Seth Rogen handed Olivia Wilde a note after completing the shoot for “The Invite,” expressing his enjoyment in their on-screen dynamic. What might seem like a harsh remark was instead a testament to their creative chemistry, which had previously been evident in their collaboration on the satirical “Missing Reel” episode of “The Studio.” In that episode, Wilde portrayed a fictional version of herself as a manic director. Their latest work, “The Invite,” showcases them as a couple facing challenges, with the film premiering nationwide on July 10.
Wilde expressed that neither she nor Rogen feel the need to be overly care about maintaining image or presentation. “There was, like, a permission speak — permission to scream — freely,” Wilde stated.
Rogen and Wilde, who are 44 and 42, respectively, have evolved from notable television roles in the late 1990s and early 2000s to significant positions in film and directing. Their paths intersected meaningfully only once before for a table read for Judd Apatow’s “Knocked Up” over 20 years ago, a film for which Wilde did not land a role.
In “The Invite,” tensions rise when Joe (played by Rogen) and Angela (played by Wilde), are joined by their neighbors, Pína (Penélope Cruz) and Hawk (Edward Norton), for a dinner that leads to unexpected events. The interactions and revelations unfold through the course of a night filled with alcohol and emotions.
“I loved the opportunity on ‘The Studio’ to make fun of myself and the industry in a loving way,” Wilde shared when questioned about how roles might be perceived.
Asked about the process to cast Wilde in “The Invite,” Rogen revealed that the cast persistently encouraged her to take on the role. He noted they had a strategy among themselves to persuade her. Wilde admitted to experiencing impostor syndrome despite her strong connection to the story and sense of capability in directing it.
The film “The Invite” draws inspiration from a Spanish movie, with adaptations in various languages. Wilde pointed out American cultural nuances present in their version. She remarked on the American attitudes toward marriage and the reluctance to discuss intimacy, which are explored in their film.
Wilde’s previous project, “Don’t Worry Darling,” was a studio project which taught her lessons on creative constraints typically faced in larger studio productions. Wilde and Rogen found a benefit in the creative freedom experienced in independent projects.