You can't not have feelings about country clubs, whichever side you're on.

I've never taken a script to the stage or to principal photography and said, "This is perfect. This is as good as it can possibly be." It's not Shakespeare, you know; you know it can probably be better.

I did a comedy with Al Franken about his character Stuart Smalley, which was really about alcoholism and addiction and codependency. It had some painful stuff in it. When we showed it to focus groups, some of them actually said, "If I want to see a dysfunctional family, I'll stay home."

We all wish we could be in more than one place at the same time. People with families feel guilty all the time-if we spend too much time with our family, we feel we're not working hard enough.

We were tremendously encouraged by the testing of Analyze That. Audiences loved it. They were telling us that they liked it as much as the original. We recorded the laughs in the theater.

Find the most talented person in the room and if it's not you, go stand next to him. Hang out with him. try to be helpful.

At a certain point, you have to convince the actors that you've done the right thing. The way I work, if I can't convince them, I've got to move on. I can't coerce them or browbeat them.