Sundance [festival] is all your Hollywood buds and buddies and rolling out and high-fiving and "Hell, yeah. Here comes the movie," and in Venice, it's very elegant, and respectful...It's decadence. It's such a fun way to formalize a movie that is for us a down-and-dirty, gritty movie. And to see it with the red carpet, and rolling up in a Maserati.

I don't let technology and mechanics hinder me from a good time. During one of a film premiere there was a party in the other room; I needed to get to it, so I got out. I escaped. Sometimes you do what you can, you'll turn on your best John Maclean and get to it.

When you say "Holy Man", I immediately think of Eddie Murphy's finest hour. If it's anything comparable, I'm excited.

With Hollywood you're yesterday's news if you get a flop at the box office. So you might as well be braced to have something else to do that's interesting. Have something lined up to keep your stories fulfilled, and your ideas, because if you're just cranking out movies three times a year.

Every new project I do is a new invention of myself and reinvigorates me as to why I love the industry.

Sometimes you'll have great actors who aren't comfortable with improvising. Which can get pretty frustrating. But every actor's coming from a different place and they have their own strengths and weaknesses and your job is to sell them as two people in the same world. Some of them have to have their hands held and some I just let loose entirely.

We were in production on a movie called All the Real Girls, which filmed in the Fall of 2001, and we really discovered who Danny McBride was, as an actor. When I say we, I mean me and a crew and a small audience that would hit the art house. He'd never acted before, and it was a really refreshing, eye-opening experience to watch him unleash, in front of the camera, all this comedic potential that we knew he had, as a human being and as the guy doing keg-stands at the party.