The Definitive Interview with the Writers of 500 Days of Summer
by Alex Billington
December 31, 2009
It's fitting that on the very last day of 2009 I run my final interview with the screenwriters of my favorite movie of 2009. 500 Days of Summer is, hands down, my favorite movie of the year. Although I saw the film for my first time in January at Sundance, at the beginning of the year, it has remained my favorite. I've been lucky enough to interview everyone involved in the movie: director Marc Webb, stars Joseph Gordon-Levitt and Zooey Deschanel, and now the screenwriters - Scott Neustadter and Michael Weber. This is the definitive interview about 500 Days of Summer, every last question about it is answered, so read on!
Watch my interview with 500 Days of Summer writers Scott Neustadter and Michael Weber:
For anyone interested, I've included a transcript of the complete interview below, in case you'd like to read the interview instead of watch it. 500 Days of Summer is already out on DVD and Blu-Ray right now - pick up a copy on Amazon. I tried to cover ask last question about 500 Days of Summer I could, since these guys are not only the ones behind the story and the concept, but they know what's behind the Jenny Beckman reference at the beginning of the movie, they chose almost every song that was used in it, and were the ones who were inspired by Woody Allen's Annie Hall. I think the interview turned out pretty incredible. Enjoy!
First off, can you introduce yourselves, so we know.
Weber: I'm Michael Weber.
Neustadter: I'm Scott Neustadter.
And you guys wrote 500 Days of Summer.
Neustadter: We wrote 500 Days of Summer.
A question just for the sake of asking, when did you write this? How long ago?
Neustadter: I think we probably started writing it in the end of 2003, and then probably put the finishing touches on the first draft we would show anyone a year later, I would say.
Was it always your objective to get into screenwriting? Was it always your life goal, I guess?
Neustadter: I always wanted to do it, and never really thought that it was very practical, and I never thought that I was capable of it. So I didn't pursue it very much, and I never wrote a script before. And I went into development instead, and I got hired at Tribeca Productions in New York right out of college, and I worked in development, and I would read scripts and I would do coverage and I would do notes and all those things. And I loved that, because it was a steady job, and I was still working on movies. But I really always wanted still to be a writer. And I hired Weber as an intern there and…
Weber: The greatest intern of all time.
Neustadter: It was.
Weber: I'm in the intern hall of fame there, at the Tribeca Film Center.
Weber: I've got a plaque and stuff, in the basement. No, I don't know what I'm talking about.
Neustadter: He also wanted to write, and it was the kind of thing where we didn't really work very hard when we were there, so.
Weber: We did not. We played a lot of cards. There's a genius game I grew up playing -- Chinese poker. I don't even know if that's a real name, but we played hundreds of hours and thousands of hands, and that was where we started writing, over a deck of cards.
Neustadter: We wrote our first script that was just a silly comedy that was designed to make each other laugh while we were working there.
Is 500 Days of Summer that script?
Neustadter: No, no. But I finished one, and for me it was like, "Wow, I did it," and nothing happened, and I was right. It's not practical. This is not how you're going to live.
Weber: Well, what's been really cool and exciting for us, is that that script is the only thing we've done that we never sold. It was really special and unique and crazy, lucky, fortunate--
Neustadter: Probably with good reason.
Weber: There was a corpse-fucking scene in the first script. For comedy. A funny corpse-fucking scene.
Neustadter: We try to put that in everything. It's a motif.
Weber: I love your joke in that -- there's a joke in there also of Vlade Divac cologne.
Neustadter: That was a good joke.
Weber: I love that. Still makes me laugh today. I don't know why that's funny, that Vlade Divac has his own line of cologne.
Neustadter: With his face.
Weber: Yeah, and his manliness. Anyway, I always wanted to be a writer. I wanted to write something. But again, it didn't seem practical. It probably wasn't really until college when I was in that college lifestyle that I really fell in love with movies, or discovered good movies for the first time. Because I liked movies as a kid, but I was not watching.
I have to ask, what good movies did you discover?
Weber: I mean, college was when I started seeing foreign films, and I started really seeing a lot of the older Woody Allen movies, and seeing just -- being in an environment where not only I could watch three movies a day, but being around other people who are as passionate about it as I was. And just you sit around and you talk about these things, and the other people were as excited as you were. That culture really sort of -- something starts to grow.
And then later, when we worked together, it was even better. It was just being around more people who were taking it seriously, and at the same time also having fun with it. And like you said, we were probably thinking more about writing and making each other laugh and all that than we were doing our jobs, and that's sort of how it all started.
So the next area I want to get into with 500 Days of Summer, specifically, is the development of the story. I have to bring this up. This has been a pressing question since January when we saw it. But the Jenny Beckman story, and whether there's any truth to it. Because I know a lot of people, including myself, who are friends with her on Facebook. So there is someone who exists with that name. There's this mystery to it and we've asked Marc Webb about it.
Weber: Did she accept your friend request?
She did. She's accepted a lot.
Weber: She's a tricky one.
We have to know. Is this based on some realistic situation that happened to one of you?
Not to pry, but how much of what happens in the movie happened to you?
Neustadter: All of it.
Everything? Including her getting married?
Neustadter: Except for the cartoon bird, every single thing basically happened in the movie. Yes, the getting engaged thing was an amazing thing. We didn't have an ending. We didn't know what we were doing, and I think we had probably written 130 pages of a first act. Just scenes, just moments. We didn't have a theme; we didn't know what story we were really telling. And then that happened in real life. And it was like, "Wow. That's interesting."
So this happened while you were writing it then?
Neustadter: That happened while we were writing it.
Or at least some pieces of it?
Neustadter: That was the -- "Oh, that's where we're going." I didn't know. But we had been writing about it since I had been dumped, to just sort of excise the demons. And that was an amazing thing, because it was really that affirmation of what I wanted to believe was real, this idea of true love and romance, and the possibility of happiness and all that stuff. And she had beaten it out of me, and I had stopped thinking about it as a possibility, and then it happened for her. And if it could happen for her, it was, "How dare she?" At the same time, it was, "Well, that's really kind of affirming." And that's the story we decided to tell.
Was it you sort of getting it off of your back and making fun of the situation almost? Because I mean, while there are moments in the film that are very sad…
Weber: I mean, as a friend, I was making fun of him all along.
Well, that's what I mean. You look at it and you're like, "Oh, this funny situation." And then you -- at least in some moments in the film -- you turn it into that funnier moment, where it makes for great comedy, even though for you it probably was not funny at all.
Neustadter: I needed to laugh. I needed it to become a story to laugh about, because otherwise it was pretty painful. But it was sort of three kinds of awesome, horrible things, the first being this relationship. We had always wanted to write a relationship story, and we never really had the relationship we wanted to tell, because they're all-- I don't know, it's guy, girl, whatever the obstacle is. Those are the way these movies get made. And we never wanted to do that. But we wanted to do something like -- you know the Billy Wilder movies, the Cameron Crowe movies and Woody movies -- these are the things we love.
So when this happened to me, it was, "Okay, maybe here's the -- this'll be interesting." It's the one before the one, the relationship that you have that makes you grow up, but isn't the "happily ever after" relationship. That was the one we were going to focus on. The second thing was the idea of the structure, and the numbers. And I think I had the title, and when I had the title, I sort of said, "That's an interesting way to do a relationship story. We could do every day as a different…"
Weber: You rented a movie you never watched.
Neustadter: Yeah. I look back now and try to think about where did I get this idea from, and I think that -- I remember renting Thirty Two Short Films About Glenn Gould. You know that movie?
Neustadter: It's a really cool movie. I think a Kenyan filmmaker, and it's 32 different instances. They're like little short films about this one idea. And I said, "That's an interesting way to tell a relationship story. Here's the number, and that's where we are in the relationship and something happens. And then you can juxtapose it against something else that happens over here, and wouldn't that be cool?" And I sent him an email late at night, like rambling, which you still have, and that's…
Weber: The last sentence to that rambling email.
Neustadter: What, "Make it not suck?"
Weber: No, you would often -- you were like rambling about that, and then out of nowhere you're like, "I want to start watching some Westerns." It had nothing to do with the rest of it. You're like, "What should I watch first?" It's a great email.
This is a great point to jump into this, talking about the numbers and the structure -- but I heard that originally when you guys were taking this around to studios and producers and so on, no one could really figure out a way to do this, at least in the structure that you had created. And then Marc Webb came on, and I was wondering if you could talk a little bit about both the structure and how much -- whether there were those problems of people figuring out how to do it, and what Marc's vision was when he came on?
Neustadter: You know, I don't know if it was people not figuring it out, at least at the studio level. This was well before we were talking to filmmakers or anything. They would say, "I don't think this is going to work. This is not what people want when they think about romantic comedies. They don't want an ending that's like this, and they don't want to have to think, and they don't want it…"
Weber: Also, it's two people talking for most of the movie. It's not set-piece heavy, the way they've been making these movies, where--
Neustadter: What's the big idea? What's the hook? Is it about, "She likes the Yankees and he likes the Red Sox and how are they going to make it work?" That at least they can put on the poster. And what are they going to do with this? And I think a lot of studios said, "We really like the writing of this, but come back to us when you've got something that we can do something with."
Just a quick interjection, is this how it eventually ended being an indie, versus like -- was there ever a moment where you guys were close to developing it as like a bigger studio feature?
Neustadter: It was the kind of thing where when we wrote it, we said, "Here it is."
Weber: Right. When we wrote it, we had day jobs. We were not thinking it would ever -- we didn't think we'd be here talking to you, or that it would get made -- any of this stuff.
Neustadter: Yeah. And everyone read it, and it made it to like the upper levels of all the studio people, because people liked the writing of it, and everybody said no. So it could have very easily been any of -- a New Line movie, or whatever. It could easily have been anything, but they all said no, and so it sat around. And luckily for us, we had these sort of very passionate champions in our producers who said, "We're going to figure it out. Don't worry. We love it so much that we're going to make sure that somebody takes a chance on it." And they got Searchlight to step up and do it, and that's what got it to Marc, and that's when Marc got involved in it.
I want to go a bit more into the development with Marc. Was there a point after he came on where you guys started sitting down and working out -- tweaking it with his vision?
Neustadter: We sat down immediately, and it was: "justify every change." "Why'd you go from here to here?” And if we couldn't do it, then…
This was Marc asking you?
Neustadter: Yeah. Just, he wanted to make sure.
Weber: He wasn't criticizing.
Neustadter: Yeah, not accusatory.
Weber: He just wanted to know -- look, we never thought of it as a gimmick. There's a method to the madness, and it was sort of us talking him through decisions that--
Neustadter: Yeah. The transitions were really important for him, and I think then he said, "This is a movie that's all about the transition. And so tell me why you go from here to here, and if you can't explain it, if you can't articulate why you chose to put this scene here, between this and this, it must not -- it can't be arbitrary." And luckily, we were able to do that for most of it, and there was a really good Searchlight note that said, "We want one more moment where…"
Weber: Let's give credit -- from Peter Rice. That note started with him. I mean, it involved a lot of people over there. It was really…
Neustadter: Yeah. “We want one more moment where we trick the audience into thinking they're going to get back together." And so from that--
Was this the whole wedding sequence?
Neustadter: Exactly. We built the train, wedding, and what came out of that was reality/expectation scene, which I love, it was my favorite thing.
Well, I was going to ask about that. Every time you bring up something, I have further questions. So I'm sorry to always derail the topic.
Neustadter: Not at all.
Weber: Isn't it fitting, if we're jumping around in the existence?
Exactly. We'll have to go back. We'll use the slides and everything. No, I was going to say, with the reality/expectations, was that something you had written out exactly as that, or did you basically draft out two side-by-side scenes?
Neustadter: It was actually quite an easy thing to write. I would not have been able to film it, but… Reality walks up the stairs, expectations walks up the stairs. Reality does this, expectations does this. It was so easy. It was not hard at all. And much harder to block. It was much harder to get the timing right. I'm sure it's very difficult to act. But--
Weber: Didn't Webb toss -- maybe I'm betraying secrets here, I don't know. Didn't he shoot a music video in preparation for this sequence?
Neustadter: He was less convinced, I think, that it was going to work than we were, which makes perfect sense. But so to make sure that all the information can be delivered properly -- because you're asking a lot of an audience when you do something like that -- he shot a Maroon 5 video which involves this kind of a dynamic, which you can check out online.
Well that scene feels very much like a music video with the Regina Spektor song he used.
Well yeah. Because there's the song -- it starts when he walks in through the entrance, and then it splits off and he goes upstairs. And I think the whole time, through the whole scene, there's that song. And not that it fits the lyrics or whatever…
Neustadter: Oh yes it does. Oh you're saying it feels like a…
Yeah. I'm saying, like you could take that piece out of the movie and it would be a music video on its own.
Neustadter: That was not the song I wanted to use initially, when I was thinking about it. And when you hear it, and what she's singing about, and what she's saying, it's actually kind of amazing.
Weber: It feels like it was written for the sequence.
Neustadter: It really feels like it was written for the sequence.
Again, switching topics, but music: did you guys specifically choose songs? Were they actually listed in the script, certain songs?
Neustadter: Yeah. I have a problem with that.
Weber: You got into screenwriting.
Neustadter: Yeah, the truth is that I'd rather be a music supervisor than write.
You probably worked with Marc in choosing some of the music later on?
Neustadter: Yeah, we worked -- we did.
Weber: They tell you not to do that.
Neustadter: The "they." You're not supposed to…
Weber: You alienate the readers.
Neustadter: Yeah, it's very true if I read a script and somebody -- you remember that one script that had that song at the end, we just laughed about for a really long time?
Weber: I do.
Neustadter: It's possible that you can turn someone off with that stuff. But we decided very early on to make this an authentic relationship, and anything we can do to make things more sincere and believable we would do. Part of that is every relationship has a soundtrack. You have your first song that you danced to, or the song that was playing when you met, or whatever it was.
Weber: But also you have a main character, like us, that's so influenced by pop culture. How could you then not have music cues in the script? I feel like they would seem missing.
Neustadter: So the songs we used in the script were literally, "This was the karaoke song that she sang when this happened, the night happened." We'd end up using that song. But I had to put it in the script, because it was authenticity. I was being a journalist in a way.
Weber: Early drafts of the script, there was an appendix, of the mix he made for her when the relationship was going well, and then the mix of when they were -- when it was a disaster.
Neustadter: I love the appendix. The appendix was like -- yeah, it was three mix tapes that he made for her at different points in their relationship, and then there was like the concert tickets that they went to together. It was like a scrapbook of, "This is what happened."
That's awesome. Were the Smiths one of the groups you added?
Neustadter: Yeah, the Smiths was me. I'm a Smiths junkie.
Weber: Tell the story about writing the letters. Because you won't know to ask about this. You have to write letters to get permission for the music rights. It's a whole tricky game, and it's weird how much some music costs, and others--
Neustadter: We didn't have any money.
Weber: It's weird -- you'd be surprised what costs a lot and what doesn't. I had to write letters to some of the -- Webb was supposed to, and asked you to sort of help on the first draft of some of these letters that turned into like stalker-y fan mail for certain artists.
Neustadter: Yeah. I don't know if that's true. I think it actually started out okay and got worse, as we got closer… But yeah. The licensing of the music is insane. It's a very expensive thing. I put a song in there that would be like -- it's this band's only hit from like 1986, and it's the most expensive song you've ever seen in your life. I never understood -- they should be so excited to have their song in a movie. But we worked with a great music supervisor, and Searchlight has a great department that's amazing, and they may actually get us at least access to a lot of people we needed. And then we would write letters, and then they would make deals and…
Weber: And none of those artists have restraining orders against you right now. So the happy ending is we got the music and you're still allowed to attend their concerts.
Neustadter: That's probably not true.
It seems like, especially for me, being such a big fan of the film, that everything on this just came together perfectly. I think Searchlight is the best indie studio. Marc Webb coming on. Joseph Gordon-Levitt and Zooey Deschanel, and the music. It's like everything about this, from the creation of your script to now the end result is like -- it couldn't have been more perfect.
Weber: I agree.
And it's got to seem like a dream come true for you guys to do that and to end up where you are now.
Neustadter: It's insane. It's like we know we got lucky, and then we'll probably -- lightning will not strike twice.
You never know. You never know.
Weber: We joke, like, "It's going to be like this every time." It's never going to be like this again.
Neustadter: And we were on set every day, and it was a really collaborative thing, and the vibe on the set was awesome, and just everybody seemed to like each other and get along. It was a really weird thing.
Weber: We're lucky. You know, everyone involved ended up making the movie for the same reasons we did, which was something they believed in, they were passionate about. It was really just a special experience.
Neustadter: And I also think that part of its success is that everyone wanted to make the same movie. From the very beginning, it was singular vision stuff. Even though it's very collaborative and you have all these different people with ideas and stuff, all of us involved wanted to make the same thing.
Weber: Like the first time we met Webb. You're nervous. This person's coming on, and it's now their baby. The first time we met Webb, sat down, and he was telling his relationship war stories, and, "This girl screwed me up," and this and that, and we knew like, "Okay, he gets it." Like, he's totally on board. And even kind of the same thing when we met Joe [Gordon-Levitt], really, because he was sort of telling some personal stories, too. It's just, everyone got what it was all about.
I guess it just goes to show that even through the worst times of your life, you can still create a good story out of it.
Neustadter: Yeah, I recommend going through some crazy shit…
Well, I mean it in the most positive way.
Neustadter: I mean, to be honest, I think that it's great. I used to distance myself significantly from anything that I would write down, and it would manifest in this ridiculous corpse-fucking comedy scenes or whatever. And then this was something that was the polar opposite of that, and we were very proud of it when we were done with it, which was cool.
What do you guys have coming up next? Are you writing another script right now?
Weber: Yeah, we've got a couple different things. We're doing a TV show for ABC. It's going to be about young people and dating in your 20s, and life and love, and all that stuff we love. It's just a different sort of canvas for us to tell a larger story and get more invested in characters. But we want to have fun with it in the same way with Summer, where you could have an entire episode deciphering a text message you get in the middle of the night. "What does this mean? What does she want?" We love that kind of stuff.
We're also rewriting a script for Warner Bros called Cecilia, which is a comedy about four guys who fall in love with the same girl, best friends, and how that sort of impacts the friendship. And we have a book adaptation.
Neustadter: Yeah, two book adaptations. We've got one at Searchlight that we were doing. It's sort of like our first drama, which is exciting. And then we have another one we're going to do at Warner Bros. It's a big, fat romance thing.
I've heard about a couple. One of them was with Marc again, right?
Neustadter: The Searchlight book.
Weber: That's called A Spectacular Now.
Neustadter: Right. And then we have a script that we're really proud of called Underage. It's another one of these kind of relationship stories, with a very real thing that keeps the people apart.
Does it have to do with age, I assume?
Neustadter: In this case it's about the age. It's not enough to meet the right person. You have to meet them at the right time also. If they ever have the balls to make it, it'll be pretty cool.
I'm just wondering, because it sounds cool, but is it one of those things where we basically see his attempt to date someone at different ages over his life?
Neustadter: No, no, no. I'm stealing that idea. Write that down.
I just mean, like 500 Days of Summer, but instead of over one summer, it's like 500 different days of your life.
Neustadter: That's cool. That's cool. I read an awesome book by this guy David Nicholls called One Day, and it's like similar to that. You just look at like September 13th every year for [his life], and you see these two people and where they are in their lives. But anyway.
No, Underage is a story about a womanizing guy who does not want a relationship, who is like 30, and he loves his life and everything's awesome, and he goes home with a different girl every night. And one night, he goes home with the wrong girl, who says, "You're going to be my boyfriend now for the next six months, because that's when I turn 18. So if you want to go to jail, leave now, but otherwise you're mine." And she makes him into this…
Weber: What a teenager knows about relationships and is now impressing upon this 30-year-old who is not a relationship guy. We have a lot of fun with that.
Neustadter: It's executed not in the pervy way that it sounds.
Weber: It's actually kind of sweet at the center.
Do you have a director or anyone attached to that?
Neustadter: I think that the director is going to be -- do you watch "Modern Family" at all on ABC?
Neustadter: So this guy Jason Winer, who was actually one of the candidates to do 500 back in the day, too.
Weber: Really good guy. Smart guy. We're excited.
This will be his first feature?
Neustadter: Yeah, exactly.
Just like with Marc again.
Neustadter: We love that. We feel like this is just really fun to -- a first-time director is -- they're excited about the risk-taking, they're excited about taking chances and doing that stuff, and I just always find that cool.
Are you guys worried about getting typecast? I mean, not in an actor's sense, but in a sense of you're going to be writing the quirky romantic comedy from now on, for the rest of your life?
Neustadter: I actually like working in that.
Weber: Well, a couple things. I don't think of it necessarily as a quirky romantic comedy, just as sort of, we like coming of age stories, and if there's romance involved, all the better. For us, if we weren't doing this, we would be sitting around talking about these things anyway. The only difference is we're writing it down.
Neustadter: I was very worried about being typecast as the Pink Panther 2 writer.
Weber: I was wondering if you were going to go there.
Neustadter: Let's be honest.
Weber: Yeah, but that's also based on a true story.
Neustadter: Yeah, no. Hollywood does want to brand you a little bit and say, "You do this." And so the more opportunities that you have to try different things, I think that we'd want to pursue those avenues. But we want to write the stuff that we're excited about writing. And for whatever reason, it's always about some guy's got to grow up.
Weber: What does that say about us?
Neustadter: That says a lot, actually. It says we watch too many Judd Apatow movies.
Well, speaking of other movies, what other movies are your base inspiration?
Neustadter: For me, it's all over the movie, it's The Graduate and Annie Hall. They're my touchstones.
I was going to say, a lot of people reference Annie Hall when reviewing or just writing about 500 Days of Summer. And I think while that could be initially taken negatively, like, "Oh, you stole from that," I think most of what I read about it when they referenced it, is the best way possible. It's basically saying like, "This is the Annie Hall for this generation."
Neustadter: Yeah, I think -- we love Annie Hall. We wanted to -- in the spirit of it. I don't think that -- we were very protective of Annie Hall, and that if anyone ever said, "You should do this," we would say, "No, no, they did that, and we can't do that."
Weber: That happened a few times.
Neustadter: Because they're talking about a lot of the things. What's interesting about Annie Hall is that the last one of those to get made was When Harry Met Sally, which really owes a debt to Annie Hall. Like in a very -- in a really interesting way. And we wanted to just sort of take the juice of that movie and run with it, and see where it takes us.
Weber: Well, it's a part of who we are. I mean, that movie -- those kinds of movies that really impact us. We can't help but have it be a little bit in the DNA of what we do, because the movies had such an effect on us. That's just -- it's informed who we are in our lives and as storytellers. Any sort of comparison is obviously going to honor that, but it's unavoidable because it's how we got to be who we are. And for me, it was the early Woody Allen, and Cameron Crowe as well. You know, growing up, and all the great John Hughes movies. That's just how we got to be--
Neustadter: I watched it again recently. I was struck by the--
Weber: Annie Hall?
Neustadter: Yeah. It's not dated, but relationships are so different. And I think that -- like one of the things that we're doing is we're saying the labels and all the things that used to define a couple, they're starting to get really muddled…
Weber: I actually found that in some ways, Manhattan -- not because of the age, but Manhattan in some ways, where the relationships, they're a lot more in flux and there's different relationships going on, is less dated in that regard, because there's sort of a -- both with that…
Neustadter: I don't think it's dated. I just think it's an interesting thing in terms of -- it's a relationship movie. It's two people. Can you make two people interesting for an hour and a half? And they certainly do. And we wanted to do -- what they do is subtitles, and Marshall McLuhan walks in from the side, and all this sort of "anything goes" kind of an attitude. And we said, "We want to do exactly that." And of course you -- it was his 15th movie or whatever it was, and it took us a really long time to convince people that an audience would respond to any of these things. But…
Weber: No, it's great. Any of the screenings where we meet people who've seen the movie, it's been really special. It's funny, because the reaction of a lot of people -- men and women, various ages -- come up, and they're, "This guy or girl has wrecked me totally, but I loved the movie." So it's sort of like a, "Thank you, and I'm sorry."
Neustadter: I get the sense that you had one of these experiences.
Not at that kind of level…
Neustadter: Not to the same degree?
Weber: Oh, you will.
One of the best things about this is everyone comes out, and everyone's always like, "Oh yeah, I'm just like that." But no girls will admit that they're just like Summer. But everyone can make the comparison to it.
Weber: Haven't we all been? Because I feel like there've been relationships where I've been a Tom, and relationships where I've been a Summer. Neither one is a good position to be in. You don't want to be either one.
That's what I mean!
Weber: What were you more recently, a Tom or a Summer?
I was more recently a Tom.
Weber: Scott got engaged this weekend. So congratulations to you. You're now -- you're out of the game. It's over.
I think that's a perfect place to finish up.
Neustadter: Thank you very much.
Thank you to Scott and Michael for this opportunity and for answering all of my questions! Don't forget, if you haven't seen 500 Days of Summer yet, or if you loved it as much as I did, you can buy it on DVD or Blu-Ray right now via Amazon. I can't wait to see their next movie!