Whoever writes a bad review, I put their name on a list, and they're going to get taken care of one day down the road. Otherwise, I don't let it bother me. The truth is, these are review-proof movies. The audiences are going to see it. My audience, our audience, isn't reading Esquire magazine to see if my movie is good or not. They just want to laugh, to be entertained, and lose themselves.

When I was 13, Eddie Murphy was to me what Chris Tucker was to 13-year-olds when I made 'Rush Hour.' And 'Rush Hour' really came out of the fact that I grew up watching 'Beverly Hills Cop' and '48 Hrs.'

Miami Beach - that's where I grew up, in a middle-class Jewish family led by my maternal grandfather. Me, my great-grandmother - a Holocaust survivor, who was my roommate - my grandparents, my mom and her brother all shared a four-bedroom house.

I went to a public high school and most of the comedy was coming from the black kids and the Asian kids and the Hispanic kids. And, the coolest kids to me where always the black kids. They were always fashion forward and they always dressed the coolest. They were always the best dancers, and just the coolest people.

My movies are pretty tight and they're pretty well-paced. I'm not one to make long movies. I don't dwell on stuff.

People can criticise all day long, I think I've proven myself, I think I deliver. And I agree, box office does not mean a movie's good, but I feel like I'm making good movies and I'm delivering in box office.

I love movie directors. I don't care who it is.