I met someone who said they'd figured out my genre: "madcap redemption comedy." I'll buy that.

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.

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.

Once you're alienated, you're on your own. That takes you to the world of the existential, where things just kind of float.

When I've written for Bill Murray - I've written six films for him - people would read it and say, "Oh, that's so perfectly Bill." He'd read it and say, "Are you kidding? I can't say these words." So it's all about perception.

I loved writing and performing, but the idea of doing it for a living seemed so remote. But I eventually let it devolve to the point where it was the only thing I could do.

I'd rather do comedies that strike at some bigger ideas.