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.

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

Sometimes an actor doesn't sell an idea 100 percent. It just sounds like something that's coming out of their head. You can hear the gears whirring and they're trying to think of what the smart approach is to getting a line across.

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

The difference between this film [Your highness] and Pineapple Express was pretty much in the logistics of the technical ambition of the movie, and the size and scope of the movie. Pineapple Express was a great success, and that was something that we wanted to capitalize on, but we wanted this movie to be bigger, more adventuresome, bring a bigger audience to the movie, and challenge ourselves to do something new.

I really strongly feel that when you approach a drama, you have to approach it with energy, honesty, sincerity, and absolute commitment, or don't do it.

I've never wanted to be a fireman, in my life. I've never really wanted to grow up and be anything other than a film director.