The Unicorn has quickly become a solid hit for CBS, so much so that the freshman series was renewed for Season 2 about five weeks into its run. The comedy, which stars Walton Goggins as Wade, a widowed father of two who's trying to begin dating again with the help of his overzealous friends, has clearly managed to connect with audiences, but the same is true for those in the cast. Rob Corddry, who plays Wade's friend Forrest, believes he knows what the best part of working on The Unicorn is for him.

I have to say, just thinking about walking onto the set of The Unicorn as an actor and immediately feeling the chemistry between myself and my castmates gel the way that Rob Corddry talked about to CBS Local really does give me a nice, warm and fuzzy feeling all over. Which makes complete sense, because that's exactly the kind of feeling I get on a weekly basis as I watch Wade raise his daughters and deal with a string of dating disasters.

We've all sat down to watch a show we had high hopes for, only to be confronted with a group of actors who don't quite feel settled into their on-screen relationships with one another. All types of television series are susceptible to growing pains when they first get going, but few things can ruin the flow of a show faster than not being able to feel like the characters really do relate to each other the way we're being told they do.

And, as Rob Corddry noted (and as one might be able to imagine) that kind of situation isn't great for the actors, either. Trying to make magic happen every week and create a TV show that people believe in enough to return to week after week is difficult enough without needing to force the chemistry between the cast to come bursting to life at every turn. Luckily, Corddry and his fellow actors on The Unicorn didn't have any such issue.

While it's one thing to be familiar with someone you end up working with because you run in similar social circles, as Corddry and Walton Goggins do, I can imagine that it's also very comforting to have worked with an actor before and go into a new gig knowing that your work styles won't clash. Corddry has been working with Omar Benson Miller, who plays Ben, on the HBO sports drama Ballers (which stars do-it-all megastar Dwayne "The Rock" Johnson), and had also already played husband to Michaela Watkins, who is once again his on-screen wife.

Part of what's made The Unicorn successful is the fact that, from the start when audiences tuned in, they could connect with the story, not just because it was a very real life situation that hit on "the feels," as Rob Corddry called them, but because the interplay between Wade and all his friends (who also include Maya Lynne Robinson, fresh from The Conners, as Michelle) felt so easy, funny and earnest.

We can all see how Rob Corddry and the rest of the cast of The Unicorn do what they do so well when the show continues on CBS, Thursdays at 8:30 p.m. EST.

While fans of The Late Show are used to seeing the outspoken Stephen Colbert spending his time taking charged political jabs at President Donald Trump and his administration, things got a lot more optimistic on last night's broadcast, which featured a giant episode-length reunion of former Daily Show stars from that series' most iconic stretch. Colbert welcomed Jon Stewart, Samantha Bee, Ed Helms, Rob Corddry and John Oliver (as Steve Carrell), and the gang took a trip back into the past for a pristine recreation of Colbert's last day at The Daily Show back in 2005.

The whole frigging Late Show episode was good, don't get me wrong, but this segment brings out everything that I love about all of these entertainers: broad humor dressed with subtleties, and high brow jokes crawling around with low brow jokes. Oh, and the funny hair, of course. Because a comedy sketch is not a true comedy sketch unless someone has got the funniest hair. Even though it's a flashback to 2005, there is no faux-follicle consistency.

Samantha Bee appears to be an extra on Miami Vice. Ed Helms won Worst Dressed at a Village People costume party. Rob Corddry is possibly a professional wrestler turned announcer. And Jon Stewart...well, he looks like Jon Stewart in a bad wig.

Take a drink of whatever Mountain Dew flavor was popular in 2005 every time these guys make a joke that is super-specific to the year in which the flashback takes place. Now, there obviously were some political jokes involved, since mixing former Daily Show crew members is just asking for D.C. satire saturation. It is nice, though, that George W. Bush is the subject matter, and they're basically kind to him, as opposed to what things used to be like. You know...whenever Steve Carrell looked like himself and not like current Last Week Tonight host John Oliver. But maybe my memory is just fuzzy.

When Stephen Colbert spread his big bald eagle wings and flew away from The Daily Show to settle in his new Colbert Report nest, he destroyed something beautiful. But from that, something else that was equally beautiful grew. And when he also destroyed that, he moved to CBS. And here we are. Looking for our yogurts.

You can still catch The Daily Show every night on Comedy Central at 11:00 p.m. ET. And, of course, you can see Stephen Colbert rocking it on The Late Show on CBS every night at 11:35 p.m. ET. And to see when everything else is heading to the small screen soon during the primetime hours, head to our summer TV schedule.

Every year, millions of people descend on Las Vegas, hell bent on having a damn good time. For some, that involves trying (and usually failing) to take money from the casino. For others, that involves clubbing, getting hammered, seeing Penn and Teller, going to a strip club, and/or screaming VEGAS!!!! at unreasonable volumes. The key to Las Vegas is that it can be damn near anything to anyone. It offers a seventy-two hour or so timeout from real life. Everywhere an observer looks, there are overt signs of tourists having unreasonable amounts of fun.

The latest film to riff off this expectation of fun is Last Vegas. Starring Morgan Freeman, Robert DeNiro, Michael Douglas and Kevin Kline, the PG-13 comedy seems to follow four old dudes who want to turn back the clock and have another misadventure before getting too fucking old for hijinks, I think. I haven’t exactly seen it, but based on the mediocre trailer and the meh minus reviews, I’m pretty confident we’re in for an older quartet working their way through all the Vegas-y things we’ve come to expect and trying desperately not to die. That sounds inoffensive and probably passable enough, but it doesn’t exactly reinvent the wheel.

I want to see a Vegas movie that defies expectations and goes a little stranger (like The Cooler). I want to see one that tackles one of the more secretive, bummer subplots bubbling beneath the Sin City surface and crying out for its own film. I want to see a movie about the one-time gangster paradise that has the courage to tone it down and fixate on the more monotonous and seemingly boring aspects of Las Vegas vacations and local life. I want to see one of these six films.

The Tiredness That Comes With Getting Drunk Too Early

Starring: Dane DeHaan as "Tired" Ted Murphy and Miles Teller and Donald Glover as his very awake, right level of drunk friends Trevor and Salamander.

Going to Las Vegas is a lot like tailgating as a college student before a big football game. There is alcohol everywhere, and without any obligations owed to the real world for at least a day, there is always a temptation to dive in DuckTales style into one of those huge Fat Tuesday's drinks. On the one hand, hitting the bottle early can prove a great way to spice up 11 AM and make afternoon craps games a whole lot less awkward. On the other hand, it can also torpedo your entire night, as our hero Tired Ted discovers when he realizes, much to his horror, that all he really wants to do is go to bed at 9 PM on a Saturday.

Unfortunately, there’s no easy solution to this predicament. His loud, obnoxious and right level of drunk (for Vegas) friends Trevor and Salamander (pronounced SAL-A-MANDDDDDDDER) are planning to go until at least 3 AM, and it’s too late in the game to take a nap. So, rather than hear his sleepiness get referenced for the rest of their friendship, Tired Ted heroically decides to tough it out and plow forward, all while encountering second winds, red bulls and a hooker played by Gabourey Sidibe who claims her sexual energy could wake up coma patients.

Releasing Studio: Universal

The Horrible Drive Back To LA

Starring: Rob Corddry as Mike McDougal, Judy Greer as Melinda McDougal and Maggie Elizabeth Jones as Melissa McDougal

Mike McDougal lives in Los Angeles and has some disposable income. That means once a year or so, he’s culturally obligated to throw a few button down shirts, his wife and a big pile of cash (fuck paying Vegas ATM fees) into his Prius and drive nine miles an hour over the speed limit through the desert on the 15 and into Las Vegas. This year, on his wife’s insistence, he agrees to bring along their seven-year-old daughter, but thanks to her obsession with seeing the sharks at Mandalay Bay, the proposed leaving time of 10 AM winds up getting pushed back to 2:30 PM, which as any Los Angeles resident knows is a World War II level disaster.

Stuck in bumper-to-bumper traffic for two hundred and seventy miles, alongside a wife who really wants to make it home in time for The Good Wife, which she may have forgotten to DVR, and a daughter who can’t stop talking about how much she hates one of her first grade classmates (that stupid Alyssa), poor Mike is nearing his breaking point, especially given the twenty-three-year-old asshole behind him in the Beamer who seems to think honking will implore his fellow drivers to move faster. He knows if he lets his wife and daughter have it, he’ll eat death glares for the next six or seven hours, but he has to do something to break out of this funk. So, he does what any sensible middle-aged man who gives zero fucks would do: he takes to the shoulder and decides to gun it in hopes he can make it at least halfway back before getting the ticket he knows is coming.

Releasing Studio: Paramount

How Easy It Is To Get Lost Inside Caesar's Palace

Starring: Anna Kendrick as Rebecca, Ellie Kemper as Megyn, Lauren Ambrose as Jackie and Katrina Bowden as their idiot friend Beth.

Fresh off the plane and ready to put down their shit, no-nonsense Minneapolis girls Rebecca, Megyn and Jackie are excited to check into their suite at Caesar’s Palace and reconnect with their absent-minded friend Beth who recently moved to Los Angeles to pursue modeling. Unfortunately, they’re told by the woman at the counter that Beth already checked into the room but left a note indicating a) she has all the room keys, b) her cell phone is charging in the room and c) she’ll be waiting somewhere inside the mall at Caesar’s Palace for them to arrive.

Shot in real time, Lost In Caesar’s Palace follows our three heroes as they wander through the mall inside the gigantic Vegas hotel looking for their friend and more importantly, the room keys she possesses. At first in awe of the stunning architecture and painted ceilings, the ladies grow progressively more annoyed as they criss-cross in every which direction looking for their idiot friend in what could be the most confusing maze on Earth. Through shopping detours, horrible directions from drunk idiots and the occasional scream, they learn a little bit about life and absolutely nothing about the best way to navigate Caesar’s Palace.

Releasing Studio: Focus Features

Those Creepy Hooker Tickets People Hand Out

Starring: Tonita Castro as Rosa, Jaime Pressly as Shanelle, Ving Rhames as Legs, Teck "Money" Holmes as Ray Ray and Nick Offerman as The High Roller

Every night, hundreds of thousands of advertisements for prostitutes are dropped on the streets of Las Vegas. By the time tourists wake up with hangovers the next morning, all of those creepy little cards that range in rating from PG-13 to NC-17 are gone thanks to workers like Rosa and Ray Ray. Ordinarily, the two simply throw out all of the discarded advertisements, but thanks to a chance encounter, there’s a whole lot more at stake today.

Sometime around 3:30 AM, the High Roller, drunk as a skunk, met his dream woman, a prostitute who goes by a name that starts with an "s". She wrote down her number on one of those cards and passed it along, but in his hammered state, he dropped it somewhere on Las Vegas Boulevard between the Venetian and Paris. He wants it back and is willing to pay anyone who finds it a thousand dollars. Rosa and Ray Ray combine forces to take up the challenge, but they’ve got some competition in the form of Legs, a street performance artist who overhears the High Roller’s offer and decides to get that money for himself.

Releasing Studio: Lionsgate

Mean Mugging Sales Clerks At The Expensive Malls

Starring: Evan Rachel Wood as Beatrice, Nina Dobrev as Ariel and Teresa Palmer as the girl in the Target dress.

As employees inside Marni at Crystals, Beatrice and Ariel spend their days talking about their shared desire to move to Europe and the various shoppers who walk around the mall, an overwhelming majority of which can afford Starbucks, Pinkberry and little else in the immediate vicinity. Now and again, the ladies grow bored and actively try to coax women inside as a means to break up the crushing boredom of their eight-hour workdays, but more often, they sit near the window, judging and mean mugging any less than affluent-looking window shopper who gazes inside.

On her way into the store, the girl in the Target dress felt the sting of the mean mug, but that didn’t stop her from spending a healthy chunk of money and surprising the cashiers who thought they knew it all. Infatuated and obsessed with knowing how she has so much confidence, the two girls begin hanging out with the stranger and in the process, start learning a slew of details that are enough to completely upend their once judgmental worldviews. Look for this one to get some early Oscar buzz before slowly fizzling out by awards season.

Releasing Studio: Fox Searchlight

Loud Eurotrash Neighbors

Starring: Paul Giamatti as Michael Brown, Catherine Keener as Leslie Brown, Alexander Skarsgard as Bjorg and Benedict Cumberbatch as Reginald

An overwhelming majority of Las Vegas visitors choose to do their partying at clubs, inside casinos or just generally, out and about somewhere. A small minority, however, choose to treat their hotel rooms like European raves. Meet Bjorg and Reginald. They’re a newly married gay couple from Sweden/ Luxembourg on their honeymoon in Vegas. They love nothing more than playing their music loud, much to the chagrin of neighbors Michael and Leslie Brown who prefer to turn in around eleven.

Scheduled to stay in adjoining hotel rooms for the next six nights, Michael and Catherine decide to do everything they can to smoke their fellow travelers out, at least until they learn Reginald will soon begin working as an admissions offer at Duke, the same college the Brown’s daughter has her heart set on attending. So, with the help of some strong liquor and good intentions, they decide to take one for the team and befriend the Europeans in an effort to eventually get a leg up in the highly competitive admissions process. Be on the lookout for a great cameo from Anton Yelchin who plays Bjorg’s much younger former lover Evgeny and for several DJ sets from former Jersey Shore star Pauly D.

Releasing Studio: Warner Bros

Community didn’t earn rousing reviews when it hit the schedule last spring sans Dan Harmon. The show squeaked its way through the ratings enough to earn a fifth season renewal at NBC, which was a miracle in a year where nearly every comedy series on the network (thankfully sans Parks and Rec) was scrapped. The show isn’t expected to return to NBC’s schedule until this winter (probably), but fans of the series will be happy to learn that the show is casting for the new season, signing on Rob Corddry and Jonathan Banks.

Corddry has been on Community prior to the new season. The Warm Bodies and Hot Tub Time Machine actor has popped up in the past as Jeff’s former law firm colleague Alan Connor. According to TV Line, the character will pop up in the Season 5 premiere, which means we won’t have long to wait to see the actor delve back into Jeff Winger’s life, much to his chagrin, I'm sure. Since Winger finally graduated from Greendale, there’s no doubt he’ll be looking to get back into the professional world and assumedly Connor will tie in.

Breaking Bad actor Jonathan Banks is also joining Community in Season 5, and unlike Corddry, he’ll have a pretty huge role in the series. EW first reported the news, noting that Banks is signed on for eleven episodes of the new season. Like Betty White and some other big actors who came before him, Banks will play Pat Nichols, a teacher at Greendale Community College. Nichols is a criminology professor at the university who will pop up in the series after Alison Brie’s Annie enrolls in the class in the second episode. The role will likely be a far cry from the one he played in Breaking Bad, but I can't wait to see what he'll do with the character.

NBC’s half-hour comedy appeared at Comic-Con this year, with Dan Harmon again at the helm to talk about the new season. Even though fans are getting the familiar showrunner back this season, the makeup of Community is bound to look a little different. Graduations have happened, characters have come and gone (including Pierce), and notably, Troy and Abed’s bromance will have to be toned down some, thanks to Donald Glover only signing on for like half of the episodes in Season 5.

That’s a lot to overcome moving into the new season, but hopefully Harmon and co. are up to the challenge. Six seasons and a movie is getting so close that I can almost begin taste it. We’ll let you know as soon as NBC decides on an official Community premiere date.

The upcoming Jake Kasdan-directed comedy Sex Tape already has a pair of top notch stars at the top of its cast list, with Jason Segel and Cameron Diaz playing the two main characters in the film, but today the project has been boosted by both another star as well as one of the best comedic supporting actors in the business. The Wrap and The Hollywood Reporter are saying, respectively, that Jack Black and Rob Corrdry are now attached to star in the upcoming film.

Based on a script by Kate Angelo, a former producer on Will & Grace and The Bernie Mac Show, the new movie follows an ordinary married couple (Segel, Diaz) who decide to spice up their marriage a bit by making a sex tape one night while they have some time away from the kids. Unfortunately, when they wake up the next morning they discover that the tape has gone missing, and they are forced to go on a mad cap adventure trying to find out where it went. Corddry will be playing a loyal friend of the couple who helps them search for the missing tape, while Black's role is a small, surprise cameo (I'm choosing not to reveal it here because of spoilers, but you can read about it over on The Wrap using the link above).

Corddry has had an incredibly busy year so far, both on the big and small screens. His year began with Jonathan Levine's excellent zom-rom-com Warm Bodies in February and he's since been seen (or in the case of animated films, heard) in The Way, Way Back, Pain & Gain, Rapture-Palooza, and Escape From Planet Earth. His Adult Swim show Children's Hospital is in its fifth season and he also has the indie comedies In A World and Hell Baby coming out soon. He is currently in production on Hot Tub Time Machine 2, in which he will reprise his role as Lou from the 2010 original.

Black, who previously worked with Kasdan on the comedy Orange County, hasn't been nearly as ubiquitous on the big screen as Corddry in recent years. Last year we got to see him put on an awesome performance in Richard Linklater's Bernie, but right now his only upcoming project other than Sex Tape is the animated Kung Fu Panda 3, which is slated for Christmas 2015.

Sex Tape is planning to start filmming this fall and the movie will presumably be released some time in 2014. To get you ready for what to expect from the Segel/Diaz pairing, you can rewatch the trailer for Kasdan's Bad Teacher below.

You wouldn’t think it would be too hard to play a member of the walking dead. You slap on some make-up, stumble a bit, and let out the occasional groan. Sounds simple enough, right? Well, it wasn’t enough for Rob Corddry. Who stars as a zombie in the new movie Warm Bodies. Inspired by a script he loved and a real desire to nail his audition, he took it to a completely new level – by actually researching and learning about brain damage patients.

And that’s just one of the things that I recently had the chance to chat with the comedian about while attending a recent press event for the new zom-rom-com in Los Angeles. Check out the interview below, as Corddry discusses not only his role in Warm Bodies, but how writing has changed the way he reads scripts, why he has no desire to ever become a director, and his experience working with director Jonathan Levine, who he calls one of the best filmmakers he has worked with.

How did you come across this film? Was it something that you pursued or did it come to you?

I definitely went after it in that…I was not in their plan at all. But my agents were on it and they sent me the script and I loved it and I worked very hard at the audition. I really, really prepared.

What was it about the script in particular that you liked so much?

I’ve never seen anything like it before! Apart from being perfect story-wise – it had all that already – it was just very, very uncommon. Somebody said to me, “You always play best friends, is that boring?” And I’m like, “No!” What, are you kidding me? I will play shades of that character forever – and then I was handed probably the weirdest shade of that yet [laughs]. So that was a real thrill too.

How do you prepare for an audition for a role as a zombie?

Well, my wife works with brain injured patients as a speech pathologist, so I asked her a lot of questions about brain injuries and read a little bit about brain injuries, and tried to imagine that I was maybe not quite fully conscious, but that I had a lot that I wanted to express, but the synapses between creation and mouth were just not really there. Which is the way I think about it. And it worked! It really, really worked. There are just some things that make you think of something, and then you do stuff out of habit- - which I really love, that idea in the film. So that was my preparation, basically.

You mentioned how much you loved the script, but when I meet actors who also write I’m always curious if they perceive or read scripts differently than if they were just looking at it from an actor’s perspective. Since you started working has the way you read scripts changed?

Yes I do! Before I was writing as much as I do now I would read them and be very confused, first of all, and just try and kind of go with my gut. And then I would have to talk it over with people. Why am I responding to this? Why am I not? It would more be about like, “This dialogue is clunky.” That’s the only language I had. But as I get to learn more about writing it’s so much easier. It’s so much easier to know if you like something or not! Things can have good and bad parts and still not be something you respond to.

So would you say that since you started writing Children’s Hospital it’s had an effect on the types of projects you’ve been choosing?

Yeah, I guess. I don’t know. It’s made me more aware in general, I think, just understanding story and structure and from an acting point of view and from a writing point of view, and from a reading point of view… I don’t know if it’s affected what I’ve chosen. But it’s definitely like…I’m starting a company with my brother and we’re choosing scripts now that we want to develop and produce. That’s really where the skill, I think, and the fun of it comes in.

And you do go back and forth between film and television a lot and obviously they’re two very different mediums, but what do you find that each one offers and do you prefer one over the other?

No, I don’t really have a preference. I guess the reason I’m able to flip back and forth is cause I don’t have a regular job [laughs]. If I was on a TV show that shot nine months out of the year it would be a lot harder. But it allows me a lot of freedom. I can’t even say it’s about money either, because I’m definitely one of those guys they know they don’t have to pay a lot [laughs]. So that’s always kind of a crapshoot. Children’s Hospital is shot a lot like a movie. We get together for a little over a month. So I really enjoy that. I really enjoy being on a location. So I’d have to say that movies or that kind of thing, of which Children’s Hospital is a part, it feels more special for some reason. But it of course varies from project to project.

I don’t mean to keep pressing on the “writer” button…

I love talking about it!

Having written for TV have you thought about writing a script for a feature?

Oh yeah! Of course, yeah. I have a couple of ideas going. I wrote one with a couple friends that was garbage – but that’s basically where I learned how to write a script. And now the only one I have – I’m just looking for the time to write – is a Children’s Hospital movie. Though it won’t be a movie with the same characters, it will just be the same cast, it will be the same ensemble. And it will just be a different story and a different…same group of actors and creative team.

I know you directed a couple episodes of Children’s Hospital too, so would that be an avenue you’d think about going down?

No. I have no interest. I directed the first 10 episodes of Children’s Hospital, the first season, and did not enjoy the experience.

Why?

You know, I’ve been trying to pinpoint why. I think it’s because as a producer … well first of all, I think a lot of actors do it for the power or whatever, or they do it because it’s what you’re supposed to want to do. But the best director’s I’ve encountered are the ones that have a real, innate understanding of not just like cameras and filming and the line and the math of it, but like something else that I can’t quite pinpoint that I don’t have. I like producing in that I can do overall stuff, all the different aspects…and then order the director around [laughs]. So the power does enter into it. It’s all about power!

To tie it back to Warm Bodies, I truly think that Jonathan Levine is one of the most underappreciated young directors working now, and I’m just curious what it was like working with him on this film.

I try not to sound trite about it when I describe my feelings about him as one of the best directors I’ve ever worked with. And we’d talk about it a lot. He actually taught me a lot about how to work just by observing him and observing his confidence and his ability to be humble and to accept the process as a collaboration. And not to be threatened by a new idea that maybe didn’t match his. Because he’s so confident! And it immediately makes you, apart from being a great guy, he just immediately makes you comfortable.

What kind of stuff did you get to contribute as M?

[laughs] I improvised a little bit. I don’t even know if the line is in the movie – did you see the movie?

Yeah! I saw it last night.

I don’t say “Bitches, man,” do I?

Yeah you do! That got a big laugh too.

That was improvised. And I told him afterwards, “Don’t put that in the movie! Don’t put that in the movie!”

It got one of the biggest laughs!

Of course! It’s funny! But I remember that on the day I was like… it felt cheap afterwards. You’re just trying to get a laugh because maybe you didn’t know what you were doing in the moment or whatever. That’s my problem [laughs].

Hot Tub Time Machine was one of the last movies put out by MGM before the company went bankrupt, and looking at the box office receipts it's not hard to see why. Despite having a great cast that included names like John Cusack, Rob Corddry, Craig Robinson and Clark Duke, the comedy managed to bank only $50 million domestically on a $36 million budget, opening at number three on its opening weekend behind the newly released How To Train Your Dragon and Alice in Wonderland in its fourth week. Numbers like that don't typically warrant sequels, yet we're having the discussion anyway, apparently.

The Hollywood Reporter has word that MGM is now putting together pieces to make a follow-up to Hot Tub Time Machine. While John Cusack is not involved with the project at this time, the three other main stars have all been in talks with the studio and there's a possibility that Corddry will be working on a script with Steve Pink, the director of the last film (who is also in talks to return). Apparently they've been secretly developing the movie over the last few months, but "sources caution that deal-making is in an early stage and could fail." The trade adds that should everything work out, however, the film could be fast-tracked by MGM.

I liked the first film well enough, but I'm not entirely sure where the story goes from where the last movie ended (with Corddry staying behind and becoming a millionaire by "inventing" Google - or Lougle). The last film was a send-up of 80s movies, so maybe the sequel could head to the 90s?

A few months ago, right around the time that A Very Harold and Kumar 3D Christmas came out, I had the chance to sit down with writer/actor Tom Lennon and at one point in the interview asked him if he ever had any interest in directing. "Directing doesn't appeal to me that much," Lennon said. "I don't know what it is, it's just not really in my make-up. There's some people that have that sort of thing where they want to be in charge of stuff. But to me, that's sort of what I'm doing in the writing process." It would seem that his makeup has changed recently because now he's getting ready to make his feature directorial debut.

Deadline has learned that Lennon will be teaming up with longtime writing partner Robert Ben Garant to helm a script that they wrote called Hell Baby. The story centers on an expectant couple that moves to a haunted house in New Orleans only to discover that their soon-to-be-born child has been possessed by the devil. To solve the problem they contact the Vatican and bring in an "elite exorcism team." The directing pair has already brought on Rob Corddry and Leslie Bibb to star as the couple while Lennon and Garant will play the exorcists.

While Tom Lennon and Robert Ben Garant have some pretty terrible titles on their resumes - Taxi, The Pacifier, Herbie: Fully Loaded, etc. - when actually using their own voice the result can often be hilarious, as seen on shows like The State and Reno! 911. As directors they'll have total control and hopefully that will mean that they will really get to let their work shine.

Director Jonathan Levine got his start in genre movies, with the acclaimed but still-unreleased horror movie All The Boys Love Mandy Lane -- yes, the movie we were wondering about in 2008 still hasn't seen the light of day. But since that movie remains under the radar Levine has found far more success in dramedy, with the coming-of-age story The Wackness and this fall's 50/50, which is already earning spectacular buzz and is one of our most anticipated upcoming movies. With that movie finished, though, Levine is moving on to his next project-- and wouldn't you know it, he's ready to tackle genre again.

Levine is putting together the cast for his next movie, Warm Bodies, an adaptation of isaac Marion's book about a romance between a zombie and a still human girl. Nicholas Hoult is set to play the zombie with a heart, with Teresa Palmer as the object of his affection, and now Variety reports that Children's Hospital star Rob Corddry will play another zombie, who like Hoult's character "is different from the rest of the undead." Production on the movie starts in September, which as it turns out, is when 50/50 will be playing the Toronto FIlm Festival and opening wide in theaters at the end of the month. Everything's coming up Jonathan Levine!

It is confirmed by science that there are more comedians roaming American television than there are feathers on the biggest chicken ever. Gone are comedic duos and trios, for troupes have taken over, and not your conventional Monty Python-like static groupings. Comedy's doors are constantly revolving, creating gluttonous, polycephalic blobs of uproarious dark matter. Starting as a series of web shorts in 2008, Childrens Hospital, with its class-act casting, is a perfect example of how broad focus can be while still getting all the details right. How is Ken Marino not universally accepted as the funniest person ever?

We have Adult Swim to thank for bringing Childrens Hospital to TVs and DVD shelves everywhere, due to its fascination with shrinking air-times. The first-season episodes last only five minutes, doubling that time for the second season. So you can zoom through this set in under three hours, extras and all, but this limited quantity does not represent the hilarious quality of the show. How does three hours' worth of orgasms sound?

This surreal satire mostly parodies TV hospital dramas, but is not exclusive in its skewering. Plotlines, when existent, regularly defy reality and eschew primetime drama for the bizarre emotional twists and turns that daytime soap operas have to offer. If one weren't careful, one might confuse this set with footage from an actual hospital in Brazil, the hospital’s supposed location. Making matters worse, some episodes shatter the fourth wall, treating Childrens Hospital as a well-received, long-running soap opera. However do we know where the reality begins and ends?

One clue lies in the face of the show, that of Dr. Blake Downs (actor/director Cutter Spindell, himself played by Rob Corddry). It is garishly painted with clown makeup, drawing comparisons with John Wayne Gacy's Pogo the Clown, which are relevant, as I'm sure Dr. Downs is also responsible for the deaths of many young males. After all, he believes in the healing power of laughter over proven medical techniques. He must be onto something, because after I laugh my ass off during each episode, I feel fucking healthy.

If Childrens Hospital lived and died by this character alone, it would be a subtle success. Fortunately, these halls are filled with the above-mentioned shit-ton of comedic talent. Dr. Glenn Richie (Ken Marino) is a Jewish womanizer whose medical knowledge is vastly inferior to his hair. Dr. Owen Maestro (Rob Huebel) is a gentile womanizer whose medical knowledge is vastly inferior to his hair. Dr. Maestro is tormented by memories of 9/11, back when he was with the NYPD, partnered with Officer Briggs (Nick Offerman). Sy Mittleman (Henry Winkler) is the pleasant corporate insurance company boss that the staff hates solely due to his suited position. Professional incompetence is shared by the entire staff. These are just the guys.

The Chief of Staff (Megan Mullaly) has as tiny a moral filter as anyone else, plus she’s on crutches, which provides improper disabled humor an opportunity to figuratively strut its stuff. Dr. Lola Spratt (Erinn Hayes) is an ex-girlfriend of Dr. Maestro’s who pretends to have a tumor in order to avoid his advances. Dr. Spratt is also desired by Dr. Cat Black (Lake Bell). The two share an intriguing moment of intimacy replayed ad nauseam due to its faux sexuality. Dr. Black serves as narrator, reflecting on moronic tangents that sometimes include the bizarre goings-on in the hospital. Her narration duties are soon replaced by those of Dr. Valerie Flame (Malin Akerman), another simpleton with ponderings that know no depths.

Oh, the plots. If Dr. Spratt faking her death isn’t enough for you, Dr. Black starts dating Little Nicky (Nick Kroll), who suffers from a rapid-aging disease that gives him the body of an old man and the brain of a retarded child. Ed Begley Jr. plays a senator requesting that his annoying teenage son be aborted. Dr. Richie develops a cure for cancer that is in danger of being squashed by a health official, played by Kurtwood Smith, who is afraid the cure will halt all medical funding. Paul Scheer plays Dr. Tinkle Button, Blake's scheming clown brother. Need more funny cameos? Michael Cera spouts a multitude of hilarious non-sequiturs as quick interstitials between scenes. And how about Ed Helms, Nathan Corddry, David Wain, Jason Sudekis, Adam Scott, Clark Duke, Matt Besser, Ian Roberts, Matt Walsh, the Sklar brothers, Jeffrey Ross, Ernie Hudson, and Lizzy Caplan? I haven’t named everyone, because my editor would hang me.

A show like this is meant to live on DVD, because the episodes are too fucking short and don’t warrant any amount of emotional depth that would draw someone in week after week. These episodes are meant to be feasted on marathon-style with your closest pals and a large hookah. (Friends optional.) That said, the amusing extras here are numerous, but slight.

Corddry interviews himself in "Rob Corddry and Cutter Spindell: The Man Inside the Man Behind Childrens Hospital," a silly seven-minute look at the fake background and inspirations of the show and its characters. With "Dr. Owen Masestro Answers Medical Questions From Kids," Huebel provides harsh, rapid-fire retorts to inquiries such as, "Why did my cat die?" and "Are there women doctors?" (Yes, but they're called nurses.) The "I Killed Cancer" Music Video is a lavish production set to a rappish song about curing cancer. The "Outtakes and Deleted Scenes" and "Gag Reel" could almost be the same thing, which is great, because watching funny people improvise is awesome. Everybody, particularly Nick Kroll, gets a few moments to go off on a whim for the camera. Finally, the Adult Swim Wraparounds, the segments filmed to go between the short episodes, are all there. Most are Corddry talking more about the "real" Blake Downs and other pseudo-history.

Good extras, but not great extras, aren't the reasons you should own Childrens Hospital. You should own it because it is and will always be funnier than 115% of everything else on television right now, and it will definitely improve your health. No Surgeon General warnings on this one.

Length: 182 min.

Rated: Not rated

Distributor: Warner Home Video

Release Date: 5/24/11

Starring: Lake Bell, Erinn Hayes, Rob Huebel, Taylor Lipman, Ken Marino

Directed by: Rob Corddry, Bryan Gordon, John Inwood, Rob Schrab, Matt Shakman, David Wain

Produced by: Rob Corddry, Rich Rosenthal, Jonathan Stern, David Wain

Written by: Rob Corddry, Diablo Cody, Dana Fox, Rob Huebel, Brian Huskey, Jason Mantzoukas, Ken Marino, Liz Meriwether, Erica Oyama, Lorene Scafaria, Paul Scheer, Jonathan Stern, David Wain

The Winning Season debuted two years ago in Park City at the Sundance Film Festival, and I loved it. So of course the film vanished into ever present black hole of forgotten Sundance movies, presumably never to be seen again, even though you’d think someone would want to make money off a pretty good movie starring Sam Rockwell, Rob Corddry, and Emma Roberts.

It’s taken two years but The Winning Season has finally resurfaced with impending distribution from Lionsgate that will put it in theaters September 3rd. They’ve even managed to concoct a trailer and a poster for the thing, neither of which really represents the movie properly.

[[ br. ]] The Winning Season seem like some sort of wacky, teen sports comedy when it’s really a much smarter take on the world of adults and parents trying to deal with kids. Sam Rockwell plays an alcoholic father who, on his last legs, manages to land a job coaching his daughter’s high school basketball team. It sounds like well worn territory but The Winning Season finds fresh ground with a little help in the form of fantastic performances from Rockwell and Roberts. It’s worth your time. Watch the trailer, but don’t let it keep you away from the movie.

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So I’m going to assume that trailer hasn’t done much for you. Check out my Sundance review of The Winning Season here to see if that does any better. For new images from the film, click the poster below.

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I leaned a number of new things about Crispin Glover while at the Hot Tub Time Machine junket in Lake Tahoe. First off, he’s a successful commercial actor, but also pursuing some personal passion projects on the side. Secondly, the guy is poised to the max. Lastly, damn, Glover’s got gorgeous hair.

There’s a good chance you didn’t even know Glover was in Hot Tub Time Machine. John Cusack, Rob Corddry, Clark Duke and Craig Robinson are featured on the posters and in the trailers, but it’s Glover who’s got one of the most memorable running gags throughout the film. He plays Phil, the hotel bellhop who escorts the gang to their room and the same guy who did so back in 1986. When we meet Phil at the beginning of the film, he’s missing a little something, an arm. But after some hot tub time traveling, we meet the 1986 version of Phil and he’s fully limbed. You know what that means; he’s eventually losing that arm.

Not only did Glover dish on the physicality of his role, but he also addressed his involvement in another little time travel film, Back to the Future. Then there are Glover’s plans for the future. His dedication to use his mainstream work to finance his own films have led him to the Czech Republic where he’s building his own sets. Will It Is Mine be next on his agenda? Find out that and more below.

How’d you get involved with this movie?

I got a message from my agent that they’re interested in meeting with me, with John Cusack and his co-producer for lunch. I got the script that was the existing script at the time and they let me know that they’d only gotten the script two weeks before and that there was this time limitation that they had to do it and there was a release date that was already set and if they didn’t say to do it then, it just wouldn’t be done at all. They did it and it was apparent that there was a lot of reworking that would happen. I had a good time working on the film and I’m very happy to be in it. All of the people were nice to work with. They’re funny and it feels like the film has a good humor.

Did you get to do much adlibbing?

Oh, yeah! A lot of the things that were in the screenplay are there, but it was done in a slightly different fashion than it was written – as it was written in the screenplay …, which would be improvisation. [Laughs]

Your character is part of this great running gag, which would likely have its limits when it comes to improvisation. How much leeway did you get?

There was a fair amount of leeway, but also the things were being changed as we were shooting. Like the elevator sequence that’s in the film, that wasn’t something that was originally written in, but it became apparent that we really needed to have three times where we saw that. We were looking for something that would be visually interesting and that I felt I could play and there were different possibilities of that happening and that’s what we came to agree as being a good thing to do. Another thing that wasn’t in the script was when I come back at the very end. Even when I first read the script when I met with John Cusack and Grace Lower, the first time, I thought it seemed like there should be a payoff for the character. Luckily there was a good energy about going into it and didn’t feel restrictive.

Did Steve ever say to you that one of the reasons he wanted you in the film was as an homage to Back to the Future?

Nobody said that to me, but I’m assuming it was thought. [Laughs] It seemed fairly evident. But nobody actually did say that. Nobody at all, but I figured. It made sense that that had something to do with it.

Phil seems like a victim of his own destiny; he’s going to lose that arm. Do you believe in destiny?

Well, I like to believe that it’s good to like what you’re doing. That’s important therefore whatever it is that your destiny is, if you’re liking it then it’s okay. If you’re not liking it then that isn’t okay. It’s bad if you start comparing yourself with other people as opposed to what it is that you’re interested in doing. I’ve been touring around with my own films that I’ve been self-financing and self-distributing and I really like doing that. It’s a lot of work, it’s not easy to do, but I like doing it and then I’ve been funding these films with the films that I’m acting in. I started really doing that in about 2001, but in a certain way, it actually made me appreciate acting in corporate films more than I ever had before and it made me more grateful about the whole thing.

Do you have a selection process when these roles come your way? How do you react to a role like this?

It was a pretty easy decision that it was a good thing to do. There are some films that I haven’t done and at this point now, I would feel like if I can’t make it work on some level then I wouldn’t want to do it. But usually I feel like I can make it work. Not always. There’ve been a couple of things in the last few years that I did not feel like I could make work. But, for the most part, if something comes along and it fits within my quote, which is important for me to adhere to, then it seems like a good thing to do. This film, which I did within, I think, six months of Alice and Wonderland. They’re coincidentally out in the same month. Both of them were just very easy decisions of ‘Is this a good thing to do?’ and I had a really good time working on both of them. And of course Alice in Wonderland is doing really well at the box office and it feels like this film has potential to do quite well as well so I’m happy about it, I’m happy to be in both. And they’re both quite divergent from one another. There’s very different kinds of characters. I don’t know if any of you have seen Alice in Wonderland, but you can see that I’m playing a very different kind of person than I play in this and they were done within a very short time period of each other.

What self-projects are you working on now?

I own property in the Czech Republic and it’s a historical piece of property that was built in the 1600’s. I bought it about six years ago. Next to it is horse stables that I’ve been making into small soundstages. I like to shoot my films on sets and there have been a couple of different variations of what I was planning to do next, but I’ve been getting that whole thing set up to start shooting. My father’s an actor and he and I have never acted together and I’m thinking of doing a screenplay for he and myself to play a series of fathers and sons, so that’s what I’m planning to do next.

What happened to It Is Mine?

It will be another film that I’ll shoot at some point in the future, but both What Is It? and Everything is Fine!, which are parts one and two of what will be a trilogy of films ending with It Is Mine, I had set out when I made those films to make very simple movies, but I had never produced a film or financed a film before those films and now in hind sight after actually having gotten to the point of having two feature 35mm print films, I understand what is genuinely, a simple production and neither one of those films are simple productions. I know what I need to do in the Czech Republic, which is a different country, a different language. I have to make genuinely simple productions for a little while and build myself up to making more complex productions and It Is Mine is actually a far more complex production than either What Is It? or Everything is Fine!. I want to do that right when I get to it, but there’s no rush for me to need to do that in terms of what the trilogy is. I can wait a while and I would like to do a number of simpler productions before I return to the trilogy. I’d also like to visit other thematic elements. There’s certain theme that runs though the trilogy and I would like to go away from that theme to work on slightly different things.

Will you ever release the first two on DVD?

I don’t have plans to do that. I still tour with the films and people can find out where I’m going to be with which film on crispinglover.com and they can sign up and a news letter will go out to them and I already have a show booked in Milwaukee that’s coming. I haven’t’ been very aggressive about booking because I’m doing a lot of stuff with Alice in Wonderland and this film, but starting in spring and summer, I’m going to be touring again. That’s my main interest for those two films on how to recoup my investments. I’m protective of the films for different reasons. I like having the Q&As that I do after the films. I don’t necessarily want them at this point in time to be out digitally and I feel like things could be taken out of context and comments can be made that most of the actors in What Is It? have down syndrome and I just don’t want things taken out and put out on the internet in ways that I’m not comfortable with. Maybe at some point I’ll feel like that, but there are different reasons why I don’t want to put them out in that way and, at some point, that could change. This next film that I’m planning to do with my father would be the first film that I would at least consider distributing in a more normalized fashion than kind of the vaudeville way I’ve been distrusting these two films. But these two films it’s been appropriate to distribute them that way and I enjoy doing the show. I’m still planning to continue to work with these films for a number of years to come and I’ve been doing it since 2005, so it’s been a long time and a lot of work, but I’m very glad to be doing it.

These Q&As are very lengthy. You really get to know the audience and they get to know you. Are you ever surprised by who is drawn?

Yeah, that’s definitely happens. They both get into taboo areas and I don’t consider them family films at all and no one under 18’s allowed; they’re not children films. They’re strictly for adults but I get families coming to the films, which is always strange to me, but then they ask questions and they’re happy to be there. I know I get all kinds of people and it’s interesting. It does surprise me in a certain way the variation of people that we get.

And the reactions are positive.

Yeah, when I do the Q&As, particularly after What Is It?, not so much after Everything is Fine!, people can get very upset with What Is It?. There are things that can make people uncomfortable. I would say a majority of the audience doesn’t get upset. It depends on what the order of the questions are. If it starts out with a more, what I call an aggressive question, the tone of the questioning can tend to be more aggressive and the reverse is true that if they’re, what I call easier questions, that people get intimidated in the group element. I’m open to the more aggressive questions and if I feel like it’s become too easy, I actually ask for the questions of people who are maybe upset or they feel like they’re going to go home and write some angry thing on the Internet. I’d rather them ask me the question because the purpose is to have these kind of forums where people can talk. My experience that people by and large have a really good time. It seems like 95% of the audience, to me, really enjoys it and then there’s some people that leave before the show’s over, but it really isn’t a large about of people. In What Is It? maybe of the two hundred-person audience three or four at the most will walk out.

You mentioned three scenarios about your character losing his arm. Was there anything you filmed that didn’t make it into the final cut?

There were takes that we talked about for the scenario, but everything we shot was in the film. There’s like portions of scenes that are edited out, lines, which is normal but everything that I shot in the film is in there.

Scenario-wise, what other ways did you guys come up with?

I think that one that was written with a truck that was backing up, a car tire being changed, there was a concept of a military device that was an amputation device. Something like that. But the one that really seemed to be the most applicable and visually interesting to pull off was the elevator thing. That wasn’t originally in there and it seemed like a visual scenario to be able to play.

What was the physical comedy like for you in this movie?

Well, I actually – my finger got crushed. I have most of the feeling back. [Laughs] I actually lost a little. The nerve got crushed because the elevator it was a combination of an old-fashioned elevator and new elevator. It was rigged, my finger got stuck in the thing and they didn’t know I was saying stop. They thought I was acting! But everything worked out alright. But, I generally don’t try to play comedy for comedy, there’s that adage which I like to follow, play comedy like tragedy and tragedy like comedy. I think in this culture playing comedy like tragedy is pretty well understood, but what doesn’t happen so much is playing tragedy like comedy and a lot of my favorite performances have been actors or actresses that do that, but that’s a rare thing to do. Usually the performances that get Academy Awards are films where tragedy’s played like tragedy and there’s less of a dynamic of range for that. But usually in either case it’s about the character figuring out what the character wants and needs and going after that in the scene. Like the elevator scene, it was clear that at first I was just going to get this luggage and then I was trying to get out of having my arm cut off.

If you could time travel back to a specific year, what year would it be and why? And what would you change?

It’s a varied question because just in terms of like aesthetics I kind of like the idea of going to Europe just before WWI before all of the destruction of the architecture. I like architecture and I’d like to see what the various cities looked like at that time. I like the idea of going to the 1800s or the middle ages. They seem like interesting places or times, but also it would be disconcerting if you got stuck in that time period in the 1500s and then got the Bubonic Plague. That would be really bad. [Laughs] And in terms of what I would change, I guess, personally, there’s a book I read around the year 2000 called How To Win Friends and Influence People, which is a great book by Dale Carnegie, and something that I learned from that book that I didn’t really understand was about not proving people wrong. I went to an academic school where logic was considered a very good thing and if you had debates or logical arguments, if somebody said A doesn’t equal C and then you say, well, A equals B and B equals C, therefore A equals C, and then everyone would say, ‘Well, okay that’s logical,’ and everyone would be happy about it. But in real world application it’s like if you do that to somebody they can really get upset. I tended toward doing that kind of thing up until I read this book around the year 2001 or so, so I would have liked to have read that when I was like 15 or something. It’s a good book with good lessons.

So you have the film you want to shoot with your father, but is there anything else you have coming up?

I’m in a film that comes out later this year called Mr. Nice and I’m in a Drunk History episode that’s going to be on HBO I think. I’m Edison and John C. Reilly’s Tussle. Those things are well done and I like that the general concept of that where you get somebody really drunk to the point that they’re just about to vomit, in fact they do vomit, and then they tell this piece of history. But what’s great about it is that it actually is probably about as accurate as anybody that’s telling history from a sober point of view because it’s always going to be wrong, but in the midst of that, there’s an emotional truth that comes out which I appreciated.

You guys are sort of pantomiming what the person is saying. How long does it take to nail that down?

It was pretty simple really. It was just listening to it, becoming familiar with it. They play it and then you just kind of speak it at the same time the person’s speaking it. That part of it wasn’t really very difficult. We shot it in a single day. They’re only about seven or ten minutes or something like that. John C. Reilly is the protagonist and I’m kind of the antagonistic character so I was there for just a number of hours It was less than a day for John and less than four hours for my side, but it was fun. I’m glad I got to do that.

At first I was disappointed that John Cusack wasn’t able to attend the Hot Tub Time Machine junket out in Lake Tahoe. But after trying to transcribe the roundtable interview with the film’s other three stars, Clark Duke, Rob Corddry and Craig Robinson, one less hot tub time traveler was a blessing.

The four play a group of guys who take a trip to their favorite 80s getaway, Kodiak Valley. The problem is, their partying paradise isn’t quite the same as it was way back when. They throw a private party of their own, which lands the quartet in the hot tub. A little booze, Chernobly and a squirrel later, they end up back in 1986. Yes, it’s as crazy as it sounds.

Rather than writing ‘[Laugh]’ after each comment, I’ll just leave it to you to insert them wherever and whenever you’d like. The guys did provide a number of interesting facts about the film, but, for the most part, this was practically a stand up – er, sitting down comedy show. If you’re looking to get a taste of the comical hilarity this movie has to offer, this interview is an excellent sampling.

How much adlibbing did you get to do? There are so many good lines, shouting out ‘Shia LaBeouf’ during sex for example.

Duke: Those are just things you were thinking of to get hard, right?

Corddry: Yeah, whatever gets the -

Duke: Werewolves!

Corddry: I just had to have an orgasm for like, we shot it for like five or six hours so you kind of dredge the depths when you’re - and apparently Shia LaBeouf was perhaps not something I would have put in the movie.

There’s a powerful chemistry between all four of you guys. How does that come about? How do you create that feeling of really knowing each other?

Corddry: We just really got a long. I genuinely liked these guys.

Duke: Thanks!

Corddry: I think you’re a great man. I like you, I like that guy. I like the other guy.

Robinson: I have a name.

Corddry: So bad at names. I get – it’s Darryl?

Robinson: Craig!

Corddry: Right!

Robinson: You do this every freakin’ time.

Corddry: Right, right, right. Darryl’s your character from Parks and Rec. I’m so sorry.

Rob, how many times do you think we see your ass in this movie? Four or five times?

Duke: Not enough.

Corddry: That sounds about right. First of all, you’re welcome. And, yeah, four or five times. It was something for the ladies. Get ladies in seats.

Or what about advertising? Porn sites?

Clark: Gay porn sites.

Corddry: I was actually on a gay porn website.

Robinson: I saw that!

Duke: Yeah!

Corddry: I sent a link to those guys. It’s a website for guys that are into like kind of normal looking, hairy, not handsome men. You know what I mean?

Duke: Bears?

Corddry: Not quite bears. In between just normal and bear.

Duke: You’re not especially hairy though.

Corddry: I’m pretty hairy. [Unbuttons shirt to show us his chest hair.]

Duke: Yeah, that’s pretty hairy. Yeah, I don’t want to look at that.

Corddry: Sorry. How long was I doing that for?

If you could change anything about your characters, what would it be and why?

Duke: I would have made my guy Native American.

Corddry: You know what always bums me about it? When you first see me, I’m in my car, I’m drinking in my garage, I’m wearing a suit, which seems very not Lou to be wearing a suit. The back story was, and it was actually referenced in one version, that I was a trader, like a derivatives trader and I lost everything and I’m just an evil derivatives trader, like a Boiler Room type of guy, just an asshole and that was one of the reasons I wanted to kill myself. But that was just kind of silly, so I’d go back and probably change that wardrobe.

Duke: I disagree. I think that’s probably all the context you need to imply what kind of miserable corporate lifestyle you’re leading.

Robinson: I would have spent more time in the hot tub with Jessica.

Corddry: When you two were in the hot tub, were you just sitting there and chatting?

Robinson: No, we were fucking the whole time.

Corddry: Do you see full on penetration in this cut of the movie? I haven’t seen the latest cut.

Robinson: No, no, no, but there’s a tape out there. But you know what happened during one of the takes? So Jessica’s there and she’s wrapped up, and –

Corddry: Wrapped up in Craig.

Robinson: No, she’s covered. And so the sound man who’s holding the microphone, the boom mic, and somebody asked him something just as Jessica took her top off and all I heard him say was, [whispering] ‘Yes.’ It was obviously a delicate situation and you want to be respectful and professional. Because he was answering the person, but like, his breath was literally taken away by her beauty.

If you guys were going back to the 80s and you could take one thing from the modern world with you, what would it be?

Robinson: My Kindle.

Corddry: You’d take your Kindle?

Robinson: Yeah.

Duke: How would you put books on it in the 80s?

Robinson: I would take the books that I have now.

Duke: Where would you find a USB port?

Robinson: Why are we taking something back to the 80s? Is it for profit?

That’s up to you!

Duke: Okay, I’d probably use it for that. I’d bring a Snuggie. Just take the Snuggie back.

Craig, you give a couple of fantastic musical performances in this movie. How’d you prepare for those?

Robinson: Thank you. It was fun and my band is actually playing on the soundtrack, and I was able to listen to them and then prepare. It was just fun and at first I was a little nervous because going up and performing is one thing, but filming a performance is different because you’re milling about and then all of a sudden you’re performing and then you’re milling about. So as I warmed up it got more and more fun. I’m a performer. I do comedy and music and I blend them together and put in my band, The Nasty Delicious. We love to get up and act a fool, so that was a good time.

Rob, Steve mentioned you gave him a time travel book.

Corddry: Yeah, I did. What the fuck was it? I believe it was Ronald – I forget, This American Life did a story about this guy, Ronald Mallett, his name is, and he basically invented time travel. It’s actually possible. The problem is, is that with his theory of time travel you can only travel back to when you turn the switch of the machine on and it’s actually impossible to build a machine that big. So, his theory of time travel is sound, it’s just not valid.

Duke: That was in The Invisibles too. Grant Morrison said that in The Invisibles in like the 90s.

Corddry: Well, this might have been in the 90s.

Duke: The reason we haven’t seen people from the future is because we haven’t built the machine yet. That’ll be the first point that like – as soon as we build it, people will come back, ‘We’re here from the future!’

Corddry: Why would they talk like us from the 40s?

Duke: Trends. Trends come and go. Things come in and out of style. That’ll come back. ‘Great Scott! Come with us!’

Looking around the set, was there anything you found particularly nostalgic?

Corddry: You know what happened to me? I would see the sea of background extras dressed in 80s gear and I could almost, at times, smell Love’s Baby Soft. Remember that perfume? It smelled like baby powder basically, it like defined my junior high experience. It gives me an erection just smelling baby powder. [Pauses] Yeah, I said it. Baby powder.

Robinson: You always have an erection Rob.

Corddry: I do. I have an erection right now. I’m full on aroused.

Clark, can you talk about your character and what your take on him is?

Duke: He’s kind of an introverted guy and going back to the 80s, he comes out of his shell a little bit, but a lot of that back story got removed and he’s sort of just getting it by the third act.

Corddry: ‘Guys, there’s a ticking clock!’

Duke: No, I’m kind of the straight man in the film.

SPOILER ALERT

Did you feel bad for him at all? He gets verbally abused almost the entire time.

Duke: A little bit, but I thought it was really really funny that Corddry hates me because he’s my father. That wasn’t originally in the script, but it kind of changed the whole plot of the movie. He’s kind of the little brother character that you pick on and I definitely don’t feel sorry for him.

Corddry: You don’t feel sorry for him because he holds his own.

Duke: Also, he’s the only character that’s not really stupid.

You said that wasn’t in the script. Him hating you wasn’t in the script?

Duke: Him being my father.

When did that get added in?

Duke: I came up with it at the first table read, the first roundtable. And Lougle. We came up with Lougle too.

Then what was your character’s through line?

Duke: Still the thing with the mother and being born, but it was someone random. I think it was Chaz maybe was my father, the ski instructor guy, right?

Corddry: It might be.

Duke: I think the villain was my father.

END SPOILER

There seems to have been a number of changes in the script. Without those changes, do you think the movie would have been as good?

Corddry: The first version of the movie I read was completely retarded.

Duke: It was diagnosed by a doctor.

Corddry: It was like, my character, Lou, actually rents a Delorean. When they’re back in the past he rents a Delorean and he’s pissed when there’s no flux capacitor in it. That’s – stupid. With this version of the script there’s just enough heart in it and just enough, I don’t know what, reality? The characters play at the top of their own intelligence, even if they’re stupid, whereas before it was pretty crazy.

Duke: It was just a different movie totally.

Lou is really on the verge of being completely unlikable, but then he has these moments like when you’re trying to wake up your buddy with fake cum on your face and it’s somehow sweet. How do you balance that?

Corddry: Get to know me!

Duke: You’ll see at the party.

Corddry: Yeah, tonight at the party you’ll be like, ‘Why do I kind of like this guy? There’s nothing really to like about him, but I do kind of like him!’

Robinson: Wait a second – fake?

Was that hard for you?

Robinson: Very much so.

Duke: The second and third takes were harder.

Corddry: We’re at six or seven takes, I was like, ‘How many you got in you buddy?’

Robinson: You know, we’d have to go fake had you not nailed it that last time.

Corddry: I’m really good at oral sex.

At that very moment when you’re about to go down on him, it seems like it’s adlibbed.

Corddry: We reshot that a couple of months after we wrapped. We were pretty much writing it up until the day.

When you’re shooting the scene where you sing the Black Eyed Peas song, is there any rehearsal time for that?

Duke: It’s pre-recorded.

Robinson: There’s a performance there but, yeah, then we go to the studio and record it, so it’s put down and mixed, but –

Duke: You had a vocal double too, right?

Robinson: No, that was me.

Like Doc Brown says, if you’re gonna build a time machine, do it with style. Chris Lloyd made his out of a DeLorean but John Cusack and Rob Corddry have an even better idea: Theirs is a hot tub.

They’re already set to star in a comedy called Hot Tub Time Machine, and now the hilariously titled film is lining up a supporting cast. HR says underrated comic genius Craig Robinson is on board along with Sebastian Stan and Lizzy Caplan. Also in the cast is Crispin Glover. Glover ought to know a thing or two about a good time travel movie by now, since he had a run in with the aforementioned Doc Brown's time-tinkering machinations in Back to the Future as George McFly. Time travel seems to be his density.

The movie’s title tells you everything you need to know about the plot. A group of friends go to a ski lodge where they party as teens, and are transported back to 1987 through their hot tub. I guess they turned up the bubbles or something. The frequently deranged Mr. Glover plays “a one-armed, accident-prone bellhop” at the Silver Peaks Lodge. Stan is a ski-jock and arch nemesis of Rob Corddry while Caplan is the movie’s obligatory female love interest for Cusack.