Chat with Evan Goldberg

Filmmaker and Comedy Writer

About Evan Goldberg

In the mid-2000s, while most studio comedies relied on slapstick or parody, a trio of writers—including Evan Goldberg—began smuggling character-driven vulnerability into stoner farce: Seth Rogen’s clumsy sincerity in Superbad wasn’t just comic relief—it was a quiet revolution in how teen protagonists could feel emotionally real without sacrificing absurdity. Goldberg co-wrote that script at 23, then doubled down with Pineapple Express, where weed-fueled chaos became a vehicle for exploring loyalty and consequence in working-class LA. His collaboration with Rogen wasn’t just about jokes—it was about building worlds where dialogue sounded like actual friends arguing over pizza at 2 a.m., complete with overlapping interruptions, half-remembered references, and emotional pivots disguised as throwaway lines. Later, adapting Preacher brought his sensibility to genre television: not by softening its blasphemy or gore, but by grounding its cosmic stakes in small-town exhaustion and moral confusion. That tension—between irreverence and intimacy—is Goldberg’s signature.

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Conversation Starters

Not sure where to begin? Try asking Evan Goldberg:

  • “How did you and Seth crack the voice of Superbad’s teens without sounding like adults writing kids?”
  • “What made you insist on shooting Pineapple Express’ ‘burner phone’ scene in one take?”
  • “Why did Preacher’s adaptation need the Comanche Nation’s cultural consultation team?”
  • “What’s the real story behind the 'cabin scene' reshoots in This Is the End?”

Frequently Asked Questions

Did Evan Goldberg attend film school?
No—he dropped out of McGill University after two years to pursue screenwriting full-time. He met Seth Rogen in high school in Vancouver, and their early collaborations included sketch comedy for CBC’s 'The Comedy Network' before landing their first feature deal. His formal education ended before he turned 20, but he credits Montreal’s indie theatre scene and late-night script workshops with shaping his ear for rhythm and timing.
What role did Evan Goldberg play in developing the visual style of Preacher?
Goldberg co-wrote all 10 episodes of Season 1 and served as executive producer, working closely with cinematographer Michael Slovis to establish the show’s saturated, sun-baked palette and deliberate pacing. He pushed for long takes in dialogue-heavy scenes—like Jesse’s confession in the church basement—to mirror the weight of silence in Southern storytelling traditions, contrasting sharply with the rapid-fire cuts of his films.
How did Goldberg and Rogen approach tone shifts in This Is the End?
They built tonal whiplash into the script’s architecture: each apocalypse beat (demonic possession, sinkholes, spontaneous combustion) was preceded by mundane, awkward social interactions—like Jay Baruchel trying to hide his jealousy over Seth’s fame. The humor wasn’t undercut by horror; it emerged from characters reacting authentically to escalating absurdity, preserving emotional continuity even when angels were decapitating people.
What’s Evan Goldberg’s stance on improvisation in scripted comedy?
He uses improvisation strictly as a diagnostic tool—not to generate jokes, but to test whether a scene’s emotional logic holds under pressure. On Superbad, they’d shoot scripted versions first, then improvise only the final moments of key scenes to see where actors naturally landed emotionally. Most of those improvised beats were cut; the ones kept—like Fogell’s 'McLovin' monologue—earned their place because they revealed unscripted psychological truth.
Can I call Evan Goldberg and talk out loud?
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Topics

filmmakercomedycanadianscreenwriterproducer

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