Collider has unveiled this extended (clocking in over 13 minutes) behind-the-scenes featurette for Sony Pictures barmy looking action adventure film ‘Ghost Rider: Spirit of Vengeance.’ It has been several years since making a deal with the Devil and Johnny Blaze (Nicolas Cage), living in self-imposed isolation, finds himself as the only person who can help save 10-year-old Danny – and ultimately the world – thanks to his unwanted and uncontrollable power – his ability to transform into the hell-on-wheels monster known as The Ghost Rider. Directed by Brian Taylor and Mark Neveldine (Crank, Gamer), ‘Ghost Rider: Spirit of Vengeance’ opens February 17th. The film stars Nicolas Cage, Idris Elba, Johnny Whitworth, Ciarán Hinds, and Violante Placido. Check out my interview with Nicolas Cage and Idris Elba for the film here.

Nicolas Cage returns as Johnny Blaze in Columbia Pictures’ and Hyde Park Entertainment’s Ghost Rider: Spirit of Vengeance. In the successor to the worldwide hit Ghost Rider, Johnny – still struggling with his curse as the devil’s bounty hunter – is hiding out in a remote part of Eastern Europe when he is recruited by a secret sect of the church to save a young boy (Fergus Riordan) from the devil (Ciaran Hinds). At first, Johnny is reluctant to embrace the power of the Ghost Rider, but it is the only way to protect the boy – and possibly rid himself of his curse forever. Directed by Mark Neveldine and Brian Taylor. Screenplay by Scott M. Gimple & Seth Hoffman and David S. Goyer. Story by David S. Goyer. Based on the Marvel Comic. Produced by Steven Paul, Ashok Amritraj, Michael De Luca, Avi Arad, and Ari Arad

Yahoo! Movies has set loose this new clip from the barmy looking action adventure film ‘Ghost Rider: Spirit of Vengeance.’ It has been several years since making a deal with the Devil and Johnny Blaze (Nicolas Cage), living in self-imposed isolation, finds himself as the only person who can help save 10-year-old Danny – and ultimately the world – thanks to his unwanted and uncontrollable power – his ability to transform into the hell-on-wheels monster known as The Ghost Rider. Directed by Brian Taylor and Mark Neveldine (Crank, Gamer), ‘Ghost Rider: Spirit of Vengeance’ opens February 17th. The film stars Nicolas Cage, Idris Elba, Johnny Whitworth, Ciarán Hinds, and Violante Placido. Check out my interview with Nicolas Cage and Idris Elba for the film here.

Nicolas Cage returns as Johnny Blaze in Columbia Pictures’ and Hyde Park Entertainment’s Ghost Rider: Spirit of Vengeance. In the successor to the worldwide hit Ghost Rider, Johnny – still struggling with his curse as the devil’s bounty hunter – is hiding out in a remote part of Eastern Europe when he is recruited by a secret sect of the church to save a young boy (Fergus Riordan) from the devil (Ciaran Hinds). At first, Johnny is reluctant to embrace the power of the Ghost Rider, but it is the only way to protect the boy – and possibly rid himself of his curse forever. Directed by Mark Neveldine and Brian Taylor. Screenplay by Scott M. Gimple & Seth Hoffman and David S. Goyer. Story by David S. Goyer. Based on the Marvel Comic. Produced by Steven Paul, Ashok Amritraj, Michael De Luca, Avi Arad, and Ari Arad.

Offering new footage from the film, Universal Pictures has released these four clips from Daniel Espinosa’s forthcoming action-thriller ‘Safe House.’ Oscar-winner Denzel Washington plays “the most dangerous renegade from the CIA,” who comes back onto the grid after a decade on the run. When the South African safe house he’s remanded to is attacked by mercenaries, a rookie operative (Ryan Reynolds) escapes with him. The unlikely allies must then stay alive long enough to uncover who wants them dead. ’Safe House’ co-stars Nora Arnezeder, Vera Farmiga, Ruben Blades, Brendan Gleeson, Liam Cunningham, Tim McGraw, Robert Patrick, and Sam Shepard. The film is due to hit cinemas February 10th 2012 in the US, and Febuary 24th 2012 in the UK. Look out for my interviews with Denzel Washington and Ryan Reynolds for the film next week.

For the past year, Matt Weston (Ryan Reynolds) has been frustrated by his inactive, backwater post in Cape Town. A “housekeeper” who aspires to be a full-fledged agent, the loyal company man has been waiting for an opportunity to prove himself. When the first and only occupant he’s had proves to be the most dangerous man he’s ever met, Weston readies for duty.

Tobin Frost (Denzel Washington) has eluded capture for almost a decade. One of the best ops men that the CIA’s known, the ex-intelligence officer has given up assets and sold military intel to anyone with cash since he turned. From trading secrets to North Korea to aiding splinter cells, the damage he’s done to the U.S. is immeasurable. And he’s now back on the reservation with a secret.

As soon as Frost is brought in for debriefing, mercenaries come and tear apart Weston’s safe house. Barely escaping, the unlikely partners must discover if their attackers have been sent by terrorists or someone on the inside who will kill anyone standing in the way. Now it’s up to Weston to figure out who he can trust before they’re both eliminated from the game.

With the films release on the horizon, Warner Bros. Pictures has released online these nine new clips from Guy Ritchie’s sequel ‘Sherlock Holmes: A Game of Shadows.’ The film features Robert Downey Jr reprising his role as the world’s most famous detective, Sherlock Holmes, and Jude Law returning as his formidable colleague Dr. Watson. The sequel also stars Noomi Rapace as a gypsy fortune teller, Eddie Marsan as Inspector Lestrade, Rachel McAdams as Irene Adler, Stephen Fry as Sherlock’s older brother Mycroft, and Jared Harris as Sherlock’s arch-nemesis Professor Moriarty. ‘Sherlock Holmes: A Game of Shadows’ is set for release December 16th 2011.

Sherlock Holmes has always been the smartest man in the room…until now. There is a new criminal mastermind at large—Professor Moriarty (Jared Harris)—and not only is he Holmes’ intellectual equal, but his capacity for evil, coupled with a complete lack of conscience, may actually give him an advantage over the renowned detective. When the Crown Prince of Austria is found dead, the evidence, as construed by Inspector Lestrade (Eddie Marsan), points to suicide. But Sherlock Holmes deduces that the prince has been the victim of murder—a murder that is only one piece of a larger and much more portentous puzzle, designed by one Professor Moriarty.

Mixing business with pleasure, Holmes tracks the clues to an underground gentlemen’s club, where he and his brother, Mycroft Holmes (Stephen Fry) are toasting Dr. Watson on his last night of bachelorhood. It is there that Holmes encounters Sim (Noomi Rapace), a Gypsy fortune teller, who sees more than she is telling and whose unwitting involvement in the prince’s murder makes her the killer’s next target. Holmes barely manages to save her life and, in return, she reluctantly agrees to help him. The investigation becomes ever more dangerous as it leads Holmes, Watson and Sim across the continent, from England to France to Germany and finally to Switzerland. But the cunning Moriarty is always one step ahead as he spins a web of death and destruction—all part of a greater plan that, if he succeeds, will change the course of history.

Drawn from true-life events, David Cronenberg’s ‘A Dangerous Method’ chronicles the turbulent relationships between fledgling psychiatrist Carl Jung (Michael Fassbender), his mentor Sigmund Freud (Viggo Mortensen) and Sabina Spielrein (Keira Knightley), the troubled but beautiful young woman who comes between them. Into the mix comes Otto Gross (Vincent Cassell), a debauched patient who is determined to push the boundaries. In this exploration of sensuality, ambition and deceit set the scene for the pivotal moment when Jung, Freud and Sabina come together and split apart, forever changing the face of modern thought. ‘A Dangerous Method’ is out now in the US, and is set for release Febuary 10th in the UK.

‘A Dangerous Method’ is your third collaboration with David Cronenberg, what do you think he brings to this story? How is it working with him?

Viggo Mortensen: I think in the hands of another director who was less assured, less knowledgeable, less well-read about the subject matter – about Freud, Jung and Spielrein, I think it would have been a very dull movie. I think what was the best thing that David did, which is something I’ve always experienced with him, he instils confidence by creating a calm, professional and fun atmosphere on the set. He will get you under a spell. he creates the illusion that there’s a lot of time, there’s no pressure, that it’s all going to work out.

How was it playing such eminent and revered men, men with such a complex history? Other than the script there’s so much material to look at about Sigmund Freud and Carl Jung.

Viggo Mortensen: The fact that there’s a lot of material that Sigmund Freud wrote, a lot of material written about him, that actually made it a lot easier. I was a little hesitant to say yes at first because it seemed like a big stretch, in terms of my idea of what he looks like, from photographs, my idea of him felt like a bit of a leap. If it had been another director maybe I would have said no, I might have been more cowardly about it (laughs). But with David Cronenberg I knew I would have been in good hands with him and his crew, I’d get to see Vincent Cassell again, and also the fact that Michael Fassbender was gonna play Jung and that Keira Knightley was in it – also as I found out, Sarah Gadon, who plays Emma Jung, she’s a really good actress as well. There were many more reasons to say yes and take the plunge than to say no.

It was an education, it was an education in terms of acting, using different tools, speaking a lot more, speaking really well written words. Christopher Hampton’s script is like a very well laid out well manicured garden with very exotic blooms, in the shadows of which are really disturbing little creatures and secrets (laughs). It was a lot of fun to play as an actor, just the fact that the characters speak so much, I don’t usually get a chance to do that, even in David Cronenberg’s movies. For once he couldn’t tell me to shut up – I had to speak (laughs). We had a lot of fun, David’s sense of humour seems to be not unlike Freud’s, his kind of whit and intelligence. I think you could say about David what the New York Times said about Freud shortly after he died, which was that he was the most affective disturber of complacency in his time, I would say David’s right up there – maybe with Noam Chomsky (laughs).

What aspects of Sigmund Freud related to you as a person and as an actor?

Viggo Mortensen: In principle, at least the way I read it, the most positive aspect of what Freud had a large hand in pioneering was the idea of listening to people, in a particular way. Why I say positive is because I think it’s one of the most loving things you can do, just to listen to somebody. The idea was to listen to someone confess without judging them, you are of course going to judge them in some way, but the person that is being listening to, you are not being listened to by a family member, or someone who has some sort of emotional stake in what you are telling them, they’re just listening. If you listen first of all, that means you’re showing some interest in what is going on with them, and not just what’s going on with you, or your country, or your interests. It depends how you approach acting, but to me the best acting, the best directing comes from that. You can prepare everything as much as you want, but in the end when you get there, the foundation of good acting is really listening, even if you have a lot of dialogue (laughs). It’s positive, I like that aspect of the story we are telling.

Is the approach different, playing someone who people may have a set idea about compared to playing a completely fictional character?

Viggo Mortensen: In the end, no matter how much research you do, or how good the script is, or how historically accurate, or how interesting the material is, or how well known the character is – in the end your going to be adding yourself, your human body, your adding your voice, your adding your mind, your adding your feelings to it. People asked me during the ‘Lord of the Rings,’ “Do you feel a greater responsibility playing Aragorn?” I’d always reply, “No, I’m just playing the character,“ I learn as much as I can about the character however, so I don’t make an ass of myself (laughs), and the same goes for Sigmund Freud.

I was aware of the fact, just on the practical level, that I had a lot more dialogue, it was a challenge I really enjoyed. David and I agreed on, just based on the research, that he had a wicked sense of humour, he had a lot of whit and he appreciated it. The 19th century and the beginning of the 20th century in Vienna, and a lot of other places, it was pretty straight laced, in a lot of ways censorship laws were very strict. Freud appreciated wordplay, he appreciated whit, some of his favourite writers were humorists who got around the censorship laws by being clever. Even though the character in this case doesn’t out and out tell jokes, there’s a certain irony to the character, we were following the script but we were also trying to find a little bit of irony and humour. But I don’t feel differently about a character I imagined almost completely compared to someone people have a very set idea about.

This film doesn’t shy away from showing some of the flaws and quirks in Sigmund Freud and Carl Jung.

Viggo Mortensen: One of the things I liked a lot about the play and the screenplay is that neither Christopher or David, in executing this story, shooting this story, tried to make up for, or altered the realities of the time period. They didn’t try to make these men less vain, didn’t try to make them more liberated in their thinking towards women. You can’t separate them from their times, but it is remarkable what they were thinking about, what they originated in their time. They are, as we all are, products of their time. Sabina was given some credit by Freud, but he could have given her a lot more credit, and could have understood her better. But I think him being a man at that time, and his ego maybe got in the way of that – because he was capable of understanding her better, he certainly made use of her ideas to some degree, he did give her a footnote – Jung didn’t give her any (laughs). Both of them let their ego get in the ways of things, I like that that wasn’t varnished over, the script didn’t remove the flaws.

These three new clips have been released online for Luc Besson’s (La Femme Nikita, The Fifth Element) upcoming biopic about pro-democracy icon and Nobel Peace Prize winner Aung San Suu Kyi, starring Michelle Yeoh as Aung. Aung San Suu Kyi became an icon for democratic freedom after she spent 15 of the last 21 years under house arrest in Burma after leading the National League for Democracy in an election victory over the ruling military junta in 1990. I’ve been eagerly anticipating this film, words can’t begin to describe my admiration for Aung San Suu Kyi. The Lady’ is set for release November 30th. Check out my interview with Michelle Yeoh for the film here.

The Lady is the extraordinary story of Aung San Suu Kyi (Michelle Yeoh) and her husband, Michael Aris (David Thewlis). It is also the story of the peaceful quest of the woman who is at the core of Burma‟s democracy movement. Despite distance, long separations, and a dangerously hostile regime, their love endures until the very end. It‟s a story of devotion and human understanding set against a backdrop of political turmoil that continues today. The Lady was written over a period of three years by Rebecca Frayn. Interviews with key figures in Aung San Suu Kyi‟s entourage enabled her to reconstruct for the first time the true story of Burma‟s national heroine.

Warner Bros. Pictures has debuted these six new clips from Clint Eastwood’s Leonardo DiCaprio-starring J. Edgar Hoover biopic ‘J. Edgar.’ The film co-stars Armie Hammer as Clyde Toulson, Hoover’s second in command, and secret lover. Judie Dench plays Hoover’s mother, Anne Marie Hoover, Jeffrey Donovan stars as Robert F. Kennedy, and Naomi Watts will play Helen Gandy, Hoover’s loyal secretary for 54 years from 1918-1972. Lea Thompson, Josh Lucas, Damon Herriman, Ken Howard and Ed Westwick also star. Clint Eastwood directs from a script by ‘Milk’ Oscar winner Dustin Lance Black. ‘J. Edgar’ is released in cinemas November 9th in the US, and January 20th in the UK.

Based on the life of J. Edgar Hoover, the man often credited with making the FBI what it is today: an efficient, crime-fighting organization shrouded in secrecy. Hoover founded the organization in 1935 and remained director until his death in 1972. As America’s top cop for five decades, J. Edgar Hoover oversaw the creation of the FBI, helped popularize fingerprints and other forensic evidence, and wielded nearly unchecked authority to manipulate evidence and investigate supposed enemies of the state such as Robert F. Kennedy and Martin Luther King Jr. Now director Clint Eastwood is turning the tables, prying into Hoover’s life in a big-screen biopic that would doubtless make the notorious G-man squirm. Look out for interviews with the cast this week.

Drawn from true-life events, David Cronenberg’s ‘A Dangerous Method’ chronicles the turbulent relationships between fledgling psychiatrist Carl Jung (Michael Fassbender), his mentor Sigmund Freud (Viggo Mortensen) and Sabina Spielrein (Keira Knightley), the troubled but beautiful young woman who comes between them. Into the mix comes Otto Gross (Vincent Cassell), a debauched patient who is determined to push the boundaries. In this exploration of sensuality, ambition and deceit set the scene for the pivotal moment when Jung, Freud and Sabina come together and split apart, forever changing the face of modern thought. ‘A Dangerous Method’ is set for release November 23rd in the US, and Febuary 10th in the UK.

How was it playing such eminent and revered men, men with such a complex history? Other than the script there’s so much material to look at about Sigmund Freud and Carl Jung.

Viggo Mortensen: The fact that there’s a lot of material that Sigmund Freud wrote, a lot of material written about him, that actually made it a lot easier. I was a little hesitant to say yes at first because it seemed like a big stretch, in terms of my idea of what he looks like, from photographs, my idea of him felt like a bit of a leap. If it had been another director maybe I would have said no, I might have been more cowardly about it (laughs). But with David Cronenberg I knew I would have been in good hands with him and his crew, I’d get to see Vincent Cassell again, and also the fact that Michael Fassbender was gonna play Jung and that Keira Knightley was in it – also as I found out, Sarah Gadon, who plays Emma Jung, she’s a really good actress as well. There were many more reasons to say yes and take the plunge than to say no.

It was an education, it was an education in terms of acting, using different tools, speaking a lot more, speaking really well written words. Christopher Hampton’s script is like a very well laid out well manicured garden with very exotic blooms, in the shadows of which are really disturbing little creatures and secrets (laughs). It was a lot of fun to play as an actor, just the fact that the characters speak so much, I don’t usually get a chance to do that, even in David Cronenberg’s movies. For once he couldn’t tell me to shut up – I had to speak (laughs). We had a lot of fun, David’s sense of humour seems to be not unlike Freud’s, his kind of whit and intelligence. I think you could say about David what the New York Times said about Freud shortly after he died, which was that he was the most affective disturber of complacency in his time, I would say David’s right up there – maybe with Noam Chomsky (laughs).

How about you Michael as Mr Jung?

Michael Fassbender: Like Viggo said it’s always easier if there’s information available to you, and there is a lot, on both characters. And then there’s the fear element, you know, playing someone with a very passionate and vocal following , loyal following. So you want to do justice to the character, you want to do justice to David Cronenberg and Christopher Hampton’s script. Kind of echoing what Viggo said, the main thing for me was to tackle the very eloquent muscular piece of dialogue. I sort of tried to treat it as a piece of music. I spent a lot of time with the text, trying to get the rhythms, find the different rhythms, just to get a power over the dialogue. Because again, we’re dealing with a period in time when discourse, especially in the academic world, it’s a weapon. If your not in charge of it your gonna get destroyed, so that was definitely an element that needed work. And then you just put it all together and see what you come up with. I think what’s interesting when your dealing with real heavyweight characters like this, real revered characters, you find out that there’s human beings underneath, they have egos, they have some very basic and obvious flaws, to play with those elements is also fun.

Is the approach different, playing someone who people may have a set idea about compared to playing a completely fictional character?

Viggo Mortensen: In the end, no matter how much research you do, or how good the script is, or how historically accurate, or how interesting the material is, or how well known the character is – in the end your going to be adding yourself, your human body, your adding your voice, your adding your mind, your adding your feelings to it. People asked me during the ‘Lord of the Rings,’ “Do you feel a greater responsibility playing Aragorn?” I’d always reply, “No, I’m just playing the character,“ I learn as much as I can about the character however, so I don’t make an ass of myself (laughs), and the same goes for Sigmund Freud.

I was aware of the fact, just on the practical level, that I had a lot more dialogue, it was a challenge I really enjoyed. David and I agreed on, just based on the research, that he had a wicked sense of humour, he had a lot of whit and he appreciated it. The 19th century and the beginning of the 20th century in Vienna, and a lot of other places, it was pretty straight laced, in a lot of ways censorship laws were very strict. Freud appreciated wordplay, he appreciated whit, some of his favourite writers were humorists who got around the censorship laws by being clever. Even though the character in this case doesn’t out and out tell jokes, there’s a certain irony to the character, we were following the script but we were also trying to find a little bit of irony and humour. But I don’t feel differently about a character I imagined almost completely compared to someone people have a very set idea about.

Michael, your character in ’Shame’ would be a great patient for Freud. What order did you do the films in, and did the research for one help inform the other?

Michael Fassbender: (Laughs) No, the order was ’A Dangerous Method,’ ’X-Men: First Class,’ and then ’Shame’ – so I was manipulating metal in-between (laughs). It’s funny because when I do a film, I’m sort of in that, it’s a very intense time, the preparation and filming of it. And then I kind of discard it pretty quickly. So when I was doing ‘Shame’ I didn’t even think about the parallels, I didn’t even think I could take some information from what I gathered on ‘A Dangerous Method’ – I might have been doing it subconsciously though (laughs), but I certainly wasn’t aware of it.

The good folks over at Empire have unveiled this new UK quad poster for David Cronenberg’s Viggo Mortensen, Keira Knightley and Michael Fassbender starring ‘A Dangerous Method.’ The film is David Cronenberg’s and Viggo Mortensen’s third time teaming up. If this is even half as good as their previous collaborations – ‘A History of Violence’ and ‘Eastern Promises’ – we’re in for a treat! ‘A Dangerous Method’ is based on “The Talking Cure” play by Christopher Hampton. The film chronicles the intense relationship between Sigmund Freud (Viggo Mortensen) and his student Carl Jung (Michael Fassbender), and how it gave birth to competing theories of psychoanalysis. ‘A Dangerous Method’ is set for release November 23rd in the US, and Febuary 10th in the UK. Check out my interview with Viggo Mortensen here, and Keira Knightley here.

On the eve of World War I, Zurich and Vienna are the setting for a dark tale of sexual and intellectual discovery. Drawn from true-life events, A Dangerous Method takes a glimpse into the turbulent relationships between fledgling psychiatrist Carl Jung, his mentor Sigmund Freud and Sabina Spielrein, the troubled but beautiful young woman who comes between them. Into the mix comes Otto Gross, a debauched patient who is determined to push the boundaries. In this exploration of sensuality, ambition and deceit set the scene for the pivotal moment when Jung, Freud and Sabina come together and split apart, forever changing the face of modern thought.

Inspired by personal experiences, ’50/50′ is an original story about friendship, survival and finding humor in unlikely places. Joseph Gordon-Levitt and Seth Rogen star as best friends whose lives are changed by a cancer diagnosis. Rogen also serves as producer, along with Evan Goldberg and Ben Karlin. Jonathan Levine directs from a script by Will Reiser. “We worked with Will on Da Ali G show, and it was shortly after that we learned he was sick.” Rogen recalls. “As shocking, sad, confusing and generally screwed up as it was; we couldn’t ignore that because we were so ill-equipped to deal with the situation, funny things kept happening. Will got better, and when he did, we thought the best way to pull something good out of the situation was to get him to write a screenplay. Ideally we wanted to make a film that would be as funny, sad, and hopefully as honest as the experience we went through. As soon as the script was completed, it quickly became a passion project for all of us. It helped us come to terms with Will’s struggle as well as our own experiences.” ’50/50′ is the story of a guy’s transformative and, yes, sometimes funny journey to health. ’50/50′ draws its emotional core from Will Reiser’s own experience with cancer and reminds us that friendship and love, no matter what bizarre turns they take, are the greatest healers. Alongside Joseph Gordon-Levitt and Seth Rogen, ’50/50 ‘ stars Anna Kendrick, Bryce Dallas Howard, Anjelica Huston and Philip Baker Hall. The film is set for release September 30th in the US, and January 6th in the UK.

You had been working on ’50/50’ for a while with Will Reiser, at what point did it all finally come together to be a movie?

Seth Rogen: It was a year and a half after Will got better, that he sent us a script. I remember I was in Pittsburgh when I first read it, I think it was 2008. It was around two years after this all happened, the script was really really good, it started to get a lot of attention, we started sending it out to actors and production companies. It really wasn’t that hard to get going because we weren’t looking to do a huge version of it, we were always pretty modest in our production aspirations for the movie (laughs). It came together pretty quickly after Will finished the script.

Did you have any resistance at all? Without watching the movie or reading the script, I can imagine some people not being able to wrap their head around a comedy where the main character is battling cancer…

Seth Rogen: A little bit, we’re used to that though, pretty much every one of our movies sounds bad on paper (laughs). Some people can pitch ideas and have ideas that sound good, and as soon as you hear the one-sentence version you are like, ’Oh, that sounds great!’ None of our ideas are like that, all of our ideas you need a hundred and twenty pages of script to prove that they can actually be good movies – this was very much like that. We knew, and we tell our writers that, ’If you want money fast, come up with a simple idea that’s easy to pitch. If you want money in a long time, write whatever the hell you want and write it well,’ because a good script will get made. We told Will to write a script, because we knew no one would buy a pitch for a cancer comedy (laughs). And then once people read the script, they really liked it, it was really well executed and ultimately pretty representative tonally of the movie, a lot of stuff changed, but it felt like the same movie.

Based on your experiences, your sort of playing a version of yourself, that’s not yourself, that’s partially inspired by yourself – what was that like, what that weird?

Seth Rogen: (Laugh) It wasn’t that weird honestly, with a lot of our movies we’re used to putting a lot of our own personal experiences in – even ‘Knocked Up’ was from a lot of my friends, a lot of that stuff was things that we did. Honestly, a lot of my movies have maybe more specific moments than this movie of stuff I’d actually done in real life. But it was more the writing that was surreal at times, having to talk to Will and other people that were involved, to really analyse it, pull it apart and dissect it. We really got into it in ways that we never would of if we weren’t writing a movie about it.

What was it like working with Joseph Gordon-Levitt, I know he sort of came in last minute?

Seth Rogen: We just got along really well. We spent time together in the week leading up to shooting. But I think you can fake all that stuff (laughs), I’ve pretended to be friends with people I don’t like at all in movies, this definitely isn’t one of those times, we get along really well. I think more than anything we understood each others performances, we get what the other guy was doing – that really allowed us to work well together I think.

The hair cutting scene is amazing. That must have been nerve-racking to shoot?

Seth Rogen: You know, it was actually fun to shoot. It was a little scary because we improvised a lot of dialogue in it – which is pretty f*cking stupid to be honest, for a scene like that, but we did it (laughs). That was actually the first day of shooting, which makes it even stupider because we weren’t even THAT comfortable with our characters or anything like that (laughs). We wanted it to feel real, we didn’t want the fact that we could literally only do it once make it feel less natural. So we really just tried to make it feel loose. I didn’t know what Joseph was going to do, honestly, if he was going to start crying ,or if he was going to make it really emotional, if he wanted to joke around. I really wasn‘t sure how he was going to approach it. And it was great how we did it, it felt totally real, it was pretty intense under the surface, but it felt very natural. I remember what we did have was a big list of bald guys, because we wanted to reference funny bald guys, so we had a big list; Michael Stipe, Patrick Stewart, Gorbachev, Jason Statham, Mr Clean was on there. That’s what we went in armed with: A razor and a list of bald men (laughs).