This Life of Mine with James Corden

Episode: Judd Apatow on Failure (Fail Better with David Duchovny)

Release Date: December 23, 2025
Host: David Duchovny (Fail Better, crossover)
Guest: Judd Apatow

Overview

This episode features an in-depth, candid conversation between David Duchovny and Judd Apatow, the prolific comedy writer, director, and producer known for shaping a generation of film and TV comedy. Focusing on the themes of failure, creativity, and motivation, the discussion touches on Apatow’s new book Comedy Nerd, his relationship to memorabilia and hoarding, the personal roots of his work, his evolving approach to comedy, and the lasting effects of both criticism and success. At its core, the episode explores how both failure and uncertainty are fundamental to creativity—and how making peace with them is a lifelong process.

Key Discussion Points & Insights

Judd’s Hoarding, Creativity, and Comedy Nerd

• Early Collecting & Hoarding (05:41–08:32)

  • Apatow describes himself as a "hoarder" from childhood, amassing memorabilia, photos (~500,000), autographs, and pop culture artifacts.
  • Quote: "It's not hoarding if your shit's awesome. It's just having awesome shit." (Apatow, 06:32)
  • Duchovny reflects on this as an attempt to create ballast or place oneself in the universe. Judd concurs, linking it to a sense of ongoing purpose—joking, “You can’t die if you still have magazines to read.” (08:21)

• Self-Reflection Through the Book (08:48–09:40)

  • Apatow admits the book was an emotional process, and wrestling with whether his drive is creative “light” or an attempt to fill some internal void.
  • Quote: "How much work do you have to do to feel better about yourself? And how much of it is pure expression and creativity and light? And how much of it is from a trauma response?" (Apatow, 09:40)

Pathology vs. Creativity: What Drives Success?

• Motivations for Creative Output (10:20–11:40)

  • Both agree motives usually combine insecurity and genuine creative impulse. Duchovny observes that seeing Apatow’s office is testament to both sheer output and the accompanying doubt that drives such relentless productivity.

• Process of Discovery in Creativity (11:40–12:19)

  • They discuss how creators understand why they make something only after it’s finished—a project often solves a personal mystery.
  • Quote: "You write the movie to figure out why you're writing the movie." (Apatow, 12:11)

• The Influence of Garry Shandling (12:20–13:47)

  • Apatow credits Shandling with teaching him to mine personal neuroses for stories, making work more personal and vulnerable.

• Transitioning to Personal Storytelling (13:47–15:25)

  • Describes moving from writing for others (emulating Gary, Roseanne) to infusing his own life and insecurities into work, notably in Heavyweights and Freaks and Geeks, using childhood trauma and memories for narrative fuel.

Working in Comedy: Aging, Relevance, and Fear of Losing “Funny”

• Worrying About Losing Edge (25:24–26:31)

  • Duchovny raises the point: does pursuing enlightenment (e.g., via meditation, Buddhism) risk diminishing one’s humor? Apatow laughs off this fear, saying he’s far from calm, but worries more about unknowingly becoming unfunny.

• The Evolution of Material and Relevance (26:31–29:37)

  • Apatow jokes about the challenges of writing comedy as one ages—“you can only talk about decay”—and stresses the importance of connecting across generations and resisting creative stagnation.
  • Duchovny and Apatow muse on artists like Springsteen and their ability to grow with their audience, finding richness in new life stages.

• Keeping the Spirit Young (29:23–29:38)

  • Quote from Norman Lear: “I feel like I’m the age of the person I’m with.” Apatow loves this attitude for its enduring creative “spirit.”

Navigating Success and Failure

• Neuroses, Stakes, and the Fear of Failure (30:25–32:12)

  • Apatow aspires to access creativity with less anxiety, but acknowledges the ever-present stakes: “What if it doesn’t work, people don’t like it, public humiliation... maybe they won’t let you make the next one.”

• Three-Strikes Theory (31:01–31:37)

  • Quote: “I always had that theory that you need three really bad bombs in a row to be kicked out of the business...” (Apatow, 31:01)

• Each Project is a New Experiment (32:12–32:44)

  • Apatow warns that past success offers no guarantees for future projects—“Each thing you do is such an experiment.” Duchovny notes that success can be stifling, requiring deliberate risk-taking to keep work vital.

• Judgment by Time (34:09–35:46)

  • Apatow recounts advice from Warren Beatty that it takes 10 years to know if a project “was good,” since things can develop a reputation or following long after critical or commercial failure (Cable Guy, Walk Hard, Zoolander).

• Effects of Criticism (36:43–40:35)

  • Critical reviews and online commentary can hurt ("reviews that just... find the thing that hurts you the most" (Apatow, 37:33)), but both try to keep perspective: “Even if you completely nailed it, certain people just don’t like it.” (Apatow, 40:50)

Writing, Editing, and Process

• Perfectionism and “Grinding” (44:50–46:32)

  • Apatow admits he will “grind hard” in post-production, revisiting, revising, and even using ADR jokes to fix or elevate scenes.
  • Duchovny admires this persistence, contrasting it with his own tendency to sometimes check out when things go poorly.

• Improvisation and Openness on Set (47:03–48:29)

  • Details his collaborative process: extensive rehearsal (influenced by Garry Shandling), openness to improvisation, and shooting more footage than needed so editing can reveal hidden gems.
  • Quote: "I could just shoot what’s basically the rehearsals and see what people will do." (Apatow, 48:29)

Documentary Work and Emotional Truth

• The Art of Asking Questions in Documentary (49:39–51:02)

  • Apatow discusses his upcoming Mel Brooks doc, aiming to ask emotion-driven questions rather than just solicit funny anecdotes (“How can I get him to just tell me how it felt?” (50:11)).

• Personal Connection to Subjects (51:40–52:31)

  • Recognizes how, as he ages, he’s drawn to deeper, emotional storytelling in documentaries (e.g., for The Zen Diaries of Garry Shandling), hoping to capture the “feeling” of someone’s essence.

• Unearthing Hidden Stories (53:44–55:19)

  • Shares a moving discovery: Gary Shandling, who never discussed his brother’s death, had stashed away memorabilia, revealing underlying trauma. Apatow uses this as a metaphor for the hidden stories we all carry.

Closing Reflections

• Life’s Mystery and Comedy as Survival (55:51–56:09)

  • Duchovny closes with Apatow’s reflections about life being “wonderful but also so mysterious, dark, and strange. We all need a language to try to understand and get through it. This [comedy] is mine.” (55:56)

• Sincerity, Ayahuasca, and Spirituality (56:09–57:03)

  • Apatow shares a recent ayahuasca experience yielding a vision of Jesus on the cross, symbolizing our duty to one another. He jokes about buying the New Testament as a result, showing the tension between humor and spiritual exploration.

• Desire for a More Sincere, Less Neurotic Approach (30:25–56:09)

  • Duchovny points out Apatow’s growing sincerity and curiosity about integrating emotional depth and comedy as he continues to grow.

Notable Quotes & Memorable Moments

• “It’s not hoarding if your shit’s awesome. It’s just having awesome shit.”
  – Judd Apatow (06:32)

• “How much work do you have to do to feel better about yourself?... And how much of it is from a trauma response of some sort?”
  – Judd Apatow (09:40)

• “You write the movie to figure out why you’re writing the movie.”
  – Judd Apatow (12:11)

• “No matter what happens, you slowly start writing like old Bob Dylan... you have to kind of push against it.”
  – Judd Apatow (27:54)

• “I always had that theory that you need three really bad bombs in a row to be kicked out of the business.”
  – Judd Apatow (31:01)

• “Even if you completely nailed it, certain people just don’t like it. So you have to develop these weird blinders...” – Judd Apatow (40:50)

• “You need the anger to play well.”
  – David Duchovny, joking about using criticism for motivation (43:09)

• “My worst fear is I’m just going down DirectTV... and I’ll just see one of my movies and be really ashamed that anyone’s watching it.”
  – Judd Apatow (45:38)

• “We all need a language to try to understand and get through it. This is mine.”
  – Judd Apatow (55:56)

Timestamped Highlights

• Hoarding and Collecting; The Emotional Value of Memorabilia: 05:41–08:32
• Reflection on Motivations for Creative Output: 09:40–12:11
• How Garry Shandling Changed Apatow’s Approach: 12:20–13:47
• Apatow’s Early Steps in Personal Storytelling: 13:47–15:25
• The Anxiety of Comedy and Fear of Losing “Funny”: 25:24–26:31
• Aging and Creative Relevancy: 27:54–29:37
• Neuroses and the Stakes of Creativity: 30:25–32:12
• Letting Go of Critical Reception Over Time: 34:09–35:46
• Painful Criticism and the Lasting Impact of Reviews: 36:43–40:35
• “Grinding” in Editing and Post-Production: 44:50–46:32
• Importance of Rehearsal, Improvisation, and Creative Flexibility: 47:03–48:29
• Documentary Work: Interview Approach and Emotional Truth: 49:39–53:40
• Finding Gary Shandling’s Hidden Trauma: 53:44–55:46
• Spiritual Reflections and Comedy as Coping Mechanism: 55:51–57:03

Conclusion

This episode is a rich, self-aware exploration of what it means to create, fail, and keep going in the face of doubt—whether that doubt comes from within, from critics, or from the endlessly shifting standards of the audience and the culture. With warmth, wit, and humility, Apatow and Duchovny bounce between humor and sincerity, crafting a portrait of the artist’s life that’s as moving as it is funny. The ultimate message: failure isn’t just inevitable, it’s essential—and, with luck, can even become the source of better, truer work.