I don't know that you can do an absurdist film and just have everybody embrace it in terms of filling out cards. I just don't think it happens. So you have to prepare an audience.

I think we are seeing a radical shift in the business in general. The studios are making much more of the real big extravaganzas and there are other kinds of films that are coming out. I think you are going to begin to see more diversification that we've seen in the past.

Different reactions while film test screening doesn't mean even the audience thinks ambiguity is a bad thing. But if you're asking them right away to start checking things off, they don't know what to do. I think at their best, it applies to when the audience knows what it is. Then, when they say, "Oh, well, I thought it was too boring in blah-blah-blah part," then you better pay attention to it. It's like going for the hamburger. Better be the good hamburger I went for.

If you test Iron Man and that audience doesn't respond well, you can be damn sure that there is something wrong with the movie that you have to address. Because they're expecting a certain amount of action, right? They want a hero. There are certain things that have to be compatible with the way the audience is thinking about it. If you take some other film, like No Country for Old Men, you can end up with all kinds of crazy reactions.

When I was growing up in Baltimore, the Colts were not just a team that played in the city. It was part of the city. Football players didn't make close to the money they make today and most took jobs in the off-season. Some were mechanics, others worked at furniture stores, and you could find them drinking at a neighborhood watering hole.

You don't always have to have the ending, but you want to have a satisfactory conclusion.

I think when Sarah Palin opened her mouth and started talking, the more she talked, the less appealing she became.