Creative differences are legendary in this movie business, so we're really not exploring the creative-difference aspect as opposed to the money aspect, or the fact that something can come up in a movie and literally put the whole movie on the line, and this is where producers have to earn their keep.

No one really has the power, and everybody's trying to get through the day, and everybody's nervous and desperate.

You have a movie and it proves itself and then certain things happen.

You do understand that you can't force the situation, but in terms of how you edit, you can define that to take the audience along, whether it be a storyline or a character moment that we can play out. The more experience you've had, the more beneficial it is, period.

They're intimidating the networks and levying these fines, so the networks are not sure of what they can or can't do.

I do know when you look at some ballplayer and all of a sudden he is the size of a truck something is wrong.

First of all, just to get Diner made would have been an achievement in that I got a chance to direct.