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monday on "the insider." as real housewives star joe giudice prepares for his prison stint, why he and wife theresa scrap vacation plans and we just spotted the family and inside the new "star wars" documentary. and secrets to the sequel? plus jake gyllenhaal, as one of hollywood's most eligible bachelor, is he ready to settle down? that's monday on "the insider." travel consideration provided by

all right, before we go, here's what we're working on for monday. >> as real housewives star joe giudice prepares for his prison stint. >> joe and i always live in the moment. >> why he and theresa scrap vacation plan, and where we just spotted the family. then inside the new "star wars" documentary. >> this is going to be the first gathering of the original cast and new cast. this feeling came over me that hadn't happened since tunisia on the first one. >> so it almost seemed like a kind of universe that might accept me. >> what you didn't see on-screen. >> it was a scene that terrified me the most. >> and secrets to the sequel? >> i just remember thinking, we are about to shoot this thing,

and i'm not ready. >> but. jake gyllenhaal, is he ready to settle down? that's monday on "the insider." "the insider" together with yahoo. >> have a great weekend, everyb

♪ [theme] >> shad: hey, what's up? i'm shad and this is q. on the show today: judd apatow. he's behind many of the funniest movies at the box office like 40 year old virgand super bad. and now he's got a new book. it's callsick in the head, and it's about interviewing top comics starting when he was only 15. he chats about what fuels his comedy obsession. >> shad: and asif kapadia, the director of senna is back with a

new doc called amall about the incredible and tragic story of amy winehouse. asif kapadia coming up. >> asif kapadia: i wasn't particularly shocked when i heard, sadly, when i heard that she'd died, it was like, it was going that way. >> shad: you kind of saw that? >> asif: yeah, everyone did and yet nobody stopped it. >> shad: and algiers. they're gospel punk-rockers who aren't afraid to mix politics with contemporary music. they directly address the issues coming out of ferguson and baltimore, america and they're here to perform from their début record right here in studio later in the show. i'm shad. this q. ♪ >> ben stone: okay, what, do i feed your bear the grass? okay. i know what your bear would also like to do with some grass, smoke it. [laughs] >> alison scott: what do you think of him? he's funny, right? >> debbie: mm hmmm. >> ben: fetch. all right, bring it back. >> debbie: he's playing fetch with my kids, treating my kids

like they're dogs. >> alison: no, he's not. >> ben: go get it, fetch. >> debbie: who plays fetch with kids? >> alison: he's trying. he's making an effort. >> ben: all right, bring it back. >> debbie: he's overweight. where does that end? how old is he? >> alison: 23. >> debbie: looks 33. he can barely get in and out of that little house. imagine how much bigger he's going to get. that means he has bad genes. >> ben: oh! >> shad: that was a clip from knocked up. judd apatow was behind that film. he was also behind anchor man, freaks and geeks, bridesmaids, the list goes on and on. he's one of the defining voices in comedy in the last 15 years. what most people don't know about judd apatow is that he also interviews comics. he's been doing so since he was 15 years old. and he recently compiled those interviews into a book called, sick in the head. he dropped by studio q to talk about that book and the incredible conversations he's had over the years with comics. judd apatow in studio q. hello. >> judd: it's a pleasure to be here.

>> shad: so, i love this book. i like the title of the book a lot. >> judd: yeah. >> shad: sick in the head. you talked to so many different comedians, they're all very unique. is there a common sickness? >> judd: you know there are two different of comedians. i think, you know, some are driven by neurosis and pain. some of them have a lot of rage or some inferiority complex that makes them want to work it out in front of people or get approval. and other comedians are just funny and you spend your whole life going, "how come nothing's wrong with that guy?" will ferrell is like that. steve carell is like that. you know people who just seem just smart and sharp and witty, and you can never find the source of it. >> shad: in your book you say jimmy fallon is that. >> judd: yes. >> shad: and the first thing you write about him is, "i don't understand this guy." >> judd: yes, it's hard to understand. and then in the interview he talked a lot about how his parents, you know they were irish, and they would throw these parties and they would sing and tell stories. and he was talking about singing around the piano and i thought,

"i can't even imagine my parents singing and a piano." like i had a very different experience of childhood, and so then i thought, "well maybe that's whthe tonight show is. it's just a version of that party singing around the piano." >> shad: is that endlessly fascinating to you that people can approach comedy from two very different places? >> judd: yeah, i'm always interested in why people do it, why they continue to do it, and what keeps refreshing them, you know, with new ideas and new energy to want to be funny. 'cause you know sometimes i think, you know, is comedy a great way of expressing our feelings about our life's journey? and other times i think or is it just another way to avoid being completely honest and sincere? that you need this one filter where you make fun of it all because, you know, you might just be too uncomfortable to just say how it feels. >> shad: is that part of why you want to be funny? to be larger than life? to be i.

i loved comedians. i wanted to be around them. and the only way i could be around them was if i collaborated with them. and so i needed to be good enough to be allowed in these rooms, and to be allowed to make these movies, or to do stand-up. and that was the goal, was to be in the process with everybody. i didn't think, "oh, i hope my movie does really well." i just thought, "oh, i hope my movie does well enough so i don't get kicked out of the business" 'cause i wanted to be part of this. >> shad: i've heard louis ck say the exact same thing, he just wanted to be in the club. >> judd: yes. >> shad: how much courage does it take to write your first joke, to take that first joke to being in the club? >> judd: well, it's terrifying. you know when i was a kid i was obsessed with comedians. and my mom was a hostess at a comedy club one summer after my parents got divorced. and i always thought, "why would she take that job? it's a terrible job. what could you pay someone to just seat people at a comedy club?"

and then i thought maybe--maybe she did it for me. maybe she knew i loved comedy and that's the only reason why she took this job. she never said that to me, never intimated it at all, or just cosmically she had a destiny to get me in that room. and so i really wanted to be a comedian, and i wanted to talk to comedians and ask them how to do it. so i started a radio show at my high school radio station. and the signal barely got out of the parking lot, but i would lie to everyone and say it was a real radio station. and i never said it was a high school radio station. and that was how i got people like steve allen, and john candy, and martin short to do interviews with me. this is like in 1983, 1984. and it was because i wanted to be a comedian. i was afraid to admit it, but i was doing research to figure out how to do it. and then finally senior year of high school i started going to open mic nights at comedy clubs on long island. and it was hard because when you

admit you want to be a comedian it's the first step of attempting to do it. and usually you're terrible at it for a few months or years. so you have to say, "i want to do this, hey, check me out, oh, by the way, i'm awful." and you have to be willing to suffer through a period of learning how to do it. it's literally like if somebody handed you a violin. >> shad: yeah. >> judd: you're going to be bad for quite some time and you may never play it well. >> shad: and you--yeah, you've gone back to stand-up. how's it been? >> judd: you know it's been really, really good. because when i was a kid i had nothing to say. i had no anger. i had no stories. i had no positions. and now that i'm 47 years old i have, you know, a life's worth of experience to turn into stand-up so it's fun. and i have tons to write about and it's been really hilarious for me. >> shad: the journey continues. thanks, judd. >> judd: thank you so much. >> shad: coming up on q: a performance from algiers. but first, asif kapadia on the compelling troubled life of amy

winehouse. >> asif: it's like something that you do a bit of homework and you go, every single song is telling us, like another chapter in her life. following the conversations and the research i found myself sitting in a room talking to nick going, "oh, that song's about you." ♪ [theme] life as spokesbox is great. people love me for saving them over half a grand when they switch to progressive. so i'm dabbling in new ventures. it was board-game night with the dalai lama. great guy. terrible player. ♪ go paperless ♪ don't stress, girl ♪ i got the discounts that you need ♪ it's a balancing act, but i got to give the people what they want -- more box. any words for the critics? what can i say? critties gonna neg. [ applause ] the what?! [ laughs ]

>> woman: she was a highly intelligent, the most competitive person i knew. >> man: she was so awfully authentic. >> man: amy, give us a smile and then we can turn the camera off. >> amy: you promise? >> man: she had such an emotional relationship with music. >> man: and becoming an artist in the public eye. >> amy: the more people see of me the more they'll realize that all i'm good for is making music. >> announcer: and the grammy goes to amy winehouse!

>> man: she was one of the truest artists that i ever heard. >> man: the world wanted a piece of her. >> shad: she was the leader of the old soul revival in the u.k. in the mid-2000s until her life was cut short. amy winehouse died of alcohol poisoning at the age of 27. director asif kapadia got rare access to those closest to amy winehouse, the people who knew her best. and he made a new documentary film simply called amy. asif kapadia dropped by studio q to tell us all about it. hello. >> asif: hi there. >> shad: so you've talked about the secret to making a good documentary being finding a good character. what drew you to amy winehouse? >> asif: when i got a call from my producer on senna, james--james garice he said, "look, i've been offered this opportunity by universal music and they said, would you be interested in making a film of amy winehouse?" he said, "what do you think?" and i thought about it. i knew she was a good singer.

i knew about the music. i had the records. she was a local girl, there's something about that. but there were a lot of questions. really i think for a good subject you need questions that you want to answer. for me, i didn't really understand why the ending happened, how did it transpire that she was on stage in that state? why did no one stop it? what was going on? what was this long drawn out thing going on? i wasn't particularly shocked when i heard, sadly, when i heard that she died, it was like it was going that way. >> shad: you kind of saw that? >> asif: yeah, everyone did and yet nobody stopped it. so there was that element. and then i just had a gut instinct that this film said something about my city, where i live, the area that i live, the city, and the world that we live in now, that we all somehow seemed a part of this. it was an instinct really. and then you just have to have enough questions that you want to answer. and then we start the research process. >> shad: you spoke to all these people, her ex-husband. and i've read you say that "gaining these people's trust was your biggest job as a director." >> asif: yeah. >> shad: how did you do it? >> asif: really the first person that kind of opened the door was her first manager, nick

shymansky, who's like a mate. he was only a couple of years older than her. and he was an a & r guy who kind of ended up becoming like a pseudo manager. and nick, interestingly enough, nick had seen my previous film, senna, had liked it, and had said walking out of the cinema, you know, "wouldn't it be great if one day, one day, someone made a film like that about amy." a year later i call him up and he says, "i'm really annoyed that you're calling me, one 'cause i really the film, but two, 'cause this is too soon, and i don't want anyone making a film. it's too painful still." but i just said, "let's just meet for a coffee." and we met and we started to talk. and i think once we started to talk he kind of understood where i was coming from. i invited him into the edit suite where we were working, just a few of us in the room, kind of ordinary people. it's not the big studio film or anything. on the wall we had lots of post-it notes and bits of paper of just trying to work out who was who, trying to figure out the story. and like nick only recently told me that was really a key point for him, 'cause it looked like we'd put in the work. it was like, you know, a bad cop movie and we have a motel room with all the lines drawn over

here and everything trying to connect up who did what. well it was exactly that kind of thing, a visual reference to the story. and he said, "no one's every connected the dots before." and he could tell that already, without knowing anything, we'd done more work than anyone that had written about amy previously. so he started to talk. and once he started to talk he couldn't stop 'cause he had so much to get off his chest. >> shad: and what did you discover about the role that the people around her played in her downfall? >> asif: i wouldn't say that not everybody played a part in the downfall. i mean what happened was they--they were all friends that were around her. they could see it happening. i mean she played a part in her own story. you know, she was key. she fell in love with some person. she wanted to be like a certain person. she made a lot of decisions. but what happened is as things get more and more complex and she gets more and more famous i think the fame just got so big, and like you're on a particular mission. you've got to keep going. you got to keep promoting this record because it's huge. it's like one of the biggest records in the world. you don't stop touring at that point. and that's what happened. it was like a lot of performances, a lot of shows. just kind of milk it while it's good. and somewhere along the way other things start happening like her grandmother died.

and you know, just personal things are going on, which then start to get to the point where it feels like people are making decisions which are just blatantly not so really the best for amy anymore. >> shad: mm hmm. but there does seem to be these pivotal moments like her ex-husband gets her into crack cocaine. her father chooses not to take her to rehab as we all know in the song. there does seem to be these pivotal movements. >> asif: yeah, there are a lot of them. >> shad: yeah. >> asif: that's the thing, there are a lot of those moments. there are a lot of opportunities. there are a lot of pivotal moments which happen and then they just add on top of the last one and the last one. because right from the beginning, you know, we learn from her mother that she had bulimia at a very young age. you know we know that she's got a drink problem. we know that she tells us she's got depression. so there's all of these things already lying latent that she's somehow managing. nick would say she'd talk about having kind of dark periods, like literally having to go and sit on her own somewhere because she had like a mood or a darkness about her. there are issues to do with self-esteem. whenever you see her, even when she's happy in the earlier years and she's talking to herself on camera, every time she sees herself she'll comment on how i

look ugly, i look terrible, i look hideous. you know there's just an issue about the way she saw herself. that's already there long before she meets this guy blake, long before everything else starts happening. it just multiplies and multiplies, multiplies. >> shad: did you feel like you got a glimpse into how these things happened generally? because there are amy winehouses in everyone's life, right? >> asif: yeah. >> shad: and we let these little cues slip by us and we enable in these small ways. did you feel like you got a glimpse into that? >> asif: yeah, i think what you find is it's really complicated. you know like it's not like a bad movie that just says, "oh, that's the turning point in their life, if only we could rewind that." when actually everything that happens, and everyone that she's dealing with has obviously got their own personal experiences in it, it all just comes together. >> man: how big do you think you're going to be? >> amy: i don't, at all. because, you know, my music is not on that scale. the music is not on that scale. sometimes i wish it was but i don't think i'm going to be at all famous. i don't think i could handle it.

i'd probably go mad. you know i mean i would go mad. >> shad: now earlier i mentioned this doc explores our complicity in amy's downfall. the lyrics--lyrics are used a lot in this film. the lyrics for "rehab" in particular you mentioned earlier. this is a song we all partied to. it was a massive hit song. and it's a detailed story of a pivotal moment in her life that could have changed her life for the better, could have saved her life. why did you want to reveal that? >> asif: well, it's just one of those things where, again, following the conversations and the research i find myself sitting in a room talking to nick going, "oh, that song's about you. you're--you're that guy that tried to"--actually, there was an incident where he tried to take her to rehab and she then said, "'ll go if, you know, my dad thinks i need to go." and then she talks to her dad and that all happened. "stronger than me" is based on the real guy that she's--like i need you to be stronger than me. and that like sums up a chunk of her life. "love is a losing game" kind of sums up, sadly, her whole live.

"what is it about men," she wrote really early on. it's like--i mean it's all there. it's like suddenly you do a bit of homework and you go, every single song is telling me, it's like another chapter in her life. it's almost like amy knew what's going on. she was able to express it through lyrics. and then it became a songs. but then when it became a song it becomes something else. and you know we just weren't paying attention. >> shad: and in terms of our complicity we were raising a glass to it, right? >> asif: you know the irony is not--it's not funny is it? >> shad: yeah. >> asif: not only that, people were dancing and making her sing the song, which really for me when you look at it now, it's like a massive cry for help. >> shad: awesome again. a very powerful film. thanks so much for being here. >> asif: thanks a lot. >> shad: still to come on q: algiers perform their special blend of punk rock and gospel. it appears. is that a dark spot? new gold bond dark spot minimizing cream for body.

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>> shad: algiers is a truly unique band. they blend industrial rock with gospel and punk rock. they're viscera,l energetic live performers and they also tackle some big issues in their music.

contemporary issues like what's going on in baltimore and ferguson. this is algiers performing "blood" live in studio q. ♪ for all your love of soma ♪ all my blood's in vain ♪ you say your history's over ♪ all of my blood's in vain ♪ your television coma ♪ all my blood's in vain ♪ it's gone too far to change ♪ all of my blood is in vain

♪ flash across your screen ♪ they got you in their hand ♪ 15 minutes of freedom ♪ still 3/5 a man ♪ sterilize your conscience ♪ and disgrace your name ♪ a healthy simulation ♪ all my blood's in vain ♪ for all your love of soma ♪ all my blood's in vain ♪ you say your history's over ♪ all my blood's in vain

♪ your television coma ♪ all my blood's in vain ♪ it's gone too far to change ♪ all of my blood is in vain ♪ liquor stains your table ♪ women change your bed