I feel this way about a lot of movies, that the characters are idealized versions of people. For better or worse, I am as fascinated with human flaws as anything.

[Keeping Up with the Joneses] is not one of those movies where people get shot and fall down and there's no reality of what would happen if you got shot and knocked over a motorcycle. It's meant to be a slight comedy in that sense.

Brian Eno records and music got me through. It made me feel like there were other people out there who had the same questions and fears and unhappiness. Particularly those kinds of artists who were writing songs about exactly those things.

I don't see that many movies where people are depicting middle-class suburban life in a more textured way. My feelings about the suburbs are not so wonderful, so my movies tend to be a little melancholy.

One of the dangers of making a movie about young people is it's potentially trite.

The first person I met in the business was David Heyman, who was a producer on Daytrippers and who went on to produce the highly-unsuccessful Harry Potter series.

I'm a huge fan of Zach's [Galifianakis] and I auditioned Zach a million years ago on a movie called Duplex which I was fired from. But Zach came in - It was like 2000, maybe - as a buddy stand-up that people were starting to notice and there was something about him I loved. He wasn't quite right for the part in [Keeping Up with the Joneses] and I got fired anyway, so who cares? But I always wanted to work with Zach.