It struck me that working digitally with a small crew, I could lay out a general plan for Famous and hope for mistakes which would create something more than satire and something less than truthful reality.

Every time I act in something, I learn something about what the director is doing. One feeds the other.

My hunger and desperation, being an actor, an out of work actor - my memory of that is as fresh as an open wound.

To see a comedy in an environment where you're surrounded by other people that are laughing is great. That's probably more satisfying than just watching it by yourself.

I produced six movies with Amy Robinson since the very early 80s.

I'm being told it saves money to shoot in Toronto, because of tax benefits, the crews are cheaper, but what I save in the bottom line, I lose in a million other ways.

But at the same time, never having final cut before, I really learned an interesting thing for any studio executive who is reading this: that if a director has final cut, it's actually easier and more interesting to listen to notes.