, and everything that’s in development, there are only fifteen people working at Point Grey.
但尽管如此，以及正在开发的一切，Point Grey 只有 15 名员工。
“We have a huge amount of output for the amount of people who work here,” he says.
“对于在这里工作的人数来说，我们有大量的产出，”他说。
“There’s no sitting around doing nothing.
“不能无所事事地坐着。
We experimented with growth, and we thought, No, let’s keep a tight ship.
我们尝试了增长，我们想，不，让我们保持紧密的关系。
I used to go to these production companies in airplane hangars in Santa Monica, and I thought, Oh my God, it’s like running a studio.
我曾经去过圣莫尼卡飞机库的这些制作公司，我想，天哪，这就像经营一个工作室一样。
That’s not what I want to spend my time doing.”
这不是我想花时间做的事。”
Instead, Rogen consciously fosters a supportive setting where his people can succeed.
相反，罗根有意识地营造一个支持性的环境，让他的员工能够取得成功。
“It’s a really inviting place to be,” says James Weaver, Point Grey’s president.
“这是一个非常吸引人的地方，”格雷角总裁詹姆斯·韦弗 (James Weaver) 说道。
“Seth has created an environment for himself and for his partners where they can be their authentic selves, and we can collaborate and develop how that authentic self can tell a story.
“赛斯为自己和他的合作伙伴创造了一个环境，让他们可以做真实的自己，我们可以合作并开发真实的自我如何讲述故事。
He’s an inviting sort of person to be led by, and I think that comes from a real sense of happiness and security in who he is.”
他是一个很有吸引力的领导者，我认为这来自于他本身所带来的真正的幸福感和安全感。”
He and Goldberg are more about nurturing talent than poaching it.
他和戈德堡更多地致力于培养人才，而不是挖角人才。
“Everyone here started as an assistant,” Rogen says.
“这里的每个人都是从助理开始的，”罗根说。
“We’ve never hired someone from another company and brought them in as a producer.
“我们从来没有从其他公司聘请过人并让他们担任制片人。
We’ve always promoted from within.”
我们一直都是从内部提拔。”
One of The Studio’s cocreators , in fact, is Frida Perez, Rogen’s former assistant.
事实上，工作室的共同创作者之一是罗根的前助理弗里达·佩雷斯。
“I was an assistant who wanted to be a writer,” Perez says.
“我是一名助理，想成为一名作家，”佩雷斯说。
“So I was always asking a lot of questions like, Is this normal?
“所以我总是问很多问题，比如，这正常吗？
Is Hollywood always like this?”
好莱坞总是这样吗？”
On the set of 2022’s The Fabelmans , the Spielberg movie in which Rogen costarred, Rogen came to Perez with an idea.
在 2022 年罗根主演的斯皮尔伯格电影《法贝尔曼一家》的片场，罗根向佩雷斯提出了一个想法。
“He was like, I have this really funny idea for a TV show and I’m going to play a studio head.
“他说，我对电视节目有一个非常有趣的想法，我要扮演工作室负责人。
And immediately I was like, I need to be a part of this.”
我立刻就想，我需要成为其中的一部分。”
Such brainstorms are the basic foundation of Rogen’s approach to producing.
这种头脑风暴是罗根制作方法的基本基础。
“I don’t know if Point Grey has a guiding philosophy,” he says, “other than, like, we make the stuff that we would be upset if someone else made it.
“我不知道格雷角是否有指导理念，”他说，“除了，我们制造的东西如果别人制造了我们会感到不安。
That’s the stuff that we implore everybody to pursue.”
这就是我们恳求每个人追求的目标。”
He considers it for a moment.
他考虑了一会儿。
“We’d probably be in an airplane hangar in Santa Monica if we had a more cohesive mission statement.”
“如果我们有一个更有凝聚力的使命宣言，我们可能会在圣莫尼卡的一个飞机库里。”
In the first episode of The Studio , Rogen's character decidedly does want to be running a studio.
在《工作室》的第一集中，罗根扮演的角色显然确实想经营一家工作室。
And he’s just started his new dream job when he’s informed that he must make a film based on the intellectual property of Kool-Aid.
当他被告知必须制作一部基于 Kool-Aid 知识产权的电影时，他刚刚开始了他的新梦想工作。
Suddenly, there it is, the unnamed executive’s line from two decades ago repurposed as dialogue.
突然间，这位未透露姓名的高管二十年前的台词被重新用作对话。
“I love movies,” says Rogen as Remick, “and now I feel like it’s my job to ruin them.”
“我喜欢电影，”饰演雷米克的罗根说道，“但现在我觉得我的工作就是毁掉它们。”
The idea of a comedy that centers on the experience of the studio suit remained at the back of Rogen’s and Goldberg’s minds for all those years.
多年来，以工作室套装体验为中心的喜剧的想法一直萦绕在罗根和戈德堡的脑海中。
The role of the movie-company executive, to Rogen, is “probably the most comedic job to have in all of Hollywood.” And The Studio is the rare comedy that actually humanizes that strange creature.
对罗根来说，电影公司高管的角色“可能是整个好莱坞最喜剧的工作”。 《工作室》是一部罕见的喜剧，真正将这种奇怪的生物人性化。
Rogen’s inspiration might go back even further than that one candid line from the unnamed exec: “Judd [Apatow] let me listen in on a notes call from the network for Freaks and Geeks when I was like sixteen.
罗根的灵感可能可以追溯到一位未透露姓名的高管的坦白台词之前：“当我十六岁的时候，贾德（阿帕图）让我收听来自网络的《怪胎与极客》的笔记电话。
And before the call began, he said: ‘The thing to keep in mind is that everything they say to us on this call is based in the fact that they’re all terrified of losing their jobs every second of every day.’
在电话会议开始之前，他说：“要记住的是，他们在这次电话会议上对我们说的一切都是基于这样一个事实：他们每一天的每一秒都害怕失去工作。”
“They’re really at the inflection point of art and commerce,” Rogen continues.
“他们确实处于艺术和商业的拐点，”罗根继续说道。
“They have to decide, personally and often: Am I enabling creativity, or am I doing the more self-preservational thing and erring on the side of a defensible financial choice?
“他们必须经常亲自做出决定：我是在激发创造力，还是在做更自我保护的事情并做出合理的财务选择？
They have an office job, at the end of the day.
归根结底，他们有一份办公室工作。
They don’t want to get yelled at, and they don’t want to be embarrassed.
他们不想被骂，也不想感到尴尬。
I thought that was a fun way into it.”
我认为这是一种有趣的方式。”
Like many real-life studio executives, Remick is obsessed with being liked, particularly by celebrities.
和许多现实生活中的工作室高管一样，雷米克痴迷于被人喜欢，尤其是被名人喜欢。
“It’s a very funny role to me,” Rogen says.
“这对我来说是一个非常有趣的角色，”罗根说。
“Seeing the panic and the joy and the pride that comes with success, and the risk mitigation.
“看到成功带来的恐慌、喜悦和自豪，以及风险的缓解。
How much they love visiting the set, and the tragedy of the fact that nobody wants them around—that’s inherently very funny.”
他们多么喜欢参观片场，而悲剧的是没有人愿意他们在身边——这本质上是非常有趣的。”
But the show is suffused with genuine empathy for the Matt Remick character, because his truest animating passion happens also to be Seth’s.
但这部剧对马特·雷米克这个角色充满了真诚的同情，因为他最真实的动画热情恰好也是塞斯的。
“I think the trait Seth shares with Matt is the incredible, deep love of film,” says Goldberg.
“我认为赛斯和马特的共同特点是对电影的难以置信的、深沉的热爱，”戈德堡说。
“Seth does not have children, and his work is very meaningful to him.
“赛斯没有孩子，他的工作对他来说非常有意义。
He’s got this deep, deep, deep love for the process, and respect for it.”
他对这个过程有着深深、深深、深深的热爱和尊重。”
As much love as he has for movies, it's fair to say that Rogen also has a genuine passion for reality TV.
尽管罗根对电影充满热爱，但可以公平地说，他对电视真人秀也有着真正的热情。
He and his wife, Lauren Miller, just completed a full watch of all eleven seasons of Vanderpump Rules , the Real Housewives spin-off and Bravo sensation about the drama at a West Hollywood restaurant owned by Lisa Vanderpump.
他和他的妻子劳伦·米勒 (Lauren Miller) 刚刚在丽莎·范德庞普 (Lisa Vanderpump) 拥有的西好莱坞餐厅看完了《真实家庭主妇》的衍生剧《范德庞普规则》的全部 11 季，这部剧引起了极大的轰动。
Rogen visited Schwartz & Sandy’s, a restaurant and bar owned by two of Vanderpump ’s longtime regular characters, before it closed its doors.
罗根参观了 Schwartz & Sandy's 餐厅和酒吧，该餐厅和酒吧的所有者是范德庞普的两位长期常客，在该餐厅关门之前。
“RIP,” he says sincerely.
“安息吧，”他真诚地说。
“Schwartz was there, and he came over.
“施瓦茨在那里，他过来了。
It was wonderful.
太棒了。
I get starstruck with reality people in a way I don’t get around movie stars.”
我对现实中的人很着迷，但我却无法避开电影明星。”
Growing up in Vancouver before his move to Los Angeles, he and Goldberg were obsessed with an earlier inside-Hollywood comedy, HBO’s The Larry Sanders Show .
在搬到洛杉矶之前，他在温哥华长大，他和戈德堡痴迷于一部早期的好莱坞喜剧，HBO 的《拉里·桑德斯秀》。
“We both remember being at a party in high school, like a wild kid’s house party where the parents are out of town.
“我们都记得高中时参加过一次聚会，就像父母不在城里的野孩子的家庭聚会。
And me and Evan were sitting in the parents’ bedroom watching The Larry Sanders Show because there was a new episode that night.
我和埃文坐在父母的卧室里看《拉里·桑德斯秀》，因为那天晚上有新一集。
We loved that it felt like a peek behind the curtain.”
我们喜欢这种感觉就像是在幕布后面一瞥。”
Larry Sanders was also packed with celebrity cameos—the stars of the ’90s playing fun-house versions of themselves, as Ron Howard , Zoë Kravitz , Martin Scorsese , and dozens more do on The Studio.
拉里·桑德斯 (Larry Sanders) 中也有许多名人客串，90 年代的明星们在剧中扮演自己的搞笑版本，如朗·霍华德 (Ron Howard)、佐伊·克拉维茨 (Zoë Kravitz)、马丁·斯科塞斯 (Martin Scorsese) 以及其他数十位在《演播室》中所做的事情。
“ Larry Sanders is probably one of the reasons Evan and I are into meta-comedy.
“拉里·桑德斯可能是埃文和我热衷于元喜剧的原因之一。
It felt like a reputable source showing you in a funny and elevated way what’s actually happening behind the scenes.”
这感觉就像是一个有信誉的消息来源，以一种有趣而高尚的方式向你展示幕后实际发生的事情。”
By the time Rogen was old enough to attend and ignore a high school party, he was already an experienced stand-up comedian, having hopped up onstage for the first time at age thirteen.
当罗根长大到可以参加并忽略高中聚会时，他已经是一位经验丰富的单口喜剧演员，十三岁时第一次登上舞台。
A runner-up finish at a Vancouver comedy contest at age sixteen just barely preceded a casting call for Judd Apatow’s Freaks and Geeks .
16 岁那年，他在温哥华喜剧比赛中获得亚军，之后不久就接到了贾德·阿帕托的《怪胎与极客》选角的邀请。
And while the TV series famously did not last, Apatow brought him along to his next project: Rogen was a costar and staff writer of Fox’s Undeclared by age nineteen.
虽然众所周知，这部电视剧没有持续多久，但阿帕托把他带到了他的下一个项目：罗根在 19 岁时就成为福克斯电视台《未申报》的联合主演和特约编剧。
That show didn’t go the distance either, but it gave Rogen the momentum to snag himself and his best friend, Goldberg, jobs on the writing staff for Da Ali G Show in 2004.
那场秀也没有走得很远，但它给了罗根动力，让他自己和他最好的朋友戈德伯格在 2004 年为 Da Ali G Show 担任编剧。
That same year, Rogen met Miller, an actor and director, at a birthday party.
同年，罗根在一次生日聚会上结识了演员兼导演米勒。
They were married in 2011.
他们于 2011 年结婚。
For someone who started in showbiz so young, Rogen has remained remarkably grounded.
对于一个如此年轻就进入演艺圈的人来说，罗根仍然非常脚踏实地。
“My first experience in all of Hollywood was making something great that no one wanted and was instantly canceled, so that was a good tone setter.” Freaks and Geeks existed for just one season in 1999 before NBC pulled the plug.
“我在好莱坞的第一次经历是制作了一些没人想要的伟大作品，然后立即被取消，所以这是一个很好的基调。” 《怪胎与极客》在 1999 年只播出了一季，之后 NBC 就停播了。
Though it’s maintained a cult following ever since, thanks to a DVD release and extremely strong word of mouth, the setback taught Rogen a valuable lesson: “You can do everything right and still fail.
尽管凭借 DVD 的发行和极强的口碑，从那时起它就一直拥有一批狂热的追随者，但这次挫折给罗根上了宝贵的一课：“你可以把一切都做对，但仍然会失败。
You can do the best work there is, and it doesn’t mean anyone’s going to watch it.”
你可以做出最好的作品，但这并不意味着任何人都会看。”
Rogen also never gravitated to the club scene, even in his early days in L.
罗根也从未被俱乐部场景所吸引，即使是在 L. 的早期。
A.
A.
“Once in a while, we’d go out in that world,” he says.
“偶尔，我们会去那个世界，”他说。
“I remember getting really drunk with Rick James one night, so that really dates the story.
“我记得有一天晚上和里克·詹姆斯喝得烂醉，所以这确实是一个过时的故事。
But that was not my lane.
但那不是我的车道。
I felt much more comfortable around the people who were into the work element of Hollywood, who wanted to go see a movie on a Saturday night and then hang out and smoke.”
和那些热衷于好莱坞工作元素的人在一起，我感觉更自在，他们想在周六晚上去看电影，然后出去抽烟。”
He was still doing stand-up at the time, which he also realized wasn’t for him.
当时他还在做单口喜剧，他也意识到这不适合他。
Not because he was bad, but because he was good enough.
不是因为他不好，而是因为他足够好。
That also sharpened his focus.
这也让他的注意力更加集中。
“I had pretty good shows all the time, which was something I immediately recognized as a trap I could fall into” says Rogen.
“我一直都有很好的表演，但我立即意识到这是一个我可能掉入的陷阱”罗根说。
“I wasn’t bad enough that people were telling me to quit.
“我还没有糟糕到人们让我放弃的地步。
I just wasn’t good enough to be one of the greats.”
我只是还不够优秀，无法成为最伟大的人之一。”
So he chose a new lane.
于是他选择了一条新车道。
“As I began to recognize that my skill level was not up to par as a stand-up, I felt like my skill level could potentially be up to par as someone who wrote movies.”
“当我开始意识到我的技能水平达不到单口喜剧的水平时，我觉得我的技能水平可能会达到电影编剧的水平。”
We talk Vanderpump for a bit longer, and then Seth’s assistant pops in to tell him it’s ten to one.
我们和范德庞普聊了一会儿，然后塞斯的助手突然进来告诉他现在的比分是十比一。
“Okay, I gotta go to therapy,” Rogen says.
“好吧，我得去接受治疗，”罗根说。
So we say goodbye, and he pulls out of Point Grey’s parking lot in a café-con-leche-colored Porsche 911 convertible.
于是我们告别了，他开着一辆咖啡色的保时捷 911 敞篷车驶出了格雷角的停车场。
He picked the right lane, and he is driving in it in one gorgeous car.
他选择了正确的车道，并且驾驶着一辆华丽的汽车行驶在这条车道上。
A couple days later, I'm back in the Point Grey offices, and as I arrive Rogen is watching a cut of a trailer for The Studio.
几天后，我回到了格雷角办公室，当我到达时，罗根正在观看《工作室》的预告片。
“This does not quite nail it,” he confides as he emails back some notes, quickly and decisively.
“这并不能完全解决问题，”他一边快速而果断地通过电子邮件回复一些笔记，一边透露道。
(“He’s very direct,” Perez says, “very clear about what he wants versus bosses where you’re trying to figure out what exactly they need from you.”) Rogen hits send and then decides he needs a little pick-me-up.
（“他非常直接，”佩雷斯说，“非常清楚自己想要什么，而老板则试图弄清楚他们到底需要从你那里得到什么。”）罗根点击发送，然后决定他需要一点提神。
“Is it okay if we walk down the block and get some coffee?
“我们可以沿着街区走去喝杯咖啡吗？
Will that ruin the process?” It will not.
这会破坏整个过程吗？”不会的。
We walk a couple blocks east on Sunset to Blackwood Coffee Bar, where he orders a Sparkling Espresso.
我们在日落时分向东步行几个街区来到布莱克伍德咖啡吧，他在那里点了一杯起泡浓缩咖啡。
He is, I should say, turned out.
我应该说，他是成功的。
Navy chore coat over a monochromatic tan shirt-and-trouser combo.
海军蓝家务外套搭配单色棕褐色衬衫和裤子组合。
“Generally speaking, he is always in earth tones,” Goldberg confirms.
“一般来说，他总是采用大地色调，”戈德堡证实。
“And comfortable shoes.”
“还有舒适的鞋子。”
Rogen is, in an understated way, more fashion-conscious than we give him credit for.
罗根低调地比我们想象的更有时尚意识。
Matt Remick, by contrast, is fashion-conscious in a very stated way, sporting a series of slick-but-not-flashy suits throughout The Studio.
相比之下，马特·雷米克 (Matt Remick) 非常注重时尚，在工作室里穿着一系列光滑但不浮夸的西装。
“With his wardrobe, we’re communicating that he wants to be cool,” says Rogen.
“通过他的着装，我们传达出他想变得很酷，”罗根说。
“And we liked the idea that he’s nostalgic for the days when a Robert Evans would really take pride in how he dressed.” The Apple TV+ people took note.
“我们喜欢他怀念罗伯特·埃文斯真正为自己的着装感到自豪的日子。” Apple TV+ 的人们注意到了这一点。
“When we started handing the episodes in, the studio people were like: We can dress like that?”
“当我们开始提交剧集时，工作室的人会问：我们可以穿成那样吗？”
On the way back from Blackwood, a young man passes by and does a real, honest-to-God double take at Seth.
从布莱克伍德回来的路上，一个年轻人路过，对塞斯进行了真正的、诚实的双重审视。
“Seth Rogen!
“塞斯·罗根！
Oh, my God!” The guy then says “Oh, my God” six to twelve more times and asks for a photo.
我的天啊！”然后，那家伙又说了六到十二次“哦，我的上帝”，并要求拍照。
Seth obliges.
赛斯答应了。
I grab the guy’s iPhone, put it in landscape, and start counting to three.
我抓起那家伙的 iPhone，将其横放，然后开始数到三。
The guy stops me at two and turns to Seth.
那家伙在两点时拦住了我，然后转向赛斯。
“I mean, like,” he says, almost admonishingly, “can you take your sunglasses off?” Seth agrees, we get the shot, the guy bro-hugs him, says “Oh, my God” four to eight more times, and walks off.
“我的意思是，”他几乎是在警告，“你能把太阳镜摘下来吗？”塞斯同意了，我们开枪了，那家伙拥抱了他，又说了四到八次“哦，我的上帝”，然后走开了。
“You stay fresh, Seth,” he says.
“你要保持活力，赛斯，”他说。
And Seth laughs the laugh.
赛斯笑了。
He wears his celebrity easily.
他很容易就能展现自己的名气。
“I have a pretty good version of all this,” Rogen tells me.
“我对这一切都有一个很好的版本，”罗根告诉我。
“I’ve never been someone the paparazzi were fascinated by, and people don’t really shout at me on the street, so I feel like I dodged a bullet there.”
“我从来都不是被狗仔队迷住的人，人们也不会在街上对我大喊大叫，所以我觉得我在那里躲过了子弹。”
Indeed, for roughly a quarter century during which his fame level has remained relatively high, Rogen’s name has largely stayed out of the headlines of TMZ and the like.
事实上，在大约四分之一个世纪的时间里，罗根的名气一直保持在相对较高的水平，但他的名字基本上没有出现在 TMZ 等媒体的头条新闻中。
That changed briefly last fall when his longtime collaborator and onetime close friend James Franco revealed in an interview that he and Rogen were no longer in touch.
去年秋天，当他的长期合作者和曾经的亲密朋友詹姆斯·弗兰科在一次采访中透露他和罗根不再联系时，这种情况发生了短暂的变化。
The actors first met as teens on Freaks and Geeks and worked together on movies like The Disaster Artist and Pineapple Express .
两位演员在《怪胎与极客》中首次相识，并在《灾难艺术家》和《菠萝快车》等电影中合作。
But Franco has faced various sexual-misconduct allegations in recent years and said that caused a schism between the two.
但佛朗哥近年来面临各种不当性行为指控，并表示这导致了两人之间的分裂。
“I haven’t talked to Seth,” Franco told Variety.
“我还没有和塞斯谈过，”弗兰科告诉《综艺》。
“I love Seth, we had twenty great years together, but I guess it’s over, and not for lack of trying.”
“我爱塞斯，我们在一起度过了二十年美好的时光，但我想一切都结束了，并不是因为缺乏尝试。”
How did it feel to have something so personal become so public?
如此私人的事情变得如此公开，感觉如何？
He’s clearly not surprised to get the question, and he’s just as clearly not happy about it.
显然，他对这个问题并不感到惊讶，而且显然对此也不高兴。
“Honestly,” he says, “I absorb so little media that it really wasn’t on my radar.” And that is all he wants to say about that.
“老实说，”他说，“我吸收的媒体太少了，以至于我根本没有注意到它。”这就是他想说的全部。
We walk through the Point Grey gates and see a guy making his way to a bungalow on the property.
我们穿过格雷角大门，看到一个人正走向庄园内的一间平房。
“That’s Mikey,” Rogen says.
“那是麦基，”罗根说。
“He’s the CEO of Houseplant.
“他是 Houseplant 的首席执行官。
Mikey, this is Dave, a journalist from Esquire.
麦基，我是戴夫，《时尚先生》的记者。
Lovely man until a minute ago.”
一分钟前还是个可爱的男人。”
Rogen asks if I want to check out the headquarters of Houseplant, his weed company, and in this moment there is nothing I have ever wanted to do more in my entire life.
罗根问我是否想参观他的杂草公司 Houseplant 的总部，此时此刻，我一生中没有什么比这更想做的事情了。
If the Point Grey offices look like a high-end comic-book store, the adjacent Houseplant HQ resembles a slick early-1960s bachelor pad: a vintage pool table, a console stereo with a well-curated stack of vinyl.
如果说 Point Grey 的办公室看起来像一家高端漫画书店，那么相邻的 Houseplant 总部就像 20 世纪 60 年代早期的光鲜单身公寓：一张老式台球桌、一台带有一堆精心策划的黑胶唱片的控制台立体声音响。
One wall is full of mid-century ashtrays and lighters.
一堵墙摆满了中世纪的烟灰缸和打火机。
“I smoke weed,” says Rogen—his story checks out, because he has a lit joint in his hand—“and I started to wonder what newer versions of this stuff look like, and what if we made them specifically for weed?” So during Covid, when you were feeding your sourdough starter, Rogen began doing pottery.
“我吸大麻，”罗根说——他的故事得到了证实，因为他手里拿着一根点燃的大麻烟——“我开始想知道这种东西的新版本是什么样子，如果我们专门为大麻制作它们会怎么样？”因此，在新冠疫情期间，当你喂酵母发酵剂时，罗根开始做陶器。
“I started making my own stuff, and then we realized maybe we could use Houseplant to produce some of it.”
“我开始制作自己的东西，然后我们意识到也许我们可以使用室内植物来生产其中的一些东西。”
Sure enough, on Houseplant’s website, you can cop a $300 marble joint-rolling tray or a stand-up ashtray.
果然，在 Houseplant 的网站上，你可以买到价值 300 美元的大理石连体滚动托盘或立式烟灰缸。
These products are sexy.
这些产品很性感。
Elevated.
升高。
“It’s like when smoking cigarettes was becoming glamorized, designers made stuff to support that lifestyle,” says Rogen.
“这就像当吸烟变得被美化时，设计师们制作了一些东西来支持这种生活方式，”罗根说。
“Same with drinking—after Prohibition, you’d see beautiful martini shakers.”
“喝酒也一样——禁酒令之后，你会看到漂亮的马提尼调酒器。”
Rogen and Goldberg cofounded Houseplant in 2019 with Goldberg’s cousin Michael Mohr—aka Mikey.
Rogen 和 Goldberg 于 2019 年与 Goldberg 的表弟 Michael Mohr（又名 Mikey）共同创立了 Houseplant。
Initially the company operated only in Canada before expanding to the U.
最初该公司仅在加拿大运营，后来扩展到美国。
S.
S。
in 2021.
2021年。
More recently, Rogen and his partners have moved away from selling cannabis flower and leaned into the business of weed accessories.
最近，罗根和他的合作伙伴不再销售大麻花，而是转向杂草配件业务。
“Do you smoke?” asks Rogen, as you and I both suspected he would.
“你抽烟吗？”罗根问道，正如你我都怀疑他会的那样。
And I wish I had a cooler answer, but I explain that I have not yet found the strain that allows me to also accomplish tasks like “existing as a human being in public.” He’s got advice, as you and I both suspected he would: An indica-forward strain that’s high in THCV is what I should be looking for.
我希望我有一个更冷静的答案，但我解释说，我还没有找到让我也能完成“作为一个人在公共场合存在”等任务的压力。他得到了建议，正如你和我都怀疑他会的那样：我应该寻找一种 THCV 含量高的籼稻前向菌株。
I feel like I am getting tips on my morning jog from marathoning legend Eliud Kipchoge.
我觉得我从马拉松传奇人物埃鲁德·基普乔格那里得到了关于晨跑的建议。
“Weed is something that’s been very therapeutic to me and made my day-to-day journey much easier and better,” he says.
“大麻对我来说非常有治疗作用，让我的日常旅程变得更加轻松和美好，”他说。
“It’s had an additive aspect to my life, and it’s allowed me to do all this stuff, which I really like as well.”
“它给我的生活带来了额外的好处，它让我能够做所有这些事情，我也非常喜欢。”
Houseplant’s next big move is into beverages: Last year, they introduced a line of canned, low-dose THC-infused seltzers.
Houseplant 的下一个重大举措是进军饮料领域：去年，他们推出了一系列罐装低剂量 THC 苏打水。
“Culturally, drinking is the most intuitive way to ingest something like this,” says Rogen.
“从文化角度来看，饮酒是摄入此类物质最直观的方式，”罗根说。
“Smoking is prohibitive for a lot of people; gummies are rooted in this silly, juvenile culture.
“吸烟对很多人来说是禁止的；软糖植根于这种愚蠢的、幼稚的文化。
But because of alcohol, people are used to showing up and having a drink.”
但由于酒精的存在，人们习惯了出现并喝酒。”
He offers me one.
他给了我一份。
I say yes, pop open a can of the blackberry flavor, sip cautiously, and immediately hope I don’t become the guy who has a panic attack in Seth Rogen’s office.
我说是的，打开一罐黑莓味的，小心翼翼地抿了一口，然后立即希望我不会成为塞斯·罗根办公室里那个惊恐发作的人。
Luckily, I hold it together.
幸运的是，我把它放在一起。
But an hour later when I step outside onto Sunset Boulevard, I see a police car two blocks away and immediately tense up.
但一小时后，当我走到日落大道上时，看到两个街区外有一辆警车，我立刻紧张起来。
My search for the right strain will continue.
我将继续寻找合适的菌株。
We’re living in a time when people like to say they’re not allowed to say anything anymore—just after they’ve said the thing they said they weren’t allowed to say, often into a microphone.
我们生活在一个人们喜欢说他们不被允许再说话的时代——就在他们说了他们不被允许说的话之后，通常是对着麦克风。
But Rogen is putting a lot of high-quality, often very edgy comedy out into that supposedly restrictive world, so he is actively not buying it.
但罗根在这个所谓的限制性世界中投入了大量高质量、往往非常前卫的喜剧，所以他主动不买账。
“The complaint that comedy’s harder than it used to be is not a valid complaint,” he says.
“抱怨喜剧比以前更难并不是一个有效的抱怨，”他说。
“Maybe it was too easy before.
“也许以前太容易了。
And why should it be?
为什么会这样呢？
Why shouldn’t it be hard?
为什么不应该很难呢？
I like that my job is hard, because I’m trying to do something that requires a huge amount of resources and people’s time and energy.”
我喜欢我的工作很辛苦，因为我正在尝试做一些需要大量资源以及人们的时间和精力的事情。”
The line between what is acceptable and what is not is constantly moving, he argues, and that’s always been the case.
他认为，可接受与不可接受之间的界限在不断变化，而且情况一直如此。
“What do you wish you could say?” he says.
“你想说什么？”他说。
“What do you feel has been taken from you?
“你觉得你的什么被夺走了？
It’s always funny when people are like: Oh, they could never make the Diversity Day episode of The Office today.
当人们这样想时总是很有趣：哦，他们永远无法参加今天《办公室》的多元化日剧集。
You can still watch it.”
你还是可以看的。”
Goldberg similarly dismisses the idea that comedy is too hard in our current cultural climate.
戈德堡同样驳斥了喜剧在我们当前的文化氛围中太难的观点。
“That’s crazy talk,” he says, “and lazy talk.
“这是疯狂的言论，”他说，“而且是懒惰的言论。
Things change.
事情发生了变化。
You have to adapt.
你必须适应。
We keep ourselves abreast of what’s happening in the world, and I don’t even think we’ve changed our style of comedy.
我们随时了解世界上正在发生的事情，我什至不认为我们已经改变了我们的喜剧风格。
You just don’t say some things that are now terribly offensive that weren’t terribly offensive before.
你只是不会说一些以前并不那么令人反感的话，现在却非常令人反感。
It’s not that hard to us.”
这对我们来说并不难。”
Indeed, Rogen and Goldberg have long seemed to have a knack for walking the line between edgy and offensive.
事实上，罗根和戈德堡长期以来似乎都有在前卫和进攻之间游走的诀窍。
Consider 2007’s Superbad, cowritten by Rogen and Goldberg and the rare teen comedy that has stood the test of time.
想想 2007 年由罗根和戈德堡共同编剧的《超级坏》，这是一部经受住时间考验的罕见青少年喜剧。
That’s not an easy thing to pull off; watch Sixteen Candles again with fresh eyes if you doubt me.
这并不是一件容易实现的事情。如果你怀疑我，请用新的眼光再看一遍《十六支蜡烛》。
Superbad is nobody’s idea of a safe or clean movie, but kids are still watching it, still quoting it, still coming up and talking to him about it.
没有人认为《超级坏》是一部安全或干净的电影，但孩子们仍然在看它，仍然引用它，仍然上来和他谈论它。
Says Rogen: “I’m constantly meeting teenagers who love Superbad and who think it holds up, and none of them are like: How fucking dare you have said that?”
罗根说：“我经常遇到喜欢《Superbad》并且认为它经得起考验的青少年，但他们中没有一个人会说：你他妈的怎么敢这么说？”
While many in Hollywood are worried about a chilling effect at the dawn of a second you-know-who administration, and others are pondering how to calibrate the artistic response to the country’s lurch rightward, Rogen is not worried about what he can and cannot—or should and should not—say.
虽然好莱坞的许多人担心第二届神秘人政府上台后会产生寒蝉效应，而其他人则在思考如何调整艺术反应以应对国家的右倾趋势，但罗根并不担心他能说什么和不能说什么，或者应该说什么和不应该说什么。
“It’s not like we sit down like, all right, new president, what movie do we write?
“这不像我们坐下来，好吧，新总统，我们要写什么电影？
I assume that’s what Adam McKay is doing, but it’s not how we choose what we’re going to work on next.”
我认为这就是亚当·麦凯正在做的事情，但这不是我们选择下一步工作的方式。”
Neither does the famously left-leaning Rogen—who once called Republican senator Ted Cruz of Texas a “fascist piece of shit”—feel like the nation is staring into the abyss when the subject of our divided politics comes up.
当我们政治分裂的话题出现时，著名的左倾罗根——他曾称得克萨斯州共和党参议员特德·克鲁兹是“法西斯狗屎”——也不觉得这个国家正在凝视深渊。
“I personally try not to go too dark on all of it and think like, Oh, are we on the precipice of global societal collapse?
“我个人尽量不要把这一切都看得太黑暗，然后想，哦，我们是否正处于全球社会崩溃的边缘？
Since the end of the Civil War, America’s remained a very divided country in a lot of ways.
自内战结束以来，美国在很多方面仍然是一个非常分裂的国家。
People get sick of seeing fucking hippies doing acid and fucking on their lawns, and they’re like, Let’s fucking clean up these streets a little bit.
人们厌倦了看到该死的嬉皮士在他们的草坪上做爱和做爱，他们就像，让我们他妈的清理一下这些街道吧。
And then people get sick of seeing fucking dorks cleaning up the streets and they go back the other way.
然后人们厌倦了看到该死的傻瓜清理街道，然后他们就从另一条路回去。
That’s not to say it doesn’t have very real and troubling ramifications on many people’s lives, but I try to maintain hope that the ball will roll onwards, even though it might be wobbling back and forth.”
这并不是说它不会对许多人的生活产生非常真实和令人不安的影响，但我试图保持希望，让球继续前进，尽管它可能会来回摇摆。”
He likes to look at it through the lens he knows best.
他喜欢通过他最了解的视角来看待它。
“I think movies are a good indicator of the culture.
“我认为电影是文化的一个很好的指标。
Like, there was the westerns era, and then it got more thoughtful, movies like Apocalypse Now and Platoon that critiqued the Vietnam War.
比如，西部片时代，然后它变得更加深思熟虑，像《现代启示录》和《野战排》这样批评越南战争的电影。
And then the irony was stripped away and it was just Arnold Schwarzenegger back in the jungle just shooting the living fuck out of everything.
然后讽刺就被剥夺了，阿诺·施瓦辛格回到丛林里，把一切都活生生地射杀了。
It just ebbs and flows.”
它只是潮起潮落。”
But, he adds, echoing a line from Catherine O’Hara, who plays a former executive in The Studio, “When you make something good, it’s good forever.”
但是，他补充道，呼应了《The Studio》中饰演前高管的凯瑟琳·奥哈拉 (Catherine O’Hara) 的一句话，“当你做出好的东西时，它就会永远好。”
Rogen and Goldberg love a challenge, and they gave themselves a gigantic one in The Studio: Each scene in each episode is what’s known as a “oner”: one long tracking shot, no edits.
罗根和戈德堡热爱挑战，他们在工作室里给了自己一个巨大的挑战：每一集中的每个场景都是所谓的“oner”：一个长跟踪镜头，没有剪辑。
Think of the scene from 1990’s GoodFellas where Ray Liotta and Lorraine Bracco enter the nightclub through the kitchen .
想想 1990 年《好家伙》中的场景，雷·利奥塔 (Ray Liotta) 和洛林·布拉科 (Lorraine Bracco) 通过厨房进入夜总会。
“It’s something I’ve seen other genres do,” Rogen says.
“这是我见过其他流派所做的事情，”罗根说。
“You watch an action movie, and there’s a fight scene that’s all one take, and it’s a good display for the stunt performers and the cinematographers.
“你看一部动作片，其中的打斗场面都是一次拍摄的，这对于特技演员和电影摄影师来说都是一个很好的展示。
We thought, What if we displayed comedy like this?
我们想，如果我们像这样展示喜剧会怎么样？
What would it be like to rely on your performers and your cinematography to capture comedy live in camera, essentially?”
从本质上来说，依靠你的表演者和摄影来捕捉喜剧现场会是什么样子？”
It also put new pressure on their writing.
这也给他们的写作带来了新的压力。
“When we started, with Freaks and Geeks and Superbad, we would improvise a ton, and then in editing is where we’d find the scene,” says Rogen.
“当我们开始制作《Freaks》、《Geeks》和《Superbad》时，我们会即兴创作大量内容，然后在剪辑中找到场景，”罗根说。
“Me and Evan became enamored with the idea of: What if we do something the complete opposite way that we’ve been taught to do it?
“我和埃文着迷于这样一个想法：如果我们做的事情与我们被教导的方式完全相反怎么办？
Instead of shooting everything and trying to sift through it later, what if we really work on the scripts and be hard on the scenes and try to lock ourselves into something in the moment, as we’re doing it?”
与其把所有的东西都拍下来，然后再进行筛选，不如我们认真研究剧本，努力拍摄场景，并尝试将自己锁定在当下的某些事情上，就像我们正在做的那样，会怎样呢？”
“It was putting on a play every shot,” Goldberg says, “and everyone knew every shot could take sixteen takes.”
“每个镜头都在演戏，”戈德堡说，“每个人都知道每个镜头可能需要十六次拍摄。”
“I hadn’t done anything like that, ever,” says Barinholtz.
“我从来没有做过这样的事情，”巴林霍尔茨说。
“It makes you work harder on remembering your lines, because if you screw up, there’s a big old reset.
“这会让你更加努力地记住台词，因为如果你搞砸了，就会有一个很大的旧的重置。
And even though Seth and Evan are the nicest guys, everyone is quietly judging you if you screw up.”
尽管塞思和埃文是最好的人，但如果你搞砸了，每个人都会悄悄地评判你。”
So why go to the trouble?
那么为什么要自找麻烦呢？
“We wanted the show to have an immersive, manic energy to it,” says Rogen, “because that’s our experience, being in these rooms with people yelling at each other.
“我们希望这部剧有一种身临其境、狂躁的能量，”罗根说，“因为这就是我们的经历，在这些房间里，人们互相吼叫。
We wanted to throw you into it and create this sort of unpredictable, uneasy energy.”
我们想让你投入其中，创造出这种不可预测、不安的能量。”
Hahn marveled at Rogen’s ability to stay focused through it all while staying in character.
哈恩对罗根在保持性格的同时保持专注的能力感到惊讶。
“I’ve worked with actors who are also directing,” she says, “and it can be tricky, because you can tell their mind is on a bazillion other things and they can’t be present.” But Rogen, she says, always felt fully engaged in the acting, no matter how complicated the directing side of things got.
“我曾与同时担任导演的演员合作过，”她说，“这可能很棘手，因为你可以看出他们的心思在其他无数的事情上，而他们却无法在场。”但她说，罗根总是感觉全身心投入到表演中，无论导演方面的事情变得多么复杂。
“When you’re doing these long, intricate takes where the camera is dancing all over, to be so present is like a superpower.”
“当你拍摄这些长而复杂的镜头，镜头在各处跳舞时，如此临在就好像拥有一种超能力。”
Some of those long takes include sweeping crane shots of Los Angeles, a city that since our conversation at Point Grey has been devastated by wildfires.
其中一些长镜头包括洛杉矶的起重机全景镜头，自从我们在格雷角谈话以来，这座城市就被野火摧毁了。
“How are you?” asks Rogen, when we catch up by phone in the aftermath, offering a tentative, concerned variation on the laugh.
“你好吗？”当我们事后通过电话联系时，罗根问道，他试探性地、关切地笑了一声。
I’m fine.
我很好。
And so, by the whim of the wind, are Rogen and Miller.
罗根和米勒也是如此。
“It was pretty frantic,” he says.
“这真是太疯狂了，”他说。
They had to evacuate from the Sunset Fire just over Hollywood, to Miller’s father’s place down the hill.
他们不得不从好莱坞上空的日落大火撤离到山下米勒父亲的住处。
“I stood on the street in front of his house, looking up at Runyon Canyon on fire, watching as the helicopters dropped water and got control of the situation.
“我站在他家门前的街道上，抬头看着着火的鲁尼恩峡谷，看着直升机洒水并控制了局势。
Our house was one strong gust away from burning down itself.
只要一阵强风吹过，我们的房子就会被烧毁。
It was intense.”
很激烈。”
Now they’re safe, and Rogen feels that mix of emotions we all do out here.
现在他们安全了，罗根感受到了我们在这里都会有的复杂情绪。
“I feel terrible for many people I know who lost everything,” he says.
“我为我认识的许多失去一切的人感到难过，”他说。
“I feel terrible for many more people I don’t know whose stories I’m reading about all day on social media.”
“我为更多我不认识的人感到难过，我整天在社交媒体上阅读他们的故事。”
But where work is concerned, he’s excited to have The Studio coming out in this moment.
但就工作而言，他很高兴《The Studio》此时问世。
“Our show is a love letter to L.
“我们的节目是一封写给 L 的情书。
A.
A.
It wouldn’t exist without this city.
没有这座城市就不会存在。
I feel even prouder of what we did, and how we captured so many of the beautiful institutional places around L.
我对我们所做的事情以及我们如何捕捉到 L 周围如此多美丽的机构场所感到更加自豪。
A.
A.
I feel even closer to Los Angeles than I did before.” He pauses and adds.
我感觉比以前更接近洛杉矶了。”他停顿了一下，补充道。
“Randy Newman said it best: I love L.
“兰迪·纽曼说得最好：我爱 L.
A.!” And then the big laugh is back.
啊！”然后大笑又回来了。
Rogen famously does not have children, a fact about him he’s surprised has become .
众所周知，罗根没有孩子，这一事实让他感到惊讶。
.
。
.
。
a thing.
一件事。
“People really had strong takes on it, being like, Fuck this fucking guy.
“人们对此确实有强烈的看法，就像，操这个该死的家伙。
Who the fuck does he think he is not to have kids?” he says.
他他妈的以为他不应该生孩子吗？”他说。
“Well, if you hate me that much, why do you want more of me?” His explanation, not that it’s anyone’s business, is that he and Miller have simply decided it’s not for them.
“既然你这么恨我，为什么还想要更多呢？”他的解释不是说这与任何人有关，而是他和米勒只是认为这不适合他们。
“You should only have kids if you really want kids,” he says, “and we just don’t really want kids.
“只有当你真的想要孩子时，你才应该生孩子，”他说，“但我们并不是真的想要孩子。
Time kept going by and the moment where we were like ‘Let’s do it!’ just kept not happening.
时间一直在流逝，而我们想要“让我们开始吧！”的那一刻却始终没有发生。
“I look at my friends with kids and honestly I feel like some of them are incredibly happy and fulfilled, and some of them seem like maybe they wish they had put a little more thought into it.
“我看着有孩子的朋友，说实话，我觉得他们中的一些人非常快乐和满足，而他们中的一些人似乎希望自己能多花点心思。
I just didn’t want to be one of those people.”
我只是不想成为那些人中的一员。”
The childless are also always on the receiving end of the “You’ll change your mind” argument—the idea that they will simply develop the desire to be a parent, the way a person is supposed to.
没有孩子的人也总是成为“你会改变主意”论点的接受者——这种观点认为，他们只会产生成为父母的愿望，就像一个人应该做的那样。
The question for the intentionally childless then becomes: Why am I supposed to?
对于故意不生孩子的人来说，问题就变成了：为什么我应该这样做？
Rogen is not satisfied with the answers he’s heard: “The most disturbing comment that I saw a lot of was ‘Who’s going to take care of you when you’re old?’ Which to me is very telling.
罗根对他听到的答案并不满意：“我看到的最令人不安的评论是‘当你老了谁来照顾你？’这对我来说非常有说服力。
Is that why you’re having kids?
这就是你要孩子的原因吗？
Because I have two things to say: One, that’s very selfish to create a human so someone can take care of you.
因为我有两件事要说：第一，创造一个人来照顾你是非常自私的。
And two, just because you have a kid, I hate to break it to you, that doesn’t mean they’re going to do that.”
第二，仅仅因为你有一个孩子，我不想告诉你，但这并不意味着他们会这么做。”
One reason that people might want to foist the ritual of parenthood on Rogen, it occurs to me, is that he’s so associated with the man-child characters he has so often played.
在我看来，人们可能想把为人父母的仪式强加给罗根，原因之一是他与他经常扮演的男孩角色有着如此密切的联系。
The stoner in Knocked Up whose first reaction when the earthquake hits is to run and grab his bong.
《一夜大肚》中的吸毒者在地震发生时的第一反应是跑去抓起烟枪。
The cop in Superbad who, along with his partner (played by Bill Hader), goes drinking with a teenager while on duty and does doughnuts in the police car.
《超级坏》中的警察和他的搭档（比尔·哈德尔饰演）在执勤时和一名青少年一起喝酒，并在警车里吃甜甜圈。
Consciously or not, people want Rogen to grow up.
不管有意识还是无意识，人们都希望罗根长大。
“I think a big part of it is this feeling that a man isn’t allowed to have fun,” says Barinholtz.
“我认为其中很大一部分原因是一种男人不被允许享受乐趣的感觉，”巴林霍尔茨说。
“You can’t laugh, and that makes you kind of hold on really tight and get angry.
“你不能笑，这会让你抓得很紧，然后生气。
Seth goes really hard in his work and he doesn’t apologize for it.”
塞斯在工作中非常努力，他并没有为此道歉。”
Rogen absolutely does not feel like he can’t laugh—and you know that because you are once again hearing it in your head.
罗根绝对不觉得他不能笑——你知道这一点，因为你再次在脑海中听到它。
But his laugh comes from passion and intensity.
但他的笑声来自激情和强度。
He may specialize in comedy, but he takes what he does and what he’s built very seriously.
他可能专注于喜剧，但他非常认真地对待他所做的事情和他所创造的东西。
This is a guy who goes to therapy, and drives there in a Porsche.
这是一个去接受治疗的人，他开着一辆保时捷去那里。
His laughter is fueled by the essential, eternal struggle that he feels—that that studio guy felt—between loving something with all your heart and worrying that you’re going to ruin it.
他的笑声是由他所感受到的、那个工作室工作人员所感受到的、在全心全意地热爱某样东西和担心自己会毁掉它之间的本质的、永恒的斗争所推动的。
His laugh, when you think about it, is really a release of tension.
仔细想想，他的笑确实是一种紧张的释放。
The way all good laughs are.
所有美好的笑声都是如此。
Opening image credits: Jacket, trousers, and sunglasses by Tom Ford; shirt and tie by Giorgio Armani; shoes by Jacques Solovière Paris; socks by London Sock Company; lapel pin by Jacob & Co; ring by David Yurman.
开场图片来源：汤姆·福特 (Tom Ford) 的夹克、裤子和太阳镜；乔治·阿玛尼 (Giorgio Armani) 衬衫和领带；巴黎 Jacques Solovière 鞋履； London Sock Company 生产的袜子； Jacob & Co 的翻领别针；大卫·雅曼设计的戒指。
On the cover: Suit by Brunello Cucinelli; shirt by Etro; pocket square by Anderson & Sheppard; watch by Piaget; ring by David Yurman.
封面：Brunello Cucinelli 的西装； Etro 衬衫； Anderson & Sheppard 的口袋方巾；伯爵手表；大卫·雅曼设计的戒指。
Photographed by Mark Seliger Styled by Colleen Atwood Grooming by Kristen Shaw at the Wall Group Production by Madi Overstreet Set Design by Michael Sturgeon Contributing Visual Director: James Morris Contributing Design Director: Martin Hoops Executive Producer, Video: Dorenna Newton Executive Director, Entertainment: Randi Peck
摄影：Mark Seliger 造型：Colleen Atwood 造型：Wall Group 的 Kristen Shaw 制作：Madi Overstreet 布景设计：Michael Sturgeon 特约视觉总监：James Morris 特约设计总监：Martin Hoops 视频执行制片人：Dorenna Newton 娱乐执行总监：Randi Peck