We're never going to be the ultimate-insider look. You can do 50 insider looks at this Hollywood business, and the satire didn't intrigue me. I think others can do that.

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.

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.

There's no downside to having too much experience.

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 always think that there is the good and the bad of it all.

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.